{"id":15987,"date":"2021-01-29T10:18:00","date_gmt":"2021-01-29T10:18:00","guid":{"rendered":"http:\/\/173.230.141.246\/dcc\/?p=15987"},"modified":"2026-08-06T15:24:36","modified_gmt":"2026-08-06T15:24:36","slug":"copy-2","status":"publish","type":"post","link":"https:\/\/dcc.newberry.org\/?p=15987","title":{"rendered":"Shakespeare in the Nineteenth-Century United States"},"content":{"rendered":"\n<div class=\"wp-block-getwid-tabs\" data-active-tab=\"0\"><ul class=\"wp-block-getwid-tabs__nav-links\"><\/ul>\n<div class=\"wp-block-getwid-tabs__nav-link\"><span class=\"wp-block-getwid-tabs__title-wrapper\"><a href=\"#\"><span class=\"wp-block-getwid-tabs__title\">Essay<\/span><\/a><\/span><\/div><div class=\"wp-block-getwid-tabs__tab-content-wrapper\"><div class=\"wp-block-getwid-tabs__tab-content\">\n<h4 class=\"wp-block-heading\">Introduction<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">In the twenty-first century, William Shakespeare remains the best-known English writer in the world. His work has been translated into over 100 languages and his plays appear on the stage and as movies and television shows. He remains a fixture in popular culture as well, and his work is even referenced in the musical <em>Hamilton<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/dcc-mcvickers\/McVickersTheatre_RomeoJuliet-698x1024.jpg\" target=\"_blank\" rel=\"noopener noreferrer\"><img fetchpriority=\"high\" decoding=\"async\" width=\"698\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/McVickersTheatre_RomeoJuliet-698x1024.jpg\" alt=\"\" class=\"wp-image-15907\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_RomeoJuliet-698x1024.jpg 698w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_RomeoJuliet-scaled-300x440.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_RomeoJuliet-scaled-600x880.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_RomeoJuliet-205x300.jpg 205w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_RomeoJuliet-768x1127.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_RomeoJuliet-1047x1536.jpg 1047w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_RomeoJuliet-scaled.jpg 1745w\" sizes=\"(max-width: 698px) 100vw, 698px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/dcc-mcvickers\/McVickersTheatre_RomeoJuliet-698x1024.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">McVicker&#8217;s Theatre, <em>Romeo and Juliet <\/em>(1879)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">It is a bit surprising, however, that Shakespeare became popular in America at all. Seventeenth-century Puritans and Quakers morally opposed the theater and authorized severe punishment for stage plays, which were placed in the same category as playing dice and bear-baiting. While Shakespeare\u2019s plays were performed in America beginning in the 1730s, the Continental Congress placed a ban on theater during the Revolutionary War. This ban essentially created an embargo on British culture just as it had on British goods. By the late 1780s, anti-theatrical laws began to be repealed. Debates over repealing these laws focused on whether the stage could be politically beneficial to the new nation. Could theater be used to shape American values? Additionally, there were questions over whether theater, as an entertainment, had ever proven harmful. By 1794, new playhouses were built in Boston and Philadelphia. The first American-printed edition of Shakespeare was published in Philadelphia by Bioren and Madan in 1795.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By the early nineteenth century, Americans had begun to read, publish, perform, watch, and think about Shakespeare in new ways, and to \u201cadopt\u201d him as one of their own. The author James Fenimore Cooper even declared in his 1828 book <em>Notions of The Americans<\/em>: \u201cShakespeare is the great author of America\u201d (1828 Philadelphia: Carey, Lea &amp; Carey edition, 148-49). Part of what appealed to Americans in the post-Revolutionary period was that several of Shakespeare\u2019s plays focused on kings who had come to power through criminal deeds (<em>Richard III,<\/em> <em>Hamlet<\/em>) or who had gone crazy (<em>King Lear<\/em>), offering proof that the monarchy against which they had just rebelled was indeed corrupt. Additionally, Shakespeare\u2019s characters were not just kings and queens, but came from all walks of life. Residents of the new nation could see themselves in his work, even though it was two hundred years old. And finally, in the nineteenth century, people became interested in Shakespeare\u2019s own life. They (incorrectly) described him as a man with almost no formal education who became the most important writer in the English language. To Americans, this meant that he was a self-made man who had pulled himself up by his bootstraps and become successful through his own hard work and determination. Ultimately, the Shakespeare that nineteenth-century Americans \u201ccreated\u201d was vastly different than the Shakespeare that we know today or that Shakespeare\u2019s own audiences would have known.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Performances of Shakespeare did not look the way that we know them today. One play or even just a scene or two would form only one small part of an evening\u2019s entertainment, which might also include music and dancing, animal acts, or even another play. Even when a full Shakespeare play was performed, the actors did not perform the same play night after night for weeks on end. Instead, they performed a different play every night to lure back theatergoers. Actors also used new methods of transportation \u2013 most specifically the railroad \u2013 to travel the country, performing to small towns throughout the interior of the United States and even to gold miners in San Francisco. After the invention of photography later in the nineteenth century, cabinet cards that featured photographs of actors in their most famous roles became hugely popular, linking Shakespeare to the rise of celebrity as we know it.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_158129\" target=\"_blank\" rel=\"noopener noreferrer\"><img decoding=\"async\" width=\"1024\" height=\"779\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-1024x779.jpg\" alt=\"Two-page spread of opening Hamlet chapter. On the right is a page of text, on the left an etching of Hamlet and Horatio talking to the grave digger, who is holding Yorick's skull.\" class=\"wp-image-15901\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-1024x779.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-300x228.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-scaled-600x456.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-768x584.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-1536x1168.jpg 1536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_158129\" target=\"_blank\" rel=\"noreferrer noopener\">Charles and Mary Lamb, <em>Tales from Shakespeare<\/em> (1807), Vol. 2 p. 177<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The American masses encountered Shakespeare through inexpensive books and periodicals, which were made possible by new printing technologies. Previously, it was expensive and time-consuming to produce books, but the invention of faster, mechanized printing presses meant that thousands of books could be printed cheaply in a short period of time. Affordable books and rising literacy rates meant that more people were buying and reading more books than ever before. Given that Shakespeare was already a household name, publishers looked for ways in which they could further commodify him. Beginning in the late eighteenth century, there was a proliferation of books marketed specifically to children. Shakespeare was adapted into short stories with illustrations that were designed to appeal to them (and to their parents), and these books were republished throughout the nineteenth century. Periodicals, which were popular with all kinds of readers, also often featured Shakespeare. Other books excerpted his work or described theatrical performances in great detail.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Shakespeare is a useful historical lens with which to view a rapidly changing America. In the early decades of the new nation Shakespeare was both a tool for shaping national identity and a product of this new identity. By the mid-nineteenth century, men, women, and children of all social classes knew and loved Shakespeare. Yet by the beginning of the twentieth century, another shift occurred, in part parallel to the rise of English literature as a scholarly discipline. Instead of being marketed to the masses as entertainment, his work was perceived as educational and a sign of high culture. It was taught in schools and intended only for those who were allegedly \u201crefined.\u201d &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Questions to Consider:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>How is the Shakespeare represented in the nineteenth century different from the Shakespeare we know today? &nbsp;What are some similarities between them, as well?<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>What cultural and technological changes occurred that helped to increase Shakespeare\u2019s popularity in America?<\/li>\n<\/ul>\n\n\n\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Shakespeare on the Page<\/strong><\/h4>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_676736\" target=\"_blank\" rel=\"noopener noreferrer\"><img decoding=\"async\" width=\"632\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-632x1024.jpg\" alt=\"Title page from Thomas and Henrietta Bowdler\u2019s The Family Shakespeare, 3rd edition. London: Longman, Hurst, Rees, Orme, and Brown, 1823.\" class=\"wp-image-14160\" style=\"width:254px;height:auto\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-632x1024.jpg 632w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-scaled-300x486.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-scaled-600x972.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-185x300.jpg 185w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-768x1244.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-948x1536.jpg 948w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-1264x2048.jpg 1264w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-scaled.jpg 1580w\" sizes=\"(max-width: 632px) 100vw, 632px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_676736\" target=\"_blank\" rel=\"noreferrer noopener\">Thomas and Henrietta Bowdler,<em> The Family Shakespeare<\/em>, 1823<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In the nineteenth century, Americans read Shakespeare constantly, but in different ways than previous generations. At the beginning of the century, the general public rarely his read plays in their entirety, but instead read adaptions and alterations of his work in new types of publications. Editions of Shakespeare designed specifically for children and families to read together became popular as changes in educational and childrearing practices opened up a new market for book publishers. Such books usually had a strong moral component. Charles and Mary Lamb\u2019s <em>Tales from Shakespear: Designed for the Use of Young Persons<\/em> turned twenty of Shakespeare\u2019s plays into short prose stories, using simple language paired with engraved illustrations that give the work a fairy tale quality. During the same time period, Thomas and Henrietta Bowdler published <em>The Family Shakespeare<\/em>, which removed any material deemed too inappropriate for young or female audiences. About 10% of Shakespeare\u2019s original text was cut: exhortations using the word \u201cGod\u201d were cut or changed to something gentler; bawdy characters were taken out; and Ophelia\u2019s suicide in <em>Hamlet<\/em> was changed to an accidental drowning. While the Bowdlers liked Shakespeare, and simply wanted to make him more family friendly \u2013 much like the Lambs \u2013 their name became a shorthand for censorship: to \u201cbowdlerize\u201d a work is to censor it.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_115569\/Scott_LessonsInElocution_TitlePage.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"625\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-625x1024.jpg\" alt=\"Title page of William Scott's Lessons in Elocution: Or A Selection of Pieces in Prose and Verse for the Improvement of Youth in Reading and Speaking\" class=\"wp-image-15913\" style=\"width:259px;height:auto\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-625x1024.jpg 625w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-scaled-300x491.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-scaled-600x983.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-183x300.jpg 183w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-768x1258.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-938x1536.jpg 938w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-1250x2048.jpg 1250w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-scaled.jpg 1563w\" sizes=\"(max-width: 625px) 100vw, 625px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_115569\/Scott_LessonsInElocution_TitlePage.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">William Scott, <em>Lessons in Elocution<\/em> (1803)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">People also encountered Shakespeare through oratory, or public speaking. Oratory was an integral part of life in nineteenth-century America and like actors, orators traveled the country giving impassioned speeches to crowds. Young students might also have encountered Shakespeare in handbooks for public speaking. Such books often included monologues or speeches extracted from his plays. This practice \u201cdetached\u201d the speeches from the plays (and Shakespeare himself). While many were familiar with, say, the \u201cTo be, or not to be\u201d speech from <em>Hamlet<\/em>, they might not have recognized other speeches or scenes from the play, or even known its characters or plot. Abraham Lincoln largely learned his Shakespeare from these books; he even performed speeches from <em>Hamlet<\/em> and <em>Macbeth<\/em> while having his portrait painted in the White House. Oratory was not just about reading and memorizing passages but was about performing as well, and these handbooks also included instructions about gesture and other techniques for delivering effective speeches. Orators and writers were also interested in including Shakespeare in their own, original works and a common reference tool was a concordance \u2013 an index of every single word that occurs in Shakespeare\u2019s plays and poems. Arranged alphabetically, like a dictionary, with references to each usage of a word, a concordance allows the reader to efficiently seek and retrieve each instance of whatever word is of interest \u2013 a bit like a Google search in print form. In making texts searchable, concordances inspired new practices of reading and composition. The only other work that had a concordance at this time period was the Bible. Josiah Bartlett, who began publishing his famous books of quotations mid-century, also produced a concordance to Shakespeare.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_219873\/Bartlett_CompleteConcordance_TitlePage.jpg\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"814\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_TitlePage-814x1024.jpg\" alt=\"\" class=\"wp-image-15981\" style=\"width:327px;height:411px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_TitlePage-814x1024.jpg 814w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_TitlePage-scaled-300x377.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_TitlePage-scaled-600x754.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_TitlePage-239x300.jpg 239w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_TitlePage-768x966.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_TitlePage-scaled.jpg 2036w\" sizes=\"(max-width: 814px) 100vw, 814px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_219873\/Bartlett_CompleteConcordance_TitlePage.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">John Bartlett,<em> A New and Complete Concordance <\/em>(1894)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">When nineteenth-century readers <em>did<\/em> read Shakespeare\u2019s plays in their entirety, they weren\u2019t satisfied with just reading the text. Instead, they wanted additional content like illustrations and notes about the plays, as well as illustrations of costumes, music, and more. These illustrated editions were inexpensive and worked to teach people history through Shakespeare. Nineteenth-century Americans found Elizabethan England fascinating and Shakespeare\u2019s work \u2013 and the details of his own life \u2013 became part of this interest. It was this historical fascination that prompted publishers to add historical context and illustrations to printed editions of the plays.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Questions to Consider: <\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>In the Charles and Mary Lamb\u2019s <em>Tales from Shakespear<\/em>, each play begins with an illustration of one of its scenes. Why do you think these particular illustrations were chosen? Do they help you recognize the play, and if so, how?<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>When you read the opening lines of the stories in the Lamb\u2019s book, do you immediately recognize them as Shakespeare\u2019s plays? Why or why not?<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/archive.org\/details\/nby_158129\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Selection: <\/strong><em>Tales from Shakespeare<\/em> by Charles and Mary Lamb, 1807<\/a><\/p>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\" style=\"--aspect-ratio:calc(2560 \/ 1899)\"><div class=\"wp-block-jetpack-slideshow_container swiper\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1899\" alt=\"Two-page spread of a printed book. On the left is a drawing of Romeo and Juliet meeting at the masquerade ball. On the left is text summarizing the play.\" class=\"wp-block-jetpack-slideshow_image wp-image-15896\" data-id=\"15896\" data-aspect-ratio=\"2560 \/ 1899\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_RomeoJuliet-scaled.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_RomeoJuliet-scaled.jpg 2560w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_RomeoJuliet-300x223.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_RomeoJuliet-scaled-600x445.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_RomeoJuliet-1024x760.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_RomeoJuliet-768x570.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_RomeoJuliet-1536x1140.jpg 1536w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Charles and Mary Lamb, Tales from Shakespeare (1807), Vol. 2 p. 124<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1946\" alt=\"Two-page spread of opening Hamlet chapter. On the right is a page of text, on the left an etching of Hamlet and Horatio talking to the grave digger, who is holding Yorick's skull.\" class=\"wp-block-jetpack-slideshow_image wp-image-15901\" data-id=\"15901\" data-aspect-ratio=\"2560 \/ 1946\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-scaled.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-scaled.jpg 2560w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-300x228.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-scaled-600x456.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-1024x779.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-768x584.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-1536x1168.jpg 1536w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Charles and Mary Lamb, Tales from Shakespeare (1807), Vol. 2 p. 177<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<ul class=\"wp-block-list\">\n<li>On the title page of <em>The Family Shakespeare<\/em>, what evidence do you find of who the target audience was, and how the book was meant to be used?<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>On the pages shown below from <em>Lessons in Elocution<\/em>, why do you think these particular speeches from <em>Hamlet<\/em> were chosen?<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_115569\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"875\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_Hamlet-1-1024x875.jpg\" alt=\"Exceprt from Lessons in Elocution, XI &quot; Soliloquy of Hamlet's Uncle on the Murder of his Brother&quot; and XII &quot;Solilquy of Hamlet on Death&quot;\" class=\"wp-image-15912\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_Hamlet-1-1024x875.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_Hamlet-1-300x256.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_Hamlet-1-scaled-600x513.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_Hamlet-1-768x656.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_Hamlet-1-1536x1313.jpg 1536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_115569\" target=\"_blank\" rel=\"noreferrer noopener\">William Scott, <em>Lessons in Elocution<\/em> (1803), 384-385<\/a><\/figcaption><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>In looking at the section below from Bartlett\u2019s <em>Index to Shakespeare<\/em>, what can we learn about Shakespeare\u2019s use of the word \u201cdog\u201d? How many plays did he use it in? What are the different ways in which he uses the word? Are they different from the ways in which we might use the word today?<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_219873\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"874\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_P390-874x1024.jpg\" alt=\"\" class=\"wp-image-15984\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_P390-874x1024.jpg 874w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_P390-scaled-300x351.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_P390-scaled-600x703.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_P390-256x300.jpg 256w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Bartlett_CompleteConcordance_P390-768x899.jpg 768w\" sizes=\"(max-width: 874px) 100vw, 874px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_219873\" target=\"_blank\" rel=\"noreferrer noopener\">John Bartlett, <em>A New and Complete Concordance<\/em> (1894), 390<\/a><\/figcaption><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"https:\/\/www.opensourceshakespeare.org\/concordance\/\" target=\"_blank\" rel=\"noreferrer noopener\">A free, online concordance to Shakespeare can be found here<\/a>.&nbsp; A bit of searching reveals that Shakespeare used the words \u201cdog\u201d 143 times, \u201ccat\u201d 36 times, and \u201cAmerica\u201d once (in <em>Comedy of Errors<\/em>). How do you think this kind of tool might both help and distort our thinking about Shakespeare?<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\">Shakespeare on Stage<\/h4>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_833492\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"708\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-1024x708.jpg\" alt=\"Playbill for the Theatre Royal Princess's Theatre's production of Macbeth\" class=\"wp-image-15917\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-1024x708.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-300x207.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-scaled-600x415.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-768x531.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-1536x1062.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-2048x1416.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_833492\" target=\"_blank\" rel=\"noreferrer noopener\">Princess&#8217;s Theatre, <em>Macbeth <\/em>(Aug. 18, 1830)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">As with publishers, theaters made use of emerging technologies and pushed cultural boundaries to market Shakespeare \u2013 and the actors who performed his work \u2013 to new audiences, and in doing so, helped to cement Shakespeare\u2019s position in popular culture. But also, as with print culture, these new technologies altered the public\u2019s ideas about and perception of Shakespeare\u2019s work. Additionally, theaters functioned as spaces where the public could engage with changing ideas of gender, race, and class in America; the ways in which Shakespeare\u2019s plays were newly presented on stage contributed to these emerging cultural dialogues.<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_833492-2\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"544\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-544x1024.jpg\" alt=\"Playbill for the Royal Theatre Haymarket's production of Richard III\" class=\"wp-image-15916\" style=\"width:388px;height:731px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-544x1024.jpg 544w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-scaled-300x564.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-scaled-600x1129.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-160x300.jpg 160w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-768x1445.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-817x1536.jpg 817w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-1089x2048.jpg 1089w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-scaled.jpg 1361w\" sizes=\"(max-width: 544px) 100vw, 544px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_833492-2\" target=\"_blank\" rel=\"noreferrer noopener\">Theatre Royal Haymarket, <em>Richard III <\/em>(1871)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In the nineteenth century, theaters rarely featured a run of a single play. Instead, each night included a different combination of performances, interspersing plays, music, and dancing. This practice allowed actors and actresses to cycle through the plays in their repertoire and encouraged patrons to return many times to see their favorite actors in different roles. Theaters advertised performances with broadside playbills, which featured eye-catching type, and could be pasted up in various locations. Playbills provide a wealth of knowledge about theater in the period: they tell us what plays were performed and how often, who the actors were, and sometimes even what the scenery and costumes were like. All of these clues can help us piece together who a theater\u2019s audience may have been and what \u2013 and who \u2013 they enjoyed seeing on the stage. A manuscript playbill created by a thirteen-year old boy in Ohio in 1863 for an imaginary evening of performance featuring his friends and family provides evidence of these advertisements\u2019 popularity and impact. His handiwork is clearly modeled on his own familiarity with the theater and suggests that playbills played an important part in the theater-going experience.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_hamlet_galop_homage_to_edwin_booth\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"786\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/HamletGallop-786x1024.jpg\" alt=\"\" class=\"wp-image-15893\" style=\"width:256px;height:333px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/HamletGallop-786x1024.jpg 786w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/HamletGallop-scaled-300x391.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/HamletGallop-scaled-600x782.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/HamletGallop-230x300.jpg 230w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/HamletGallop-768x1001.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/HamletGallop-1179x1536.jpg 1179w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/HamletGallop-scaled.jpg 1965w\" sizes=\"(max-width: 786px) 100vw, 786px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_hamlet_galop_homage_to_edwin_booth\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;Hamlet Gallop! Homage to Edwin Booth&#8221; (no date)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The invention of photography helped to create a new celebrity culture. Many actors and actresses posed for photographs in the costumes of their best-known roles. These photographs were turned into engravings or lithographs that could be easily reprinted in newspapers and magazines. Because early photography required people to remain still for a long time, actors in these pictures relied heavily on dramatic poses. It would have been impossible to photograph a live performance. Descriptions or reviews of Shakespeare\u2019s plays that appeared in print often featured reproductions of these images of actors, helping to spread their fame far and wide and shifting the focus from the play\u2019s author to the performer. Audiences began to think of \u201cEdwin Booth\u2019s <em>Hamlet<\/em>\u201d instead of \u201cShakespeare\u2019s <em>Hamlet<\/em>,\u201d for example.<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_833492-5\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"695\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/NeilsonJuliet-1-695x1024.jpg\" alt=\"Black-and-white photo of Adelaide Neilson in costume as Juliet posed for the balcony scene. She wears a floor-length brocade dress and a long silk coat that trails in front of her. Her hair is partly piled on her head and partly down her back. She wears a small tiara.\" class=\"wp-image-15911\" style=\"width:333px;height:490px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/NeilsonJuliet-1-695x1024.jpg 695w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/NeilsonJuliet-1-scaled-300x442.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/NeilsonJuliet-1-scaled-600x883.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/NeilsonJuliet-1-204x300.jpg 204w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/NeilsonJuliet-1-768x1131.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/NeilsonJuliet-1-1043x1536.jpg 1043w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/NeilsonJuliet-1-scaled.jpg 1739w\" sizes=\"(max-width: 695px) 100vw, 695px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_833492-5\" target=\"_blank\" rel=\"noreferrer noopener\">Adelaide Neilson As Juliet (c.1879)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Theaters also made use of changing ideas about gender and often showcased women performers. This was a marked change from Shakespeare\u2019s time, when women were not allowed on stage in England. Instead, all female roles were played by boys whose voices had not yet matured. While women began appearing on stage in the late seventeenth century, actresses really rose to prominence in the nineteenth century. Some women were even known for taking on male parts. Abraham Lincoln\u2019s favorite actress was Charlotte Cushman (1816-1876), who, in addition to her well-known performances as Lady Macbeth, also played the roles of Hamlet and of Romeo opposite her own sister as Juliet in <em>Romeo and Juliet<\/em>. In 1895, the actress Sarah Bernhardt (1844-1923) became the <a rel=\"noreferrer noopener\" href=\"https:\/\/www.youtube.com\/watch?v=Mp_v_dP8s-8&amp;feature=youtu.be\" data-type=\"URL\" data-id=\"https:\/\/www.youtube.com\/watch?v=Mp_v_dP8s-8&amp;feature=youtu.be\" target=\"_blank\">first actor recorded on film as Hamlet<\/a> \u2013 a role she continued to perform even after having one of her legs amputated. Featuring women in male roles reveals how people thought about masculinity and femininity in Shakespeare\u2019s characters during the nineteenth century. Hamlet, in particular, was often considered a \u201cfeminine\u201d character because of his philosophical, intellectual, and emotional nature; Claudius even declares Hamlet\u2019s grief for his father \u201cunmanly\u201d (Act I, scene ii). Sometimes, though, it was the actors themselves who presented as masculine or feminine. Charlotte Cushman was so convincing in her portrayal of Romeo that playgoers wondered whether she was not actually a man. And surprisingly, Ulysses S. Grant played Desdemona in an 1845 U.S. Army production of Othello. It is hard to reconcile the popular image of an older, bearded Grant with the man who was described in his youth as \u201cof fragile form\u201d and \u201cgirlish modesty\u201d and was nicknamed \u201cLittle Beauty\u201d (Shaprio, <em>Shakespeare in a Divided America<\/em>). No matter which roles they played, men and women played parts for which they were famous for decades. Audiences didn\u2019t care that the actors playing Romeo and Juliet might be in their seventies!<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_833492-3\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"712\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/McVickersTheatre_MuchAdo-712x1024.jpg\" alt=\"\" class=\"wp-image-15906\" style=\"width:297px;height:427px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_MuchAdo-712x1024.jpg 712w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_MuchAdo-scaled-300x432.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_MuchAdo-scaled-600x863.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_MuchAdo-209x300.jpg 209w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_MuchAdo-768x1105.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_MuchAdo-1068x1536.jpg 1068w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/McVickersTheatre_MuchAdo-scaled.jpg 1779w\" sizes=\"(max-width: 712px) 100vw, 712px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_833492-3\" target=\"_blank\" rel=\"noreferrer noopener\">McVicker&#8217;s Theatre, <em>Much Ado About Nothing<\/em> (1876)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The Booth family, including the most-beloved actor of the American stage and the assassin of President Abraham Lincoln, forever altered the landscape of culture and politics in nineteenth-century America. Junius Brutus Booth, Sr. (1796-1852) was an English actor who emigrated to the United State in 1821. Booth had ten children, the most famous being Edwin Booth (1833-1893) and John Wilkes Booth (1839-1865). Edwin Booth was one of the most popular actors in America, but after his brother assassinated President Lincoln in April 1865, Booth abandoned the stage for over a year. He returned in <em>Hamlet<\/em> in New York in January 1866 due to public demand. Booth was a true American celebrity: fans could buy photographs of him (called cabinet cards), books of illustrations of him as different characters, and even sheet music that celebrated his looks and talent.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another famous American actor was Ira Aldridge (1807-1867), who was the first black actor to appear on stage in England. Before that, black characters would have been played by white men in blackface (a practice that continued into the twentieth century). Aldridge made his debut as Othello in London in 1825. Although he was born in the United States, Aldridge created the myth that he was the descendant of a Senegalese prince whose family was forced to escape to America to save their lives. Aldridge became a star and forged a remarkable career in England. In addition to Othello, he played King Lear, Macbeth, and Richard III<em>.<\/em> Although he was a huge success in Europe, he never returned to the United States.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/collections.newberry.org\/asset-management\/2KXJ8ZSBAJENJ?WS=AssetManagement\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"802\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-1024x802.jpg\" alt=\"Frontispiece and title page of a printed book. The frontispiece shows Aldridge, a Black man, in costume as Othello.\" class=\"wp-image-14189\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-1024x802.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-300x235.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-scaled-600x470.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-768x602.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-1536x1204.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-2048x1605.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/collections.newberry.org\/asset-management\/2KXJ8ZSBAJENJ?WS=AssetManagement\" target=\"_blank\" rel=\"noreferrer noopener\">Ira Aldridge, <em>Memoir and Theatrical Career of Ira Aldridge, the African Roscius <\/em>(1846)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Performances \u2013 and performers \u2013 of Shakespeare in the nineteenth century would probably have surprised, and possibly bewildered, Shakespeare himself, while theatergoers would have increasingly recognized themselves and the world around them through productions of his plays.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Questions to Consider:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>From looking at these playbills, what can learn about how information was presented to theatergoers? What kind of details did theaters think might be important to potential audiences? Do we learn anything about the actors, the costumes, or the scenery? Compare, for example, the broadside playbills from the Princess\u2019s Theatre (advertising <em>Macbeth<\/em>), the Royal Theatre Haymarket (advertising Edwin Booth as Richard III), and the McVicker\u2019s playbill promoting Edwin Booth.<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>In looking at the photographs below of Edwin Booth in costume, what clues do we see about his portrayals of  Hamlet and Iago? What clues can you find in the costumes or scenery?<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>How do the engraved illustrations of Booth differ from the photographs?&nbsp; What evidence suggests that they were intended for different audiences?<\/li>\n<\/ul>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_784097\"><img loading=\"lazy\" decoding=\"async\" width=\"798\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-798x1024.jpg\" alt=\"Image of Edwin Booth dressed as Hamlet standing in a graveyard.\" class=\"wp-image-15982\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-798x1024.jpg 798w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-scaled-300x385.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-scaled-600x770.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-234x300.jpg 234w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-768x986.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-1197x1536.jpg 1197w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-scaled.jpg 1995w\" sizes=\"(max-width: 798px) 100vw, 798px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_784097\" target=\"_blank\" rel=\"noreferrer noopener\">William Winter, Hamlet, <em>Edwin Booth in Twelve Dramatic Characters<\/em> (1872)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/dcc-833492-bhnd\"><img loading=\"lazy\" decoding=\"async\" width=\"679\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-679x1024.jpg\" alt=\"Photograph of Edwin Booth dressed as Hamlet sitting in a chair.\" class=\"wp-image-15895\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-679x1024.jpg 679w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-scaled-300x453.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-scaled-600x905.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-199x300.jpg 199w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-768x1158.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-1018x1536.jpg 1018w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-scaled.jpg 1697w\" sizes=\"(max-width: 679px) 100vw, 679px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/dcc-833492-bhnd\" target=\"_blank\" rel=\"noreferrer noopener\">Cabinet Card, Edwin Booth as Hamlet (no date)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_833492-7\"><img loading=\"lazy\" decoding=\"async\" width=\"712\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothIago-712x1024.jpg\" alt=\"Photograph of Edwin Booth onstage as Iago. He wears a shirt and hose and a striped cape or toga and carries a rapier. He stands in front of an Italian cityscape and looks treathening.\" class=\"wp-image-15890\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothIago-712x1024.jpg 712w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothIago-scaled-300x431.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothIago-scaled-600x863.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothIago-209x300.jpg 209w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothIago-768x1105.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothIago-1068x1536.jpg 1068w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothIago-scaled.jpg 1780w\" sizes=\"(max-width: 712px) 100vw, 712px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_833492-7\" target=\"_blank\" rel=\"noreferrer noopener\">Cabinet Card, Edwin Booth as Iago (no date)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<ul class=\"wp-block-list\">\n<li>There exist a few wax cylinder recordings of Edwin Booth, <a href=\"https:\/\/archive.org\/details\/OthelloByEdwinBooth1890\" data-type=\"URL\" data-id=\"https:\/\/archive.org\/details\/OthelloByEdwinBooth1890\" target=\"_blank\" rel=\"noreferrer noopener\">including this one <\/a><a href=\"https:\/\/archive.org\/details\/OthelloByEdwinBooth1890\" data-type=\"URL\" data-id=\"https:\/\/archive.org\/details\/OthelloByEdwinBooth1890\" target=\"_blank\" rel=\"noreferrer noopener\">of him reciting a speech from <em>Othello<\/em><\/a>. While it is extremely difficult to hear him due to ambient noise, one can follow along using the text of the speech. What do you make of his voice and his style of speaking? Does it sound different than the way in which someone might perform Shakespeare today?<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>How many plays are featured on John Allen Hosmer\u2019s manuscript playbill? Can you figure out what kind of plays he enjoyed? Who do you think the performers were?<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_154591-2\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"861\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-1024x861.jpg\" alt=\"Handwritten playbill advertising Richard III, Macbeth, and Hamlet\" class=\"wp-image-15915\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-1024x861.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-300x252.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-scaled-600x504.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-768x646.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-1536x1291.jpg 1536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_154591-2\" target=\"_blank\" rel=\"noreferrer noopener\">John Allen Hosmer, &#8220;Stat[e] Theatre,&#8221; (1863)<\/a><\/figcaption><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">All the Rage: Shakespeare in Everyday Life<\/h4>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_when_shakespear_comes_to_town_polka\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"742\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-742x1024.jpg\" alt=\"\" class=\"wp-image-15910\" style=\"width:240px;height:331px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-742x1024.jpg 742w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-scaled-300x414.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-scaled-600x828.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-217x300.jpg 217w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-768x1061.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-1112x1536.jpg 1112w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-scaled.jpg 1854w\" sizes=\"(max-width: 742px) 100vw, 742px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_when_shakespear_comes_to_town_polka\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;When Mr Shakespeare Comes to Town&#8221;<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Nineteenth-century Americans did not have to read Shakespeare\u2019s work or see it performed in order to encounter him in their daily lives. Shakespeare was, in fact, just about everywhere in popular culture. Today we might think of Shakespeare and music in relation to serious opera, like Giuseppe Verdi\u2019s <em>Otello<\/em>, first performed in 1887. Musical Shakespeare was not limited to the opera or concert hall, though, but appeared in homes as part of everyday entertainment. The musically inclined could buy collections of Shakespeare songs and ballads, as well as of Shakespeare-themed sheet music for traditional as well as newly-composed songs. Shakespeare even became an integral part of weddings in the nineteenth century. In 1842, Felix Mendelssohn composed his \u201cWedding March\u201d for Shakespeare\u2019s <em>Midsummer Night\u2019s Dream<\/em> and the music is still used today as brides walk down the aisle.<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_955762\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"658\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-658x1024.jpg\" alt=\"\" class=\"wp-image-15900\" style=\"width:272px;height:423px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-658x1024.jpg 658w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-scaled-300x467.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-scaled-600x933.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-193x300.jpg 193w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-768x1194.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-988x1536.jpg 988w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-scaled.jpg 1646w\" sizes=\"(max-width: 658px) 100vw, 658px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_955762\" target=\"_blank\" rel=\"noreferrer noopener\">Advertising Card for Julius Caesar (c1870-1900)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">After the Civil War, the first modern advertising agencies were established in America (along with the modern concept of advertising) and by the late nineteenth century, Shakespeare was popular enough to sell just about anything, from soap, to clothing, to corned beef, to beer, to cars. In 1871, a directory from Providence, Rhode Island, <em>The Shakespearian Advertiser<\/em> (pictured in the <em>Questions<\/em> below), even used Shakespeare to sell business services. The publishers specifically commissioned comic illustrations of Shakespeare quotes to intersperse between advertisements for Rhode Island and Massachusetts businesses, in the hope that they would entice people to look through the entire booklet and pass it along to friends. Shakespeare-related advertising also took the form of trade cards. Often presented as a series of give-aways, with a brightly colored picture on the front and a publicity message on the back, the cards were meant to encourage customers to collect the series. Since these items were meant to be displayed in some fashion \u2013 on a wall or in an album \u2013 the products they advertised were always on view to existing or potential users. Although advertising trade cards had existed since the eighteenth century, in nineteenth-century century America they became radically different. While Shakespeare himself occasionally appeared on cards, in the United States, cards tended to feature specific plays, characters, or quotes. There were also parody cards that altered a quote or scene to make it seem as if Shakespeare himself were endorsing the product. For example, Libby\u2019s canned meats found their way into the <em>Tragedy of Julius Caesar<\/em>, with Brutus being encouraged by Caesar to fatten up his fellow Roman senator Cassius on corned beef. By the late nineteenth century, Shakespeare advertising moved into popular periodicals. In 1893, Ivory Soap ran a contest offering prizes for the twelve best verses suitable for advertisements. Tenth prize went to a poem called \u201cUncle Josh at the Play\u201d (pictured below), in which, during a performance of <em>Macbeth<\/em>, a sensible question is posed to Lady Macbeth, who is trying in vain to wash blood from her hands:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\"><em>Why don\u2019t she wash her hands, b\u2019gosh!<\/em><br><em>With Ivory Soap\u201d? cried Uncle Josh.<\/em><\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_73279\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" width=\"631\" height=\"1024\" src=\"http:\/\/173.230.141.246\/dcc\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-631x1024.jpg\" alt=\"\" class=\"wp-image-15899\" style=\"aspect-ratio:1;width:287px;height:auto\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-631x1024.jpg 631w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-300x486.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-600x973.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-185x300.jpg 185w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-768x1245.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-947x1536.jpg 947w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped.jpg 1012w\" sizes=\"(max-width: 631px) 100vw, 631px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_73279\" target=\"_blank\" rel=\"noreferrer noopener\">Advertisement for Ivory Soap, <em>Ladies Home Journal<\/em> (1893)<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Advertisers continued to use Shakespeare to sell products through the mid-twentieth century; he was particularly favored by pen companies, but was also used to sell maps, alcohol, and even women\u2019s underwear. &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By the beginning of the twentieth century, the creation of English literature as a field of study made Shakespeare a part of the school curriculum with students encouraged to read him in a serious manner with an eye towards literary criticism. New authors like L. Frank Baum, Willa Cather, Upton Sinclair, Eugene O\u2019Neill, and F. Scott Fitzgerald offered readers works that captured their imaginations and surveyed the American experience. While Shakespeare never fell entirely out of fashion, his role in American culture nevertheless shifted.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In his preface to his 1765 edition of the plays of Shakespeare, Samuel Johnson calls Shakespeare \u201cthe poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life.\u201d And indeed, in the nineteenth century, Shakespeare was a mirror of American life. Publishers and theaters used Shakespeare to explore ideas about American ideals as well as problems facing the young nation. His works took on special meaning for a rapidly expanding country that had separated itself from Britain yet still felt culturally linked (or yoked) to it. Shakespeare\u2019s plays speak deeply to the idea of identity and through them Americans confronted changing notions of gender, race, and class. Additionally, technological advances allowed more people than ever before to read and to \u201csee\u201d Shakespeare in new ways. Meanwhile, the emergence of an advertising culture worked to situate Shakespeare in Americans\u2019 everyday life. Was Shakespeare the great author of America, as James Fenimore Cooper claimed? Perhaps not, but investigating Shakespeare of nineteenth-century America reveals much about how Americans saw themselves.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Questions to Consider:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>In looking at <em>The Shakespearian Advertiser<\/em>, why do you think that particular illustration was placed opposite an advertisement for a dentist? How do the illustration and the advertisement speak to each other?<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/dcc-803537\" target=\"_blank\"><strong>Selection: <\/strong><em>The Shakespearian Advertiser<\/em>, ca. 1871<\/a><\/p>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"887\" height=\"1024\" alt=\"Cover of The Shakespearian Advertiser. Title is depicted on a stage curtain.\" class=\"wp-block-jetpack-slideshow_image wp-image-15918\" data-id=\"15918\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Cover-887x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Cover-887x1024.jpg 887w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Cover-scaled-300x346.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Cover-scaled-600x693.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Cover-260x300.jpg 260w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Cover-768x887.jpg 768w\" sizes=\"(max-width: 887px) 100vw, 887px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">The Shakespearian Advertiser (c1871)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"595\" alt=\"Etching of a person sitting up in bed at night, their head wrapped in fabric because they have a toothache. Below the picture is this quote from Midsummer Night's Dream (Act III, Scene II): &quot;O weary night! O long and tedious night! Abate thy hours; shine comfort from the east.&quot; On the opposite page is the address of a denist in Providence, RI, who commissioned the ad.\" class=\"wp-block-jetpack-slideshow_image wp-image-15914\" data-id=\"15914\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-1024x595.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-1024x595.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-300x174.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-scaled-600x349.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-768x446.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-1536x892.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-2048x1190.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">&#8220;Dr. M. S. Eldridge,&#8221; in The Shakespearian Advertiser, (c1871)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Read the advertisement for Ivory Soap in <em>The Ladies\u2019 Home Journal<\/em>. What does this advertisement assume that readers will know about <em>Macbeth<\/em>? What kind of person do you think \u201cUncle Josh\u201d is supposed to represent? Why would Lady Macbeth make such a terrific spokeswoman for Ivory Soap?<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Compare the Ivory Soap ad to the advertising card for Libby\u2019s corned beef. Do you think that canned meat has any connection to <em>Julius Caesar<\/em>? Again, what does this card assume that the reader already knows?<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Are the two pieces of sheet music here comic or serious? What evidence do you find on the covers to support your argument?<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/newberry?and%5B%5D=shakespeare+sheet+music+NOT+hays&amp;sin=\" target=\"_blank\"><strong>Selection:<\/strong> Sheet music, 1870s<\/a><\/p>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"1927\" height=\"2560\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-15892\" data-id=\"15892\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Davis_RomeoJulietMedly-scaled.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Davis_RomeoJulietMedly-scaled.jpg 1927w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Davis_RomeoJulietMedly-scaled-300x399.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Davis_RomeoJulietMedly-scaled-600x797.jpg 600w\" sizes=\"(max-width: 1927px) 100vw, 1927px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Vincent Davis and Edward Page, &#8220;Romeo &amp; Juliet: Serio-Comic Medley&#8221; (1879)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"742\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-15910\" data-id=\"15910\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-742x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-742x1024.jpg 742w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-scaled-300x414.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-scaled-600x828.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-217x300.jpg 217w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-768x1061.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-1112x1536.jpg 1112w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/MrShakespeareComesToTown-1-scaled.jpg 1854w\" sizes=\"(max-width: 742px) 100vw, 742px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">&#8220;When Mr Shakespeare Comes to Town&#8221;<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-getwid-tabs__nav-link\"><span class=\"wp-block-getwid-tabs__title-wrapper\"><a href=\"#\"><span class=\"wp-block-getwid-tabs__title\">Sources<\/span><\/a><\/span><\/div><div class=\"wp-block-getwid-tabs__tab-content-wrapper\"><div class=\"wp-block-getwid-tabs__tab-content\">\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Reading <\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">When nineteenth-century readers <em>did<\/em> read Shakespeare\u2019s plays in their entirety, they weren\u2019t satisfied with just reading the text. Instead, they wanted additional content like illustrations and notes about the plays, as well as illustrations of costumes, music, and more.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_219873\/Bartlett_CompleteConcordance_TitlePage.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"814\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bartlett_CompleteConcordance_TitlePage-814x1024.jpg\" alt=\"Title page from John Bartlett\u2019s A New and Complete Concordance or Verbal Index to Words, Phrases, and Passages in the Dramatic Works of Shakespeare. New York: MacMillan and Co., 1894.\" class=\"wp-image-14161\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bartlett_CompleteConcordance_TitlePage-814x1024.jpg 814w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bartlett_CompleteConcordance_TitlePage-scaled-300x377.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bartlett_CompleteConcordance_TitlePage-scaled-600x754.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bartlett_CompleteConcordance_TitlePage-239x300.jpg 239w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bartlett_CompleteConcordance_TitlePage-768x966.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bartlett_CompleteConcordance_TitlePage-1222x1536.jpg 1222w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bartlett_CompleteConcordance_TitlePage-1629x2048.jpg 1629w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bartlett_CompleteConcordance_TitlePage-scaled.jpg 2036w\" sizes=\"(max-width: 814px) 100vw, 814px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_219873\/Bartlett_CompleteConcordance_TitlePage.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">MacMillan, <em>A New and Complete Concordance<\/em>, (1894)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_115569\/Scott_LessonsInElocution_TitlePage.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"625\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-625x1024.jpg\" alt=\"Title page of William Scott's Lessons in Elocution: Or A Selection of Pieces in Prose and Verse for the Improvement of Youth in Reading and Speaking\" class=\"wp-image-15913\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-625x1024.jpg 625w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-scaled-300x491.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-scaled-600x983.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-183x300.jpg 183w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-768x1258.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-938x1536.jpg 938w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-1250x2048.jpg 1250w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Scott_LessonsInElocution_TitlePage-scaled.jpg 1563w\" sizes=\"(max-width: 625px) 100vw, 625px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_115569\/Scott_LessonsInElocution_TitlePage.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">William Scott, <em>Lessons in Elocution<\/em>, (1803)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_676736\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"632\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-632x1024.jpg\" alt=\"Title page from Thomas and Henrietta Bowdler\u2019s The Family Shakespeare, 3rd edition. London: Longman, Hurst, Rees, Orme, and Brown, 1823.\" class=\"wp-image-14160\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-632x1024.jpg 632w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-scaled-300x486.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-scaled-600x972.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-185x300.jpg 185w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-768x1244.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-948x1536.jpg 948w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-1264x2048.jpg 1264w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Bowdler_TheFamilyShakespeare-scaled.jpg 1580w\" sizes=\"(max-width: 632px) 100vw, 632px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_676736\" target=\"_blank\" rel=\"noreferrer noopener\">Thomas and Henrietta Bowdler, <em>The Family Shakespeare<\/em>, (1823)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_158129\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"779\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-1024x779.jpg\" alt=\"Two-page spread of opening Hamlet chapter. On the right is a page of text, on the left an etching of Hamlet and Horatio talking to the grave digger, who is holding Yorick's skull.\" class=\"wp-image-15901\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-1024x779.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-300x228.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-scaled-600x456.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-768x584.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Lamb_Hamlet-1536x1168.jpg 1536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_158129\" target=\"_blank\" rel=\"noreferrer noopener\">Charles and Mary Lamb, <em>Tales from Shakespeare<\/em> (1807), Vol. 2 p. 17<\/a>7<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Performing <\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">The actors who performed Shakespeare&#8217;s work to new audiences helped to cement Shakespeare\u2019s position in popular culture.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_833492-5\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"695\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/NeilsonJuliet-695x1024.jpg\" alt=\"This cabinet card shows an actress as Juliet from Romeo and Juliet.\" class=\"wp-image-14188\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/NeilsonJuliet-695x1024.jpg 695w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/NeilsonJuliet-scaled-300x442.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/NeilsonJuliet-scaled-600x883.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/NeilsonJuliet-204x300.jpg 204w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/NeilsonJuliet-768x1131.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/NeilsonJuliet-1043x1536.jpg 1043w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/NeilsonJuliet-1391x2048.jpg 1391w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/NeilsonJuliet-scaled.jpg 1739w\" sizes=\"(max-width: 695px) 100vw, 695px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_833492-5\" target=\"_blank\" rel=\"noreferrer noopener\">Miss Neilson as &#8220;Juliet&#8221;, (1879)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_833492-2\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"544\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-544x1024.jpg\" alt=\"Playbill for the Royal Theatre Haymarket's production of Richard III\" class=\"wp-image-15916\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-544x1024.jpg 544w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-scaled-300x564.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-scaled-600x1129.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-160x300.jpg 160w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-768x1445.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-817x1536.jpg 817w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-1089x2048.jpg 1089w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_Haymarket_RichardIII-scaled.jpg 1361w\" sizes=\"(max-width: 544px) 100vw, 544px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_833492-2\" target=\"_blank\" rel=\"noreferrer noopener\">Theatre Royal Haymarket, <em>Richard III<\/em>, (1871)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_833492-3\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"712\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/McVickersTheatre_MuchAdo-712x1024.jpg\" alt=\"Playbill for McVicker\u2019s Theatre\u2019s 1876 production of Much Ado About Nothing.\" class=\"wp-image-14162\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/McVickersTheatre_MuchAdo-712x1024.jpg 712w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/McVickersTheatre_MuchAdo-scaled-300x432.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/McVickersTheatre_MuchAdo-scaled-600x863.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/McVickersTheatre_MuchAdo-209x300.jpg 209w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/McVickersTheatre_MuchAdo-768x1105.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/McVickersTheatre_MuchAdo-1068x1536.jpg 1068w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/McVickersTheatre_MuchAdo-1423x2048.jpg 1423w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/McVickersTheatre_MuchAdo-scaled.jpg 1779w\" sizes=\"(max-width: 712px) 100vw, 712px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_833492-3\" target=\"_blank\" rel=\"noreferrer noopener\">Playbill for McVicker&#8217;s Theatre&#8217;s <em>Much Ado About Nothing<\/em>, (1876)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_154591-2\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"861\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-1024x861.jpg\" alt=\"Handwritten playbill advertising Richard III, Macbeth, and Hamlet\" class=\"wp-image-15915\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-1024x861.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-300x252.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-scaled-600x504.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-768x646.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/StateTheatre_Season1Week1-1536x1291.jpg 1536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_154591-2\" target=\"_blank\" rel=\"noreferrer noopener\">John Allen Hosmer, &#8220;Stat[e] Theatre,&#8221; (1863)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"708\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-1024x708.jpg\" alt=\"Playbill for the Theatre Royal Princess's Theatre's production of Macbeth\" class=\"wp-image-15917\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-1024x708.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-300x207.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-scaled-600x415.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-768x531.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-1536x1062.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/TheatreRoyal_PrincessTheatre_Mabeth-2048x1416.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_833492\" target=\"_blank\" rel=\"noreferrer noopener\">Princess&#8217;s Theatre, <em>Macbeth<\/em>, Aug. 18, (1830)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/collections.newberry.org\/asset-management\/2KXJ8ZSBAJENJ?WS=AssetManagement\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"802\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-1024x802.jpg\" alt=\"Frontispiece and title page of a printed book. The frontispiece shows Aldridge, a Black man, in costume as Othello.\" class=\"wp-image-14189\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-1024x802.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-300x235.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-scaled-600x470.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-768x602.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-1536x1204.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Aldridge_Memoir-2048x1605.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/collections.newberry.org\/asset-management\/2KXJ8ZSBAJENJ?WS=AssetManagement\" target=\"_blank\" rel=\"noreferrer noopener\">Ira Aldridge, <em>Memoir and Theatrical Career of Ira Aldridge, the African Roscius<\/em> (1846)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_hamlet_galop_homage_to_edwin_booth\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"786\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/HamletGallop-786x1024.jpg\" alt=\"Image of Edwin Booth. \" class=\"wp-image-14190\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/HamletGallop-786x1024.jpg 786w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/HamletGallop-scaled-300x391.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/HamletGallop-scaled-600x782.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/HamletGallop-230x300.jpg 230w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/HamletGallop-768x1001.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/HamletGallop-1179x1536.jpg 1179w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/HamletGallop-1572x2048.jpg 1572w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/HamletGallop-scaled.jpg 1965w\" sizes=\"(max-width: 786px) 100vw, 786px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_hamlet_galop_homage_to_edwin_booth\" target=\"_blank\" rel=\"noreferrer noopener\">Da Costa, <em>Hamlet Galop!<\/em>, (1866)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_784097\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"798\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-798x1024.jpg\" alt=\"Image of Edwin Booth dressed as Hamlet standing in a graveyard. \" class=\"wp-image-15982\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-798x1024.jpg 798w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-scaled-300x385.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-scaled-600x770.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-234x300.jpg 234w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-768x986.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-1197x1536.jpg 1197w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_1872-scaled.jpg 1995w\" sizes=\"(max-width: 798px) 100vw, 798px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_784097\" target=\"_blank\" rel=\"noreferrer noopener\">William Winter, <em>Hamlet, Edwin Booth in Twelve Dramatic Characters<\/em>, (1872)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Popularity <\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Nineteenth-century Americans did not have to read Shakespeare\u2019s work or see it performed in order to encounter him in their daily lives. Shakespeare was, in fact, just about everywhere in popular culture.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_955762\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"658\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-658x1024.jpg\" alt=\"Advertisement for Libby's Cooked Corn Beef.\" class=\"wp-image-15900\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-658x1024.jpg 658w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-scaled-300x467.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-scaled-600x933.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-193x300.jpg 193w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-768x1194.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-988x1536.jpg 988w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/JuliusCeasar_AdCard-scaled.jpg 1646w\" sizes=\"(max-width: 658px) 100vw, 658px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_955762\" target=\"_blank\" rel=\"noreferrer noopener\">Libby McNeill, and Libby&#8217;s Cooked Corn Beef, Advertising Card for Julius Caesar (c1870-1900)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_when_shakespear_comes_to_town_polka\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"742\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/MrShakespeareComesToTown-742x1024.jpg\" alt=\"Red, white, and blue advertisement for sheet music. \" class=\"wp-image-14193\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/MrShakespeareComesToTown-742x1024.jpg 742w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/MrShakespeareComesToTown-scaled-300x414.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/MrShakespeareComesToTown-scaled-600x828.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/MrShakespeareComesToTown-217x300.jpg 217w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/MrShakespeareComesToTown-768x1061.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/MrShakespeareComesToTown-1112x1536.jpg 1112w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/MrShakespeareComesToTown-1483x2048.jpg 1483w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/MrShakespeareComesToTown-scaled.jpg 1854w\" sizes=\"(max-width: 742px) 100vw, 742px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_when_shakespear_comes_to_town_polka\" target=\"_blank\" rel=\"noreferrer noopener\">Jean Schwartz and William Jerome, <em>When Mr. Shakespeare Comes to Town<\/em>, (1905)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_romeo_and_juliet_sheet_music\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1927\" height=\"2560\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Davis_RomeoJulietMedly-scaled.jpg\" alt=\"Colorful, illustrated vignettes of different scenes from Romeo and Juliet. \" class=\"wp-image-15892\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Davis_RomeoJulietMedly-scaled.jpg 1927w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Davis_RomeoJulietMedly-scaled-300x399.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Davis_RomeoJulietMedly-scaled-600x797.jpg 600w\" sizes=\"(max-width: 1927px) 100vw, 1927px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/driscoll_series_10_bx_256_romeo_and_juliet_sheet_music\" target=\"_blank\" rel=\"noreferrer noopener\">Vincent Davis and Edward Page, <em>Romeo &amp; Juliet: Serio-Comic Medley<\/em> (1879)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-995f960e wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/collections.newberry.org\/asset-management\/2KXJ8ZSS1BBQQ?WS=AssetManagement\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"631\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-631x1024.jpg\" alt=\"Drawing of white men in the audience of a MacBeth. One man turns around in his seat to talk to another behind him. A short poem below explains that he's suggesting Lady MacBeth use Ivory Soap to get the blood out of her hands.\" class=\"wp-image-15899\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-631x1024.jpg 631w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-300x486.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-600x973.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-185x300.jpg 185w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-768x1245.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped-947x1536.jpg 947w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/IvorySoap_Ad_Croped.jpg 1012w\" sizes=\"(max-width: 631px) 100vw, 631px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/collections.newberry.org\/asset-management\/2KXJ8ZSS1BBQQ?WS=AssetManagement\" target=\"_blank\" rel=\"noreferrer noopener\">Advertisement for Ivory Soap, <em>Ladies Home Journal <\/em>(1893)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/dcc-803537\/ShakespearianAdvertiser_Dentist-1024x595.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"595\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-1024x595.jpg\" alt=\"Etching of a person sitting up in bed at night, their head wrapped in fabric because they have a toothache. Below the picture is this quote from Midsummer Night's Dream (Act III, Scene II): &quot;O weary night! O long and tedious night! Abate thy hours; shine comfort from the east.&quot; On the opposite page is the address of a denist in Providence, RI, who commissioned the ad.\" class=\"wp-image-15914\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-1024x595.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-300x174.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-scaled-600x349.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-768x446.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-1536x892.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/ShakespearianAdvertiser_Dentist-2048x1190.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/dcc-803537\/ShakespearianAdvertiser_Dentist-1024x595.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;Dr. M. S. Eldridge,&#8221; in <em>The Shakespearian Advertiser<\/em>, (c1871)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/dcc-833492-bhnd\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"679\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-679x1024.jpg\" alt=\"Photograph of Edwin Booth dressed as Hamlet sitting in a chair. \" class=\"wp-image-15895\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-679x1024.jpg 679w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-scaled-300x453.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-scaled-600x905.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-199x300.jpg 199w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-768x1158.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-1018x1536.jpg 1018w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/BoothHamlet_NoDate-scaled.jpg 1697w\" sizes=\"(max-width: 679px) 100vw, 679px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/dcc-833492-bhnd\" target=\"_blank\" rel=\"noreferrer noopener\">Cabinet Card, <em>Edwin Booth as Hamlet<\/em> (no date)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-getwid-tabs__nav-link\"><span class=\"wp-block-getwid-tabs__title-wrapper\"><a href=\"#\"><span class=\"wp-block-getwid-tabs__title\">Further Reading<\/span><\/a><\/span><\/div><div class=\"wp-block-getwid-tabs__tab-content-wrapper\"><div class=\"wp-block-getwid-tabs__tab-content\">\n<h4 class=\"wp-block-heading\">Further Reading<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Levine, Laurence. <em>Highbrow\/Lowbrow: The Emergence of Cultural Hierarchy in America <\/em>(Cambridge, MA: Harvard University Press, 1990).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">O&#8217;Barr, William M. &#8220;A Brief History of Advertising in America.&#8221;&nbsp;<em>Advertising &amp; Society Review<\/em>&nbsp;6, no. 3 (2005).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Shapiro, James. <em>Shakespeare in America: An Anthology from the Revolution to Now<\/em> (Library of America #251, 2014)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8212;&#8212;&#8212;. <em>Shakespeare in a Divided America: What His Plays Tell Us About Our Past and Future<\/em> (New York: Penguin Press, 2020)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Taylor, Gary. <em>Reinventing Shakespeare: A Cultural History, from the Restoration to the Present <\/em>(New York: Weidenfeld &amp; Nicolson, 1989)<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":15892,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_hide_featured_image":false,"_jetpack_featured_image_duplicate_dismissed":0,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[83,164],"tags":[168],"class_list":["post-15987","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-19th-century","category-collection-essays","tag-literature"],"acf":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/12\/Davis_RomeoJulietMedly-scaled.jpg","_links":{"self":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts\/15987","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=15987"}],"version-history":[{"count":99,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts\/15987\/revisions"}],"predecessor-version":[{"id":25608,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts\/15987\/revisions\/25608"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/media\/15892"}],"wp:attachment":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15987"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15987"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}