| WordNet: Edward III |
The noun has one meaning:
Meaning #1:
son of Edward II and King of England from 1327-1377; his claim to the French throne provoked the Hundred Years' War; his reign was marked by an epidemic of the Black Plague and by the emergence of the Commons as the powerful arm of Parliament (1312-1377)
| Wikipedia: Edward III (play) |
The Reign of King Edward the Third is an Elizabethan play often attributed to William Shakespeare. It was first printed anonymously in 1596. However, since the eighteenth century, the possibility that all or part of it is the work of Shakespeare has been debated. The play makes many gibes at Scotland and the Scots, a view which has led some critics to believe that it is this work which caused George Nicolson, Queen Elizabeth's agent in Edinburgh, to write in 1598 to William Cecil, Lord Burghley, protesting the way Scots were being portrayed on the London stage.
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The plot of the play consists of two distinct parts. The first is centred on the Countess of Salisbury (the wife of the Earl of Salisbury), who, beset by rampaging Scots, is "rescued" by King Edward III, who then proceeds to woo her himself. In an attempted bluff, the Countess vows to take the life of her husband if Edward will take the life of his wife. However, when she sees that Edward finds the plan morally acceptable, she ultimately threatens to take her own life if he does not stop his pursuit. Finally, Edward expresses great shame, admits his fault and acquiesces. In the second part of the play, in several scenes reminiscent of Henry V, Edward joins his army in France, fighting a war to claim the French throne. The play switches between the French and English camps, where the apparent hopelessness of the English campaign is contrasted with the arrogance of the French. Much of the action is focused on young Edward, the Black Prince, who broods on the morality of war before achieving victory against seemingly insurmountable odds.
Like most of Shakespeare's history plays, the source is Raphael Holinshed's Chronicles, while Jean Froissart's Chronicles is also a major source for this play. A significant portion of the part usually attributed to Shakespeare, the wooing of the Countess of Salisbury, is based on Novel 46, "The Countesse of Salesberrie" by William Painter in Palace of Pleasure. Unlike Painter, who wrote Edward as a bachelor and the Countess as a widow, the author of the play is aware that both are married at the time, and Edward tries to get the countess to make a pact with him in which each kills the other's spouse and tries to make it look like a double suicide. Melchiori (p. 104) points out the similarity of the playwright's language to that of Painter in spite of the plotting differences.
In 1596, Edward III was published anonymously (although this was not uncommon in the 1590s). The principal arguments against Shakespeare's authorship include the facts that John Heminges and Henry Condell did not include the play when they compiled the First Folio of Shakespeare's plays in 1623, nor is it mentioned in Francis Meres' Palladis Tamia (1598), a work that lists many (but not all) of Shakespeare's early plays. Also, some critics view the play as not worthy of Shakespeare's writing ability. Despite this, many critics have seen some passages as having a Shakespearean ring to them. In 1760, noted Shakespearean editor Edward Capell included the play in his Prolusions; or, Select Pieces of Ancient Poetry, Compil'd with great Care from their several Originals, and Offer'd to the Publicke as Specimens of the Integrity that should be Found in the Editions of worthy Authors, and concluded that it had been written by Shakespeare. However, Capell's conclusion was not embraced by scholars.
In recent years, professional Shakespeare scholars have increasingly reviewed the work with a new eye, and have concluded that some passages are as sophisticated as any of Shakespeare's early histories, especially King John and the Henry VI plays. In addition, passages in the play are direct quotes from Shakespeare's sonnets. Stylistic analysis has also produced evidence that at least some scenes were written by Shakespeare[2]. In the Textual Companion to the Oxford Complete Works of Shakespeare, Gary Taylor states that "of all the non-canonical plays, [Edward III] has the strongest claim to inclusion in the Complete Works"[3] (the play was subsequently edited by William Montgomery and included in the second edition of the Oxford Complete Works, 2005). The first major publishing house to produce an edition of the play was Cambridge University Press as part of its New Cambridge Shakespeare series. Since then, an edition of the Riverside Shakespeare has included the play, and plans are afoot for the Arden Shakespeare and Oxford Shakespeare series to publish editions. Giorgio Melchiori, editor of the New Cambridge edition, asserts that the play's disappearance from the canon is likely due to a 1598 protest of the play's portrayal of the Scottish. According to Melchiori, scholars have often assumed that this play, the title of which was not stated in the letter of 15 April 1598 from George Nicolson (Elizabeth I's Edinburgh agent) to Lord Burghley noting the public unrest, was a comedy (one that does not survive), but the play's portrayal of Scots is so virulent that it is likely that the play was, officially or unofficially, banned, and left forgotten by Heminges and Condell. (Melchiori, 12–13)
Some scholars, notably Eric Sams[4], have argued that the play is entirely by Shakespeare, but today, scholarly opinion is divided, with many researchers asserting that the play is an early collaborative work, of which Shakespeare wrote only a few scenes.
In 2009, Brian Vickers published the results of a computer analysis, with a program designed to detect plagiarism, which suggest that 40% of the play was written by Shakespeare with the other scenes written by Thomas Kyd (1558–1594).[5]
According to Melchiori (pgs 46–51), the first contemporary performance of the play was on the 6th of March 1911, when the Elizabethan Stage Society performed Act 2 at the Little Theatre in London. Following this, the BBC broadcast an abridged version of the play in 1963, with complete performances taking place in Los Angeles in 1986 (as part of a season of Shakespeare Apocrypha) and Mold in 1987.
In 1998, Cambridge University Press became the first major publisher to produce an edition of the play under Shakespeare's name, and shortly afterward, the Royal Shakespeare Company performed the play (to mixed reviews). In 2001, the American professional premiere was staged by Pacific Repertory Theatre's Carmel Shakespeare Festival, which received positive reviews for the endeavor.
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