King Cophetua

The narrator of King Cophetua, a former soldier, recalls the events surrounding his arrival at the home of his friend Jacques Nueil, a dandy, an aviator, and an avant-garde composer. It is All Saints' Day, 1917. The Great War is leading up to images of the Russian Revolution, and from Nueil's villa the narrator hears the sounds of bombs dropping in the distance. King Cophetua is inspired by vivid memory and by two images, Goya's engraving entitled La Mala Noche and Burne-Jones's painting King Cophetua and the Beggar Girl.

As early modernists with an interest in the literary culture of Shakespeare’s time, we work in a field that contains many significant losses: of texts, of contextual information, of other forms of cultural activity. No account of early modern literary culture is complete without acknowledgment of these lacunae, and although lost drama has become a topic of increasing interest in Shakespeare studies, it is important to recognize that loss is not restricted to play-texts alone. Loss and the Literary Culture of Shakespeare’s Time broadens the scope of the scholarly conversation about loss beyond drama and beyond London. It aims to develop further models and techniques for thinking about lost plays, but also of other kinds of lost early modern works, and even lost persons associated with literary and theatrical circles. Chapters examine textual corruption, oral preservation, quantitative analysis, translation, and experiments in “verbatim theater”, plus much more.

Presents the development and the aesthetic theories of the symbolist movement in art and literature

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