Poetry and romance in Shakespeare's non-historical plays have come into their own again with revivals of The Tempest directed by Margaret Webster and with the production of As You Like It, which features Katherine Hepburn. Unfortunately, the time limit of this paper has been set for the end of 1950, so it is only possible to mentin in passing Laurence Oliver's and Vivian Leigh's exciting and unique idea of presenting Shaw's Caesar and Cleopatra and Shakespeare's Antony and Cleopatra on alternate nights. In spite of early curtains, which make it necessary for the theatre-goer to eat his dinner in a hurry, the two Cleopatras have been playing to packed houses, first in London, then in New York in 1951 and 1952.
From 1750 to 1950, I should like to consider each of the history plays separtely and in detain, to show how and why their stars rose and fell upon the American horison.
","abstract_html":"<p>Poetry and romance in Shakespeare's non-historical plays have come into their own again with revivals of The Tempest directed by Margaret Webster and with the production of As You Like It, which features Katherine Hepburn. Unfortunately, the time limit of this paper has been set for the end of 1950, so it is only possible to mentin in passing Laurence Oliver's and Vivian Leigh's exciting and unique idea of presenting Shaw's Caesar and Cleopatra and Shakespeare's Antony and Cleopatra on alternate nights. In spite of early curtains, which make it necessary for the theatre-goer to eat his dinner in a hurry, the two Cleopatras have been playing to packed houses, first in London, then in New York in 1951 and 1952.</p><p>From 1750 to 1950, I should like to consider each of the history plays separtely and in detain, to show how and why their stars rose and fell upon the American horison.</p>","abstract_has_math":false,"creators":["Warren, Ruth"],"institution":null,"degree_name":"Master of Arts (M.A.)","degree_level":"Thesis","degree_discipline":"English","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":1955,"date_issued":"1955-01-01T08:00:00Z","date_published":"1955-01-01T08:00:00Z","updated_at":"2026-07-24T05:37:06Z","subjects":["Shakespeare","William","1564-1616 Histories;University of the Pacific Dissertations","Arts and Humanities","English Language and Literature"],"languages":[],"rights":[],"rights_urls":["http://rightsstatements.org/vocab/NKC/1.0/"],"identifier_entries":[]},"links":{"outbound_url":"https://scholarlycommons.pacific.edu/uop_etds/1292","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Warren, Ruth"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2018-06-29T09:08:25Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (M.A.)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Shakespeare","William","1564-1616 Histories;University of the Pacific Dissertations","Arts and Humanities","English Language and Literature"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["http://rightsstatements.org/vocab/NKC/1.0/"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarlycommons.pacific.edu/uop_etds/1292"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Poetry and romance in Shakespeare's non-historical plays have come into their own again with revivals of The Tempest directed by Margaret Webster and with the production of As You Like It, which features Katherine Hepburn. Unfortunately, the time limit of this paper has been set for the end of 1950, so it is only possible to mentin in passing Laurence Oliver's and Vivian Leigh's exciting and unique idea of presenting Shaw's Caesar and Cleopatra and Shakespeare's Antony and Cleopatra on alternate nights. In spite of early curtains, which make it necessary for the theatre-goer to eat his dinner in a hurry, the two Cleopatras have been playing to packed houses, first in London, then in New York in 1951 and 1952.
From 1750 to 1950, I should like to consider each of the history plays separtely and in detain, to show how and why their stars rose and fell upon the American horison.
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From 1750 to 1950, I should like to consider each of the history plays separtely and in detain, to show how and why their stars rose and fell upon the American horison.
"],"dc:identifier":["https://scholarlycommons.pacific.edu/uop_etds/1292"],"dc:rights":["http://rightsstatements.org/vocab/NKC/1.0/"],"dc:source":["529"],"dc:subject":["Shakespeare","William","1564-1616 Histories;University of the Pacific Dissertations","Arts and Humanities","English Language and Literature"],"dc:title":["The popularity and influence of Shakespeare's English and Roman historical plays in America from the beginnings to 1950"],"thesis:degree_discipline":["English"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Arts (M.A.)"]},"updated_at":"2026-07-24T05:37:06Z"}