{"id":179207,"date":"2016-02-08T16:14:03","date_gmt":"2016-02-08T21:14:03","guid":{"rendered":"http:\/\/webadmin.news-harvard.go-vip.net\/gazette\/gazette\/?p=179207"},"modified":"2017-12-20T16:18:23","modified_gmt":"2017-12-20T21:18:23","slug":"in-his-own-works","status":"publish","type":"post","link":"https:\/\/news.harvard.edu\/gazette\/story\/2016\/02\/in-his-own-works\/","title":{"rendered":"In his own works"},"content":{"rendered":"\n\t
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\u201cShakespeare: His Collected Works\u201d includes 80 rare objects drawn from Houghton and other libraries. <\/p>

Kris Snibbe\/Harvard Staff Photographer<\/p><\/figcaption><\/figure>\n\n\t

\n\t\t\t\n\t\t\tArts & Culture\t\t<\/a>\n\t\t\n\t\t

\n\t\tIn his own works\t<\/h1>\n\n\t\n\t\t\t<\/div>\n\t\t\n\t
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\n\t\t\t
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\n\t\tLiz Mineo\t<\/p>\n\t\t\t

\n\t\t\tHarvard Staff Writer\t\t<\/p>\n\t\t\t\t\t<\/address>\n\t\t<\/div>\n\n\t\t

\n\t\t\tExhibit marks 400th anniversary of Shakespeare\u2019s death\t\t<\/h2>\n\t\t\n<\/header>\n\n\n\n
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Bound in handsome red leather with gold-trimmed pages, the 1623 First Folio of Shakespeare rests in its own display case at Houghton Library\u2019s Edison and Newman Room, a precious gem in a new exhibit marking the 400th anniversary of the Bard\u2019s death.<\/p>\n

It couldn\u2019t be any other way.<\/p>\n

A copy of the First Folio of \u201cMr. William Shakespeare\u2019s Comedies, Histories, and Tragedies\u201d sold at a Christie\u2019s auction for about $6 million in 2011, but the value of the works inside cannot be measured in money.<\/p>\n

The First Folio contained 36 plays, including 18 that had never been printed before \u2014 \u201cMacbeth,\u201d \u201cThe Tempest,\u201d \u201cJulius Caesar,\u201d and \u201cTwelfth Night,\u201d among them. Edited seven years after his death by his friends and fellow actors John Heminges and Henry Condell, the volume secured Shakespeare\u2019s colossal place in Western literature.<\/p>\n

\u201cWere it not for the First Folio, 18 plays would not have come to us,\u201d said Peter Accardo, programs coordinator at Houghton. \u201cHalf of the Shakespearean canon would be lost.\u201d<\/p>\n

Along with the First Folio \u2014 one of 230 existing copies \u2014 \u201cShakespeare: His Collected Works\u201d includes 80 rare objects drawn from Houghton and other libraries. The exhibit runs though April 23.<\/p>\n

Early Shakespeare publications are also on display. Among them is playwright and poet Nicholas Rowe\u2019s \u201cThe Works of Mr. William Shakespeare\u201d (1709), which modernized punctuation and spelling and divided plays into acts and scenes. This was the first publication of Shakespeare available to Harvard students, listed in the library catalog in 1723.<\/p>\n

Visitors to the exhibit will find a volume from 1609 open to the famous sonnet with the even more famous first line, \u201cShall I compare thee to a summer\u2019s day?\u201d A 1598 edition of one of the early comedies, \u201cLove\u2019s Labour\u2019s Lost\u201d sits next to a 1608 edition of \u201cKing Lear.\u201d Also featured is the Third Folio, published in 1664, which includes the play \u201cPericles,\u201d the authorship of which is considered apocryphal.<\/p>\n\r\n

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Curatorial assistant Dale Stinchcomb is pictured at the exhibit, which runs through April 23. <\/p>

Kris Snibbe\/Harvard Staff Photographer<\/p><\/figcaption><\/figure>\r\n\n

With his insight into the tragedies and absurdities of the human condition, Shakespeare influenced generations of writers. The exhibit highlights his impact through work by e.e. cummings, Emily Dickinson, and Ralph Waldo Emerson, who called Shakespeare \u201cmaster of the revels to mankind.\u201d<\/p>\n

Because Shakespeare cannot be fully understood without performance, the exhibit showcases stagecraft and theatrical memorabilia linked to famous Shakespearean actors, such as a handkerchief used by Uta Hagen in the role of Desdemona in a 1943 Broadway production of \u201cOthello,\u201d and a rapier used by Edwin Booth as Hamlet in a mid-19th-century performance.<\/p>\n

Also shown is a promptbook that belonged to British actor Sir Ian McKellen, who performed the one-man show \u201cActing Shakespeare\u201d in Boston in 1987. He wrote his impressions with a quick sentence: \u201cThe returns were excellent\u201d but \u201cthe theater was dirty.\u201d<\/p>\n

Harvard\u2019s latest celebration of Shakespeare\u2019s legacy includes a role for Stephen Greenblatt<\/a>, the John Cogan University Professor of the Humanities and author of \u201cWill in the World.\u201d Greenblatt will deliver a lecture titled \u201cEditing Shakespeare for the Digital Age\u201d at 5:30 p.m. Tuesday at the Thompson Room, Barker Center.<\/p>\n\n\n<\/div>\n\n\t\t","protected":false},"excerpt":{"rendered":"

A new exhibit at Houghton Library marks the 400th anniversary of Shakespeare\u2019s death. <\/p>\n","protected":false},"author":105622744,"featured_media":179221,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"gz_ga_pageviews":0,"gz_ga_lastupdated":"","document_color_palette":"crimson","author":"Liz Mineo","affiliation":"Harvard Staff Writer","_category_override":"","_yoast_wpseo_primary_category":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1360],"tags":[13354,17232,21886,31082,32233],"gazette-formats":[],"series":[],"class_list":["post-179207","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-humanities","tag-first-folio-of-shakespeare","tag-houghton-library","tag-literature","tag-shakespeare","tag-stephen-greenblatt"],"yoast_head":"\nIn his own works — Harvard Gazette<\/title>\n<meta name=\"description\" content=\"A new exhibit at 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","mediaId":179221,"mediaSize":"full","mediaType":"image","mediaUrl":"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6051.jpg","poster":"","title":"In his own works","subheading":"Exhibit marks 400th anniversary of Shakespeare\u2019s death","centeredImage":true,"className":"is-style-full-width-text-below","mediaHeight":403,"mediaWidth":605,"backgroundFixed":false,"backgroundTone":"light","coloredBackground":false,"displayOverlay":true,"fadeInText":false,"isAmbient":false,"mediaLength":"","mediaPosition":"","posterText":"","titleAbove":false,"useUncroppedImage":false,"lock":[],"metadata":[]},"innerBlocks":[],"innerHTML":"<figure class=\"wp-block-image\"><img alt=\"\" height=\"403\" loading=\"eager\" src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6051.jpg\" width=\"605\"\/><figcaption class=\"wp-element-caption\"><p class=\"wp-element-caption--caption\">\u201cShakespeare: His Collected Works\u201d includes 80 rare objects drawn from Houghton and other libraries. <\/p><p class=\"wp-element-caption--credit\">Kris Snibbe\/Harvard Staff Photographer<\/p><\/figcaption><\/figure>\n","innerContent":["<figure class=\"wp-block-image\"><img alt=\"\" height=\"403\" loading=\"eager\" src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6051.jpg\" width=\"605\"\/><figcaption class=\"wp-element-caption\"><p class=\"wp-element-caption--caption\">\u201cShakespeare: His Collected Works\u201d includes 80 rare objects drawn from Houghton and other libraries. <\/p><p class=\"wp-element-caption--credit\">Kris Snibbe\/Harvard Staff Photographer<\/p><\/figcaption><\/figure>\n"],"rendered":"<header\n\tclass=\"wp-block-harvard-gazette-article-header alignfull article-header is-style-full-width-text-below centered-image\"\n\tstyle=\" \"\n>\n\t<figure class=\"wp-block-image\"><img alt=\"\" height=\"403\" loading=\"eager\" src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6051.jpg\" width=\"605\"\/><figcaption class=\"wp-element-caption\"><p class=\"wp-element-caption--caption\">\u201cShakespeare: His Collected Works\u201d includes 80 rare objects drawn from Houghton and other libraries. <\/p><p class=\"wp-element-caption--credit\">Kris Snibbe\/Harvard Staff Photographer<\/p><\/figcaption><\/figure>\n\n\t<div class=\"article-header__content\">\n\t\t\t<a\n\t\t\tclass=\"article-header__category\"\n\t\t\thref=\"https:\/\/news.harvard.edu\/gazette\/section\/arts-humanities\/\"\n\t\t>\n\t\t\tArts & Culture\t\t<\/a>\n\t\t\n\t\t<h1 class=\"article-header__title wp-block-heading \">\n\t\tIn his own works\t<\/h1>\n\n\t\n\t\t\t<\/div>\n\t\t\n\t<div class=\"article-header__meta\">\n\t\t<div class=\"wp-block-post-author\">\n\t\t\t<address class=\"wp-block-post-author__content\">\n\t\t\t\t\t<p class=\"author wp-block-post-author__name\">\n\t\tLiz Mineo\t<\/p>\n\t\t\t<p class=\"wp-block-post-author__byline\">\n\t\t\tHarvard Staff Writer\t\t<\/p>\n\t\t\t\t\t<\/address>\n\t\t<\/div>\n\n\t\t<time class=\"article-header__date\" datetime=\"2016-02-08\">\n\t\t\tFebruary 8, 2016\t\t<\/time>\n\n\t\t<span class=\"article-header__reading-time\">\n\t\t\t3 min read\t\t<\/span>\n\t<\/div>\n\n\t\n\t\t\t<h2 class=\"article-header__subheading wp-block-heading\">\n\t\t\tExhibit marks 400th anniversary of Shakespeare\u2019s death\t\t<\/h2>\n\t\t\n<\/header>\n"},"2":{"blockName":"core\/group","attrs":{"templateLock":false,"metadata":{"name":"Article content"},"align":"wide","layout":{"type":"constrained","justifyContent":"center"},"tagName":"div","lock":[],"className":"","style":[],"backgroundColor":"","textColor":"","gradient":"","fontSize":"","fontFamily":"","borderColor":"","ariaLabel":"","anchor":""},"innerBlocks":[{"blockName":"core\/freeform","attrs":{"content":"","lock":[],"metadata":[]},"innerBlocks":[],"innerHTML":"\n\t\t<p>Bound in handsome red leather with gold-trimmed pages, the 1623 First Folio of Shakespeare rests in its own display case at Houghton Library\u2019s Edison and Newman Room, a precious gem in a new exhibit marking the 400th anniversary of the Bard\u2019s death.<\/p>\n<p>It couldn\u2019t be any other way.<\/p>\n<p>A copy of the First Folio of \u201cMr. William Shakespeare\u2019s Comedies, Histories, and Tragedies\u201d sold at a Christie\u2019s auction for about $6 million in 2011, but the value of the works inside cannot be measured in money.<\/p>\n<p>The First Folio contained 36 plays, including 18 that had never been printed before \u2014 \u201cMacbeth,\u201d \u201cThe Tempest,\u201d \u201cJulius Caesar,\u201d and \u201cTwelfth Night,\u201d among them. Edited seven years after his death by his friends and fellow actors John Heminges and Henry Condell, the volume secured Shakespeare\u2019s colossal place in Western literature.<\/p>\n<p>\u201cWere it not for the First Folio, 18 plays would not have come to us,\u201d said Peter Accardo, programs coordinator at Houghton. \u201cHalf of the Shakespearean canon would be lost.\u201d<\/p>\n<p>Along with the First Folio \u2014 one of 230 existing copies \u2014 \u201cShakespeare: His Collected Works\u201d includes 80 rare objects drawn from Houghton and other libraries. The exhibit runs though April 23.<\/p>\n<p>Early Shakespeare publications are also on display. Among them is playwright and poet Nicholas Rowe\u2019s \u201cThe Works of Mr. William Shakespeare\u201d (1709), which modernized punctuation and spelling and divided plays into acts and scenes. This was the first publication of Shakespeare available to Harvard students, listed in the library catalog in 1723.<\/p>\n<p>Visitors to the exhibit will find a volume from 1609 open to the famous sonnet with the even more famous first line, \u201cShall I compare thee to a summer\u2019s day?\u201d A 1598 edition of one of the early comedies, \u201cLove\u2019s Labour\u2019s Lost\u201d sits next to a 1608 edition of \u201cKing Lear.\u201d Also featured is the Third Folio, published in 1664, which includes the play \u201cPericles,\u201d the authorship of which is considered apocryphal.<\/p>\n","innerContent":["\n\t\t<p>Bound in handsome red leather with gold-trimmed pages, the 1623 First Folio of Shakespeare rests in its own display case at Houghton Library\u2019s Edison and Newman Room, a precious gem in a new exhibit marking the 400th anniversary of the Bard\u2019s death.<\/p>\n<p>It couldn\u2019t be any other way.<\/p>\n<p>A copy of the First Folio of \u201cMr. William Shakespeare\u2019s Comedies, Histories, and Tragedies\u201d sold at a Christie\u2019s auction for about $6 million in 2011, but the value of the works inside cannot be measured in money.<\/p>\n<p>The First Folio contained 36 plays, including 18 that had never been printed before \u2014 \u201cMacbeth,\u201d \u201cThe Tempest,\u201d \u201cJulius Caesar,\u201d and \u201cTwelfth Night,\u201d among them. Edited seven years after his death by his friends and fellow actors John Heminges and Henry Condell, the volume secured Shakespeare\u2019s colossal place in Western literature.<\/p>\n<p>\u201cWere it not for the First Folio, 18 plays would not have come to us,\u201d said Peter Accardo, programs coordinator at Houghton. \u201cHalf of the Shakespearean canon would be lost.\u201d<\/p>\n<p>Along with the First Folio \u2014 one of 230 existing copies \u2014 \u201cShakespeare: His Collected Works\u201d includes 80 rare objects drawn from Houghton and other libraries. The exhibit runs though April 23.<\/p>\n<p>Early Shakespeare publications are also on display. Among them is playwright and poet Nicholas Rowe\u2019s \u201cThe Works of Mr. William Shakespeare\u201d (1709), which modernized punctuation and spelling and divided plays into acts and scenes. This was the first publication of Shakespeare available to Harvard students, listed in the library catalog in 1723.<\/p>\n<p>Visitors to the exhibit will find a volume from 1609 open to the famous sonnet with the even more famous first line, \u201cShall I compare thee to a summer\u2019s day?\u201d A 1598 edition of one of the early comedies, \u201cLove\u2019s Labour\u2019s Lost\u201d sits next to a 1608 edition of \u201cKing Lear.\u201d Also featured is the Third Folio, published in 1664, which includes the play \u201cPericles,\u201d the authorship of which is considered apocryphal.<\/p>\n"],"rendered":"\n\t\t<p>Bound in handsome red leather with gold-trimmed pages, the 1623 First Folio of Shakespeare rests in its own display case at Houghton Library\u2019s Edison and Newman Room, a precious gem in a new exhibit marking the 400th anniversary of the Bard\u2019s death.<\/p>\n<p>It couldn\u2019t be any other way.<\/p>\n<p>A copy of the First Folio of \u201cMr. William Shakespeare\u2019s Comedies, Histories, and Tragedies\u201d sold at a Christie\u2019s auction for about $6 million in 2011, but the value of the works inside cannot be measured in money.<\/p>\n<p>The First Folio contained 36 plays, including 18 that had never been printed before \u2014 \u201cMacbeth,\u201d \u201cThe Tempest,\u201d \u201cJulius Caesar,\u201d and \u201cTwelfth Night,\u201d among them. Edited seven years after his death by his friends and fellow actors John Heminges and Henry Condell, the volume secured Shakespeare\u2019s colossal place in Western literature.<\/p>\n<p>\u201cWere it not for the First Folio, 18 plays would not have come to us,\u201d said Peter Accardo, programs coordinator at Houghton. \u201cHalf of the Shakespearean canon would be lost.\u201d<\/p>\n<p>Along with the First Folio \u2014 one of 230 existing copies \u2014 \u201cShakespeare: His Collected Works\u201d includes 80 rare objects drawn from Houghton and other libraries. The exhibit runs though April 23.<\/p>\n<p>Early Shakespeare publications are also on display. Among them is playwright and poet Nicholas Rowe\u2019s \u201cThe Works of Mr. William Shakespeare\u201d (1709), which modernized punctuation and spelling and divided plays into acts and scenes. This was the first publication of Shakespeare available to Harvard students, listed in the library catalog in 1723.<\/p>\n<p>Visitors to the exhibit will find a volume from 1609 open to the famous sonnet with the even more famous first line, \u201cShall I compare thee to a summer\u2019s day?\u201d A 1598 edition of one of the early comedies, \u201cLove\u2019s Labour\u2019s Lost\u201d sits next to a 1608 edition of \u201cKing Lear.\u201d Also featured is the Third Folio, published in 1664, which includes the play \u201cPericles,\u201d the authorship of which is considered apocryphal.<\/p>\n"},{"blockName":"core\/group","attrs":{"tagName":"figure","align":"wide","className":"wp-block-table","templateLock":null,"lock":[],"metadata":[],"style":[],"backgroundColor":"","textColor":"","gradient":"","fontSize":"","fontFamily":"","borderColor":"","layout":[],"ariaLabel":"","anchor":""},"innerBlocks":[{"blockName":"core\/columns","attrs":{"verticalAlignment":"center","isStackedOnMobile":true,"templateLock":null,"lock":[],"metadata":[],"align":"","className":"","style":[],"backgroundColor":"","textColor":"","gradient":"","fontSize":"","fontFamily":"","borderColor":"","layout":[],"anchor":""},"innerBlocks":[{"blockName":"core\/column","attrs":{"verticalAlignment":"center","width":"","templateLock":null,"lock":[],"metadata":[],"className":"","style":[],"backgroundColor":"","textColor":"","gradient":"","fontSize":"","fontFamily":"","borderColor":"","layout":[],"anchor":""},"innerBlocks":[{"blockName":"core\/image","attrs":{"sizeSlug":"full","align":"none","id":179223,"blob":"","url":"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6053.jpg","alt":"","caption":null,"lightbox":[],"title":"","href":"","rel":"","linkClass":"","width":"","height":"","aspectRatio":"","scale":"","linkDestination":"","linkTarget":"","lock":[],"metadata":[],"className":"","style":[],"borderColor":"","anchor":""},"innerBlocks":[],"innerHTML":"\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6053.jpg\" alt=\"\" class=\"wp-image-179223\"><\/figure>\n\t","innerContent":["\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6053.jpg\" alt=\"\" class=\"wp-image-179223\"><\/figure>\n\t"],"rendered":"\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6053.jpg\" alt=\"\" class=\"wp-image-179223\"><\/figure>\n\t"}],"innerHTML":"\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center\">\n\t\t\t\t\n\t\r\n\t\t\t<\/div>\n\t\t\t","innerContent":["\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center\">\n\t\t\t\t","\n\t\r\n\t\t\t<\/div>\n\t\t\t"],"rendered":"\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n\t\t\t\t\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6053.jpg\" alt=\"\" class=\"wp-image-179223\"><\/figure>\n\t\n\t\r\n\t\t\t<\/div>\n\t\t\t"},{"blockName":"core\/column","attrs":{"verticalAlignment":"center","width":"","templateLock":null,"lock":[],"metadata":[],"className":"","style":[],"backgroundColor":"","textColor":"","gradient":"","fontSize":"","fontFamily":"","borderColor":"","layout":[],"anchor":""},"innerBlocks":[{"blockName":"core\/image","attrs":{"sizeSlug":"full","align":"none","id":179222,"blob":"","url":"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6052.jpg","alt":"","caption":null,"lightbox":[],"title":"","href":"","rel":"","linkClass":"","width":"","height":"","aspectRatio":"","scale":"","linkDestination":"","linkTarget":"","lock":[],"metadata":[],"className":"","style":[],"borderColor":"","anchor":""},"innerBlocks":[],"innerHTML":"\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6052.jpg\" alt=\"\" class=\"wp-image-179222\"><\/figure>\n\t","innerContent":["\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6052.jpg\" alt=\"\" class=\"wp-image-179222\"><\/figure>\n\t"],"rendered":"\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6052.jpg\" alt=\"\" class=\"wp-image-179222\"><\/figure>\n\t"}],"innerHTML":"\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center\">\n\t\t\t\t\n\t\r\n\t\t\t<\/div>\n\t\t\t","innerContent":["\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center\">\n\t\t\t\t","\n\t\r\n\t\t\t<\/div>\n\t\t\t"],"rendered":"\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow 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src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6053.jpg\" alt=\"\" class=\"wp-image-179223\"><\/figure>\n\t\n\t\r\n\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n\t\t\t\t\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6052.jpg\" alt=\"\" class=\"wp-image-179222\"><\/figure>\n\t\n\t\r\n\t\t\t<\/div>\n\t\t\t\n\t\t<\/div>\n"},{"blockName":"core\/group","attrs":{"tagName":"figcaption","className":"wp-element-caption","templateLock":null,"lock":[],"metadata":[],"align":"","style":[],"backgroundColor":"","textColor":"","gradient":"","fontSize":"","fontFamily":"","borderColor":"","layout":[],"ariaLabel":"","anchor":""},"innerBlocks":[{"blockName":"core\/paragraph","attrs":{"className":"wp-element-caption--caption","align":"","content":"Curatorial assistant Dale Stinchcomb is pictured at the exhibit, which runs through April 23. ","dropCap":false,"placeholder":"","direction":"","lock":[],"metadata":[],"style":[],"backgroundColor":"","textColor":"","gradient":"","fontSize":"","fontFamily":"","borderColor":"","anchor":""},"innerBlocks":[],"innerHTML":"<p class=\"wp-element-caption--caption\">Curatorial assistant Dale Stinchcomb is pictured at the exhibit, which runs through April 23. <\/p>","innerContent":["<p class=\"wp-element-caption--caption\">Curatorial assistant Dale Stinchcomb is pictured at the exhibit, which runs through April 23. <\/p>"],"rendered":"<p class=\"wp-element-caption--caption\">Curatorial assistant Dale Stinchcomb is pictured at the exhibit, which runs through April 23. <\/p>"},{"blockName":"core\/paragraph","attrs":{"className":"wp-element-caption--credit","align":"","content":"Kris Snibbe\/Harvard Staff Photographer","dropCap":false,"placeholder":"","direction":"","lock":[],"metadata":[],"style":[],"backgroundColor":"","textColor":"","gradient":"","fontSize":"","fontFamily":"","borderColor":"","anchor":""},"innerBlocks":[],"innerHTML":"<p class=\"wp-element-caption--credit\">Kris Snibbe\/Harvard Staff Photographer<\/p>","innerContent":["<p class=\"wp-element-caption--credit\">Kris Snibbe\/Harvard Staff Photographer<\/p>"],"rendered":"<p class=\"wp-element-caption--credit\">Kris Snibbe\/Harvard Staff Photographer<\/p>"}],"innerHTML":"<figcaption class=\"wp-block-group wp-element-caption\"><\/figcaption>","innerContent":["<figcaption class=\"wp-block-group wp-element-caption\">","<\/figcaption>"],"rendered":"<figcaption class=\"wp-block-group wp-element-caption is-layout-flow wp-block-group-is-layout-flow\"><p class=\"wp-element-caption--caption\">Curatorial assistant Dale Stinchcomb is pictured at the exhibit, which runs through April 23. <\/p><p class=\"wp-element-caption--credit\">Kris Snibbe\/Harvard Staff Photographer<\/p><\/figcaption>"}],"innerHTML":"<figure class=\"wp-block-group wp-block-table alignwide\">\n<\/figure>","innerContent":["<figure class=\"wp-block-group wp-block-table alignwide\">","\n","<\/figure>"],"rendered":"<figure class=\"wp-block-group wp-block-table alignwide is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns alignwide are-vertically-aligned-center media-cluster is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n\t\t\t\t\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n\t\t\t\t\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6053.jpg\" alt=\"\" class=\"wp-image-179223\"><\/figure>\n\t\n\t\r\n\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n\t\t\t\t\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6052.jpg\" alt=\"\" class=\"wp-image-179222\"><\/figure>\n\t\n\t\r\n\t\t\t<\/div>\n\t\t\t\n\t\t<\/div>\n\n<figcaption class=\"wp-block-group wp-element-caption is-layout-flow wp-block-group-is-layout-flow\"><p class=\"wp-element-caption--caption\">Curatorial assistant Dale Stinchcomb is pictured at the exhibit, which runs through April 23. <\/p><p class=\"wp-element-caption--credit\">Kris Snibbe\/Harvard Staff Photographer<\/p><\/figcaption><\/figure>"},{"blockName":"core\/freeform","attrs":{"content":"","lock":[],"metadata":[]},"innerBlocks":[],"innerHTML":"\n<p>With his insight into the tragedies and absurdities of the human condition, Shakespeare influenced generations of writers. The exhibit highlights his impact through work by e.e. cummings, Emily Dickinson, and Ralph Waldo Emerson, who called Shakespeare \u201cmaster of the revels to mankind.\u201d<\/p>\n<p>Because Shakespeare cannot be fully understood without performance, the exhibit showcases stagecraft and theatrical memorabilia linked to famous Shakespearean actors, such as a handkerchief used by Uta Hagen in the role of Desdemona in a 1943 Broadway production of \u201cOthello,\u201d and a rapier used by Edwin Booth as Hamlet in a mid-19th-century performance.<\/p>\n<p>Also shown is a promptbook that belonged to British actor Sir Ian McKellen, who performed the one-man show \u201cActing Shakespeare\u201d in Boston in 1987. He wrote his impressions with a quick sentence: \u201cThe returns were excellent\u201d but \u201cthe theater was dirty.\u201d<\/p>\n<p>Harvard\u2019s latest celebration of Shakespeare\u2019s legacy includes a role for <a href=\"http:\/\/english.fas.harvard.edu\/faculty\/greenblatt\/\">Stephen Greenblatt<\/a>, the John Cogan University Professor of the Humanities and author of \u201cWill in the World.\u201d Greenblatt will deliver a lecture titled \u201cEditing Shakespeare for the Digital Age\u201d at 5:30 p.m. Tuesday at the Thompson Room, Barker Center.<\/p>\n","innerContent":["\n<p>With his insight into the tragedies and absurdities of the human condition, Shakespeare influenced generations of writers. The exhibit highlights his impact through work by e.e. cummings, Emily Dickinson, and Ralph Waldo Emerson, who called Shakespeare \u201cmaster of the revels to mankind.\u201d<\/p>\n<p>Because Shakespeare cannot be fully understood without performance, the exhibit showcases stagecraft and theatrical memorabilia linked to famous Shakespearean actors, such as a handkerchief used by Uta Hagen in the role of Desdemona in a 1943 Broadway production of \u201cOthello,\u201d and a rapier used by Edwin Booth as Hamlet in a mid-19th-century performance.<\/p>\n<p>Also shown is a promptbook that belonged to British actor Sir Ian McKellen, who performed the one-man show \u201cActing Shakespeare\u201d in Boston in 1987. He wrote his impressions with a quick sentence: \u201cThe returns were excellent\u201d but \u201cthe theater was dirty.\u201d<\/p>\n<p>Harvard\u2019s latest celebration of Shakespeare\u2019s legacy includes a role for <a href=\"http:\/\/english.fas.harvard.edu\/faculty\/greenblatt\/\">Stephen Greenblatt<\/a>, the John Cogan University Professor of the Humanities and author of \u201cWill in the World.\u201d Greenblatt will deliver a lecture titled \u201cEditing Shakespeare for the Digital Age\u201d at 5:30 p.m. Tuesday at the Thompson Room, Barker Center.<\/p>\n"],"rendered":"\n<p>With his insight into the tragedies and absurdities of the human condition, Shakespeare influenced generations of writers. The exhibit highlights his impact through work by e.e. cummings, Emily Dickinson, and Ralph Waldo Emerson, who called Shakespeare \u201cmaster of the revels to mankind.\u201d<\/p>\n<p>Because Shakespeare cannot be fully understood without performance, the exhibit showcases stagecraft and theatrical memorabilia linked to famous Shakespearean actors, such as a handkerchief used by Uta Hagen in the role of Desdemona in a 1943 Broadway production of \u201cOthello,\u201d and a rapier used by Edwin Booth as Hamlet in a mid-19th-century performance.<\/p>\n<p>Also shown is a promptbook that belonged to British actor Sir Ian McKellen, who performed the one-man show \u201cActing Shakespeare\u201d in Boston in 1987. He wrote his impressions with a quick sentence: \u201cThe returns were excellent\u201d but \u201cthe theater was dirty.\u201d<\/p>\n<p>Harvard\u2019s latest celebration of Shakespeare\u2019s legacy includes a role for <a href=\"http:\/\/english.fas.harvard.edu\/faculty\/greenblatt\/\">Stephen Greenblatt<\/a>, the John Cogan University Professor of the Humanities and author of \u201cWill in the World.\u201d Greenblatt will deliver a lecture titled \u201cEditing Shakespeare for the Digital Age\u201d at 5:30 p.m. Tuesday at the Thompson Room, Barker Center.<\/p>\n"}],"innerHTML":"\n<div class=\"wp-block-group alignwide\">\n\n\r\n\r\n\n\n<\/div>\n","innerContent":["\n<div class=\"wp-block-group alignwide\">\n\n","\r\n","\r\n","\n\n<\/div>\n"],"rendered":"\n<div class=\"wp-block-group alignwide has-global-padding is-content-justification-center is-layout-constrained wp-block-group-is-layout-constrained\">\n\n\n\t\t<p>Bound in handsome red leather with gold-trimmed pages, the 1623 First Folio of Shakespeare rests in its own display case at Houghton Library\u2019s Edison and Newman Room, a precious gem in a new exhibit marking the 400th anniversary of the Bard\u2019s death.<\/p>\n<p>It couldn\u2019t be any other way.<\/p>\n<p>A copy of the First Folio of \u201cMr. William Shakespeare\u2019s Comedies, Histories, and Tragedies\u201d sold at a Christie\u2019s auction for about $6 million in 2011, but the value of the works inside cannot be measured in money.<\/p>\n<p>The First Folio contained 36 plays, including 18 that had never been printed before \u2014 \u201cMacbeth,\u201d \u201cThe Tempest,\u201d \u201cJulius Caesar,\u201d and \u201cTwelfth Night,\u201d among them. Edited seven years after his death by his friends and fellow actors John Heminges and Henry Condell, the volume secured Shakespeare\u2019s colossal place in Western literature.<\/p>\n<p>\u201cWere it not for the First Folio, 18 plays would not have come to us,\u201d said Peter Accardo, programs coordinator at Houghton. \u201cHalf of the Shakespearean canon would be lost.\u201d<\/p>\n<p>Along with the First Folio \u2014 one of 230 existing copies \u2014 \u201cShakespeare: His Collected Works\u201d includes 80 rare objects drawn from Houghton and other libraries. The exhibit runs though April 23.<\/p>\n<p>Early Shakespeare publications are also on display. Among them is playwright and poet Nicholas Rowe\u2019s \u201cThe Works of Mr. William Shakespeare\u201d (1709), which modernized punctuation and spelling and divided plays into acts and scenes. This was the first publication of Shakespeare available to Harvard students, listed in the library catalog in 1723.<\/p>\n<p>Visitors to the exhibit will find a volume from 1609 open to the famous sonnet with the even more famous first line, \u201cShall I compare thee to a summer\u2019s day?\u201d A 1598 edition of one of the early comedies, \u201cLove\u2019s Labour\u2019s Lost\u201d sits next to a 1608 edition of \u201cKing Lear.\u201d Also featured is the Third Folio, published in 1664, which includes the play \u201cPericles,\u201d the authorship of which is considered apocryphal.<\/p>\n\r\n<figure class=\"wp-block-group wp-block-table alignwide is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns alignwide are-vertically-aligned-center media-cluster is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n\t\t\t\t\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n\t\t\t\t\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6053.jpg\" alt=\"\" class=\"wp-image-179223\"><\/figure>\n\t\n\t\r\n\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t\n\t\t\t<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n\t\t\t\t\n\n\t<figure class=\"wp-block-image alignnone size-full is-resized\"><img src=\"https:\/\/news.harvard.edu\/gazette\/wp-content\/uploads\/2016\/02\/020416_houghton_6052.jpg\" alt=\"\" class=\"wp-image-179222\"><\/figure>\n\t\n\t\r\n\t\t\t<\/div>\n\t\t\t\n\t\t<\/div>\n\n<figcaption class=\"wp-block-group wp-element-caption is-layout-flow wp-block-group-is-layout-flow\"><p class=\"wp-element-caption--caption\">Curatorial assistant Dale Stinchcomb is pictured at the exhibit, which runs through April 23. <\/p><p class=\"wp-element-caption--credit\">Kris Snibbe\/Harvard Staff Photographer<\/p><\/figcaption><\/figure>\r\n\n<p>With his insight into the tragedies and absurdities of the human condition, Shakespeare influenced generations of writers. The exhibit highlights his impact through work by e.e. cummings, Emily Dickinson, and Ralph Waldo Emerson, who called Shakespeare \u201cmaster of the revels to mankind.\u201d<\/p>\n<p>Because Shakespeare cannot be fully understood without performance, the exhibit showcases stagecraft and theatrical memorabilia linked to famous Shakespearean actors, such as a handkerchief used by Uta Hagen in the role of Desdemona in a 1943 Broadway production of \u201cOthello,\u201d and a rapier used by Edwin Booth as Hamlet in a mid-19th-century performance.<\/p>\n<p>Also shown is a promptbook that belonged to British actor Sir Ian McKellen, who performed the one-man show \u201cActing Shakespeare\u201d in Boston in 1987. He wrote his impressions with a quick sentence: \u201cThe returns were excellent\u201d but \u201cthe theater was dirty.\u201d<\/p>\n<p>Harvard\u2019s latest celebration of Shakespeare\u2019s legacy includes a role for <a href=\"http:\/\/english.fas.harvard.edu\/faculty\/greenblatt\/\">Stephen Greenblatt<\/a>, the John Cogan University Professor of the Humanities and author of \u201cWill in the World.\u201d Greenblatt will deliver a lecture titled \u201cEditing Shakespeare for the Digital Age\u201d at 5:30 p.m. Tuesday at the Thompson Room, Barker Center.<\/p>\n\n\n<\/div>\n"}},"jetpack-related-posts":[{"id":182206,"url":"https:\/\/news.harvard.edu\/gazette\/story\/2016\/04\/role-for-activism-in-shakespeare\/","url_meta":{"origin":179207,"position":0},"title":"Speaking up through Shakespeare","author":"harvardgazette","date":"April 21, 2016","format":false,"excerpt":"An exhibit at Houghton Library marking the 400th anniversary of Shakespeare's death includes artifacts that recognize the acting and activism of black Shakespearean actors.","rel":"","context":"In "Arts & Culture"","block_context":{"text":"Arts & Culture","link":"https:\/\/news.harvard.edu\/gazette\/section\/arts-humanities\/"},"img":{"alt_text":"","src":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2016\/04\/black_shake_ira-aldridge1_1.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2016\/04\/black_shake_ira-aldridge1_1.jpg?resize=350%2C200 1x, https:\/\/news.harvard.edu\/wp-content\/uploads\/2016\/04\/black_shake_ira-aldridge1_1.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":147799,"url":"https:\/\/news.harvard.edu\/gazette\/story\/2013\/10\/the-things-they-carried\/","url_meta":{"origin":179207,"position":1},"title":"The things they carried","author":"harvardgazette","date":"October 9, 2013","format":false,"excerpt":"We get close to long-dead great writers by reading the works they left behind. But there is another way, which can be just as electric and emotional: to see or touch or just be near artifacts from their writing lives.","rel":"","context":"In "Arts & Culture"","block_context":{"text":"Arts & Culture","link":"https:\/\/news.harvard.edu\/gazette\/section\/arts-humanities\/"},"img":{"alt_text":"","src":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2013\/10\/curio_15_605.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2013\/10\/curio_15_605.jpg?resize=350%2C200 1x, https:\/\/news.harvard.edu\/wp-content\/uploads\/2013\/10\/curio_15_605.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":169949,"url":"https:\/\/news.harvard.edu\/gazette\/story\/2015\/05\/down-the-rabbit-hole-at-houghton\/","url_meta":{"origin":179207,"position":2},"title":"Down the rabbit hole at Houghton","author":"harvardgazette","date":"May 15, 2015","format":false,"excerpt":"\u201cSuch A Curious Dream! Alice\u2019s Adventures in Wonderland\u201d is on view from May 20 through Sept. 5 at Houghton Library.","rel":"","context":"In "Arts & Culture"","block_context":{"text":"Arts & Culture","link":"https:\/\/news.harvard.edu\/gazette\/section\/arts-humanities\/"},"img":{"alt_text":"","src":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2015\/05\/carroll_6051.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2015\/05\/carroll_6051.jpg?resize=350%2C200 1x, https:\/\/news.harvard.edu\/wp-content\/uploads\/2015\/05\/carroll_6051.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":159850,"url":"https:\/\/news.harvard.edu\/gazette\/story\/2014\/09\/the-early-audubon\/","url_meta":{"origin":179207,"position":3},"title":"The early Audubon","author":"harvardgazette","date":"September 5, 2014","format":false,"excerpt":"A collection of the early drawings of the naturalist John James Audubon show his growth into an expert ornithologist and artist. The 114 drawings, created between 1805 and 1821, constitute one of only two such extensive collections of his early work.","rel":"","context":"In "Arts & Culture"","block_context":{"text":"Arts & Culture","link":"https:\/\/news.harvard.edu\/gazette\/section\/arts-humanities\/"},"img":{"alt_text":"","src":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2014\/08\/aubudon_buffon_605_1.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2014\/08\/aubudon_buffon_605_1.jpg?resize=350%2C200 1x, https:\/\/news.harvard.edu\/wp-content\/uploads\/2014\/08\/aubudon_buffon_605_1.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":102226,"url":"https:\/\/news.harvard.edu\/gazette\/story\/2012\/02\/rousseau-occupies-houghton\/","url_meta":{"origin":179207,"position":4},"title":"Rousseau occupies Houghton","author":"harvardgazette","date":"February 23, 2012","format":false,"excerpt":"On the tricentennial celebration of Jean-Jacques Rousseau\u2019s birth, the author and philosopher is being honored with an exhibition of his works at the Houghton Library. \u201cRousseau and Human Rights\u201d continues through March 23.","rel":"","context":"In "Arts & Culture"","block_context":{"text":"Arts & Culture","link":"https:\/\/news.harvard.edu\/gazette\/section\/arts-humanities\/"},"img":{"alt_text":"","src":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2012\/02\/020912_rousseauseminar_013_605.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2012\/02\/020912_rousseauseminar_013_605.jpg?resize=350%2C200 1x, https:\/\/news.harvard.edu\/wp-content\/uploads\/2012\/02\/020912_rousseauseminar_013_605.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":184757,"url":"https:\/\/news.harvard.edu\/gazette\/story\/2016\/06\/babar-comes-to-harvard\/","url_meta":{"origin":179207,"position":5},"title":"Babar comes to Harvard","author":"harvardgazette","date":"June 10, 2016","format":false,"excerpt":"\u201cBabar Comes to Houghton\u201d in an exhibition to celebrate a donation from author Laurent de Brunhoff and his wife, Radcliffe alumna Phyllis Rose.","rel":"","context":"In "Arts & Culture"","block_context":{"text":"Arts & Culture","link":"https:\/\/news.harvard.edu\/gazette\/section\/arts-humanities\/"},"img":{"alt_text":"","src":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2016\/06\/060816_babar_0526_356979-605.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/news.harvard.edu\/wp-content\/uploads\/2016\/06\/060816_babar_0526_356979-605.jpg?resize=350%2C200 1x, https:\/\/news.harvard.edu\/wp-content\/uploads\/2016\/06\/060816_babar_0526_356979-605.jpg?resize=525%2C300 1.5x"},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/posts\/179207","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/users\/105622744"}],"replies":[{"embeddable":true,"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/comments?post=179207"}],"version-history":[{"count":2,"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/posts\/179207\/revisions"}],"predecessor-version":[{"id":235385,"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/posts\/179207\/revisions\/235385"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/media\/179221"}],"wp:attachment":[{"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/media?parent=179207"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/categories?post=179207"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/tags?post=179207"},{"taxonomy":"format","embeddable":true,"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/gazette-formats?post=179207"},{"taxonomy":"series","embeddable":true,"href":"https:\/\/news.harvard.edu\/gazette\/wp-json\/wp\/v2\/series?post=179207"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}