Mary Cowden Clarke (1809 98) was the daughter of the publisher Vincent Novello. She produced a complete concordance to Shakespeare's works in 1845, and her fascination with the plays led to her publishing in 1850 a series of imaginative accounts of the girlhood of some of his heroines. Her motive was 'to imagine the possible circumstances and influences of scene, event, and associate, surrounding the infant life of his heroines, which might have conduced to originate and foster those germs of character recognised in their maturity as by him developed; to conjecture what might have been the first imperfect dawnings of that which he has shown us in the meridian blaze of perfection'. These 'prequels' offer a back-story which is surprising in its subversive interpretation of the plays and especially of the role of the 'hero'. Volume 1 includes the stories of Portia and Lady Macbeth.

Mary Cowden Clarke (1809 98) was the daughter of the publisher Vincent Novello. She produced a complete concordance to Shakespeare's works in 1845, and her fascination with the plays led to her publishing in 1850 a series of imaginative accounts of the girlhood of some of his heroines. Her motive was 'to imagine the possible circumstances and influences of scene, event, and associate, surrounding the infant life of his heroines, which might have conduced to originate and foster those germs of character recognised in their maturity as by him developed; to conjecture what might have been the first imperfect dawnings of that which he has shown us in the meridian blaze of perfection'. These 'prequels' offer a back-story which is surprising in its subversive interpretation of the plays and especially of the role of the 'hero'. Volume 2 includes the stories of Ophelia and Juliet.

Mary Cowden Clarke (1809 98) was the daughter of the publisher Vincent Novello. She produced a complete concordance to Shakespeare's works in 1845, and her fascination with the plays led to her publishing in 1850 a series of imaginative accounts of the girlhood of some of his heroines. Her motive was 'to imagine the possible circumstances and influences of scene, event, and associate, surrounding the infant life of his heroines, which might have conduced to originate and foster those germs of character recognised in their maturity as by him developed; to conjecture what might have been the first imperfect dawnings of that which he has shown us in the meridian blaze of perfection'. These 'prequels' offer a back-story which is surprising in its subversive interpretation of the plays and especially of the role of the 'hero'. Volume 3 includes the stories of Beatrice and Hero.

Charles Cowden Clarke (1787 1877) and his wife Mary (1809 98) were born into literary and musical circles which deeply shaped their careers and supplied lifelong friendships with great artists and writers. Among Charles's closest school friends was John Keats, and his acquaintances later included William Hazlitt, Leigh Hunt, Coleridge and the Shelleys. Mary's childhood introduction to Charles and Mary Lamb's Tales from Shakespeare led to a lifetime of Shakespearean scholarship, friendship with the Lambs, and her performance in several Shakespearean roles for the amateur company run by Charles Dickens. Wed in 1828, the Cowden Clarkes were, as Mary writes, 'among the happiest of married lovers for more than forty-eight years', publishing jointly and enjoying mutual friendships. Their insightful recollections of their literary friends, first published serially towards the end of Charles's life, were afterwards collected by Mary, together with many important letters, and published in this 1878 work."

Daughter of the music publisher Vincent Novello, Mary Cowden Clarke (1809-98) grew up in London amid her father's literary and artistic circle. Charles and Mary Lamb were family friends, and their Tales from Shakespeare (1807) inspired the young Mary to become a scholar of the Bard. This monumental concordance - which took twelve years to compile and a further four to see through the press - was first published between 1844 and 1845 in eighteen monthly parts, and then in book form in 1845. The preface opens with a statement that reflects Cowden Clarke's great admiration and ambition: 'Shakspere [sic], the most frequently quoted, because the most universal-minded Genius that ever lived, of all Authors best deserves a complete Concordance to his Works.' It was to remain the standard work of its kind for half a century and is still a fascinating and diverting source of information on Shakespeare's extraordinary vocabulary.

This is a translation of the second (1858) edition of Berlioz's landmark treatise by Mary Cowden Clarke, daughter of music publisher Vincent Novello. The book was quick to establish itself as a standard work, reflecting Berlioz's keen understanding of the orchestra as both composer and conductor. It is intended as a textbook on the craft of orchestration and to promote better understanding of the essential character of each instrument. Technical details and sonorities are discussed and illustrated with musical examples from composers Berlioz admired, including Gluck and Beethoven, and from his own compositions. This edition includes a section on new instruments, such as the saxophone and concertina, and on the orchestra, and a discussion on the art of conducting. Today the treatise is an important source of information on musical practices of the time and provides us with valuable insight into Berlioz's imaginative and original thinking as a musician.

Mary Cowden Clarke (1809 1898) was the daughter of the music publisher Vincent Novello. Charles and Mary Lamb were family friends, and under the inspiration of their Tales from Shakespeare, Mary became a noted Shakespeare scholar, her major work being the Concordance to Shakespeare, which took twelve years to compile, and was to remain a standard work for half a century. From 1856 Clarke and her husband Charles lived in Italy, continuing to publish essays and books, including their joint Cassell's Illustrated Shakespeare. This autobiography, published in 1896, contains many anecdotes and memories of the literary and musical circles in which Mary moved throughout her life: the Lambs, John Keats, the Shelleys, Dickens, Leigh Hunt and Mendelssohn all appear. The book is written in a vivid and engaging style, and records a fascinating nineteenth century life. For more information on this author, see http: //orlando.cambridge.org/public/svPeople?person_id=clarmc

GIRLHOOD SHAKESPEARES HEROINES A S OIF TALES MARY COWDEN CLARKE, Of TH OOMCOKAKC TO SHA-KESPEAXtE, TOEK G. P. PUTNAMS SONS IBS FIFTH A, V3SNtJB 1878 UNIFORM WITH THIS VOLUME BY MRS. COWDEN CLARKE. THE SISLHOOD OF SHAKESPEARES HEROINES, CONTAINING THK FOLLOWING TALKS ISABELLA THE VOTARESS. KATHRINA AND BIANCA THE SHREW AND THE DEMURE. OPHELIA THE ROSE OF ELSINORK. ROSALIND AND CELIA THE FRIENDS JULIET THE WHITE DOVE OF VERONA. PREFACE. IF ever Preface were especially needful, it is surely so in tlie preseoj instance, to state an explanatory word concerning the design of the work, and an exculpatory word touching the choice of its subject. The design has been, to trace the probable antecedents in the history of some of Shakespeares women to imagine the possible circumstances and influences of scene, event, and associate, surrounding the infant life of his heroines, which might have conduced to originate and foster those germs of character recognized in their maturity, as by him developed to conjecture what might have been the first imperfect dawnings of that which he has shown us in the meridian blaze of perfection and it was believed that such a design would combine much matter of interesting speculation, afford scope for pleasant fancy, and be productive of enter tainment in the various narratives. Although little or no attempt will be found in these tales to give pictures of the times in which their chief actors may be supposed to have lived, yet it is hoped that no gross violation of probability in period, scene, or custom, has been committed. The development of character, not of history, has been the intention. In the case of the early historic personage who figures in thesebiographic tales Lady Macbeth names and facts have been used but with as little regard to their strict place in history, as was paid by the poet himself, who took the story from, the old chronicles, and modelled it after his own fashion.. If it be borne in mind that all climax in incident, and sentiment was to be carefully avoided throughout these stories, inasmuch as they are PREFACE. merely preliminaries to catastrophes already ordained, the obstacles in the way of giving them startling features of romance will be understood. The aim has been to invent such adventures as might be snppost x d to color the future lives to place the heroines in such situations as should naturally lead up to, and account for, the known conclusion of their sub sequent confirmed character and after-fate in short, to invest each story with consistent and appropriate interest, 1 would also remind my indulgent readers and may mine be such, when they find me venturing to make Shakespeares people act and speak, that here, his women are in their girlhoodf - these are their sallet day, when they are green in judgment, -immature, -but the opening buds of the future u bright consummate flowers which he haa given to us in immortal bloom. My exculpatory word ray word in extenuation is this. I beseech tny readers to believe that love, not presumption, prompted the subject of this series of stories Hot mine the sweetness or t But mine the love that will not tlr And, born of love th vague tolra That spurs an Imitative will, Shakespeare himself is my voucher that ISTcver any thing can b amiss When stmplenees and duty tender it And what poor duty cannot do, Noble respect takes It in might, not merit CONTENTS, PORTIA THEHEIRESS OF BELMONT, ... - f THE THANES DAUGHTER, 91 HELENA THE PHYSICIANS ORPHAN, . 178 rDESDEMONA THE MAG-NIFICOS CHILD, ., 9S ISO AND ALICE THE MERRY MAIDS OF WINDSOR, S83 POET A THE OF BELMONT.