S3E85 Ash is joined again by Shakespearean scholar, Darren Freebury-Jones to discuss a rarely-performed Jacobean play, The Birth of Merlin or The Child Hath Found its Father. Their conversation takes in the play's controversial authorship question, the special effects of early modern theatre and Arthurian drama.
Follow Darren on Twitter here: @Freeburian
And order a copy of his book, Shakespeare's Tutor, here:
https://manchesteruniversitypress.co.uk/9781526164742/
If you enjoy my work and would like to support Ear Read This, you can do so here:
https://ko-fi.com/earreadthis
Title Music: 'Not Drunk' by The Joy Drops. All other music by Epidemic Sound.
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‘Kookaburra’ (1998) by Frieda Hughes
‘Address to Edinburgh’ (1786) by Robert Burns
“Ominous Whoosh”: John Thorne on Twin Peaks
“Plath’s Not a Phase”: Trish Grisafi on Breaking Down Plath
‘Stings’ (1962) by Sylvia Plath
“I Felt Like I Was Cheating on Plath”: Peter K. Steinberg on the Writings of Assia Wevill
‘The Swarm’ (1962) by Sylvia Plath
‘Electra on Azalea Path’ (1959) by Sylvia Plath
“My Mother’s Legacy is Secure”: Kate Levey on Brigid Brophy
The Snow Ball (1964) by Brigid Brophy
“Shakespeare’s Tutor”: Darren Freebury-Jones on The Influence of Thomas Kyd
The Spanish Tragedy (1587) by Thomas Kyd
Now Westlin Winds (1785) by Robert Burns
“A Festival that Focuses on Female Voices”: Sarah Corbett on Directing Plath Fest
‘November Graveyard’ (1956) by Sylvia Plath
“This Tender Substance”: Donnie Secreast on Plath’s Universal Element
‘Hardcastle Crags’ (1958) by Sylvia Plath
”It’s a Rigorous Demand”: Emily Van Duyne on Loving Sylvia Plath
‘The Jailor’ (1962) by Sylvia Plath
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