By Arthur F. Kinney
This expansive, inter-disciplinary consultant to Renaissance performs and the realm they performed to supplies readers a colourful assessment of England's nice dramatic age.
- Provides an expansive and inter-disciplinary method of Renaissance performs and the realm they performed to.
- Offers a colorful and entire assessment of the fabric stipulations of England's most vital dramatic interval.
- Gives readers proof and information besides up to date interpretation of the performs.
- Looks on the drama by way of its cultural employer, its collaborative nature, and its ideological complexity.
Chapter 1 The Politics of Renaissance England (pages 11–24): Norman Jones
Chapter 2 Political suggestion and the Theater, 1580–1630 (pages 25–39): Annabel Patterson
Chapter three non secular Persuasions, c.1580–c.1620 (pages 40–49): Lori Anne Ferrell
Chapter four Social Discourse and the altering economic climate (pages 50–67): Lee Beier
Chapter five London and Westminster (pages 68–82): Ian W. Archer
Chapter 6 Vagrancy (pages 83–92): William C. Carroll
Chapter 7 kin and loved ones (pages 93–108): Martin Ingram
Chapter eight commute and exchange (pages 109–120): William H. Sherman
Chapter nine daily customized and pop culture (pages 121–134): Michael Bristol
Chapter 10 Magic and Witchcraft (pages 135–144): Deborah Willis
Chapter eleven Playhouses (pages 145–161): Herbert Berry
Chapter 12 The Transmission of an English Renaissance Play?Text (pages 163–179): Grace Ioppolo
Chapter thirteen taking part in businesses and Repertory (pages 180–192): Roslyn L. Knutson
Chapter 14 needs to the satan Appear?: Audiences, Actors, level enterprise (pages 193–211): S. P. Cerasano
Chapter 15 “The Actors are Come Hither”: touring businesses (pages 212–222): Peter H. Greenfield
Chapter sixteen Jurisdiction of Theater and Censorship (pages 223–236): Richard Dutton
Chapter 17 Medieval and Reformation Roots (pages 237–256): Raphael Falco
Chapter 18 the tutorial Drama (pages 257–265): Robert S. Knapp
Chapter 19 “What Revels are in Hand?”: Performances within the nice families (pages 266–280): Suzanne Westfall
Chapter 20 Progresses and courtroom Entertainments (pages 281–293): R. Malcolm Smuts
Chapter 21 Civic Drama (pages 294–313): Lawrence Manley
Chapter 22 Boy businesses and personal Theaters (pages 314–325): Michael Shapiro
Chapter 23 Revenge Tragedy (pages 326–335): Eugene D. Hill
Chapter 24 Staging the Malcontent in Early sleek England (pages 336–352): Mark Thornton Burnett
Chapter 25 urban Comedy (pages 353–366): John A. Twyning
Chapter 26 household Tragedy: inner most existence at the Public level (pages 367–383): Lena Cowen Orlin
Chapter 27 Romance and Tragicomedy (pages 384–398): Maurice Hunt
Chapter 28 Gendering the level (pages 399–415): Alison Findlay
Chapter 29 Closet Drama (pages 416–430): Marta Straznicky
Chapter 30 Continental affects (pages 432–445): Lawrence F. Rhu
Chapter 31 Christopher Marlowe (pages 446–463): Emily C. Bartels
Chapter 32 Ben Jonson (pages 464–481): W. David Kay
Chapter 33 Sidney, Cary, Wroth (pages 482–506): Margaret Ferguson
Chapter 34 Thomas Middleton (pages 507–523): John Jowett
Chapter 35 Beaumont and Fletcher (pages 524–539): Lee Bliss
Chapter 36 Collaboration (pages 540–552): Philip C. McGuire
Chapter 37 John Webster (pages 553–566): Elli Abraham Shellist
Chapter 38 John Ford (pages 567–583): Mario Digangi
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Extra resources for A Companion to Renaissance Drama
In December of 1585 a Catholic exile named Gilbert Gifford was arrested at Dover. Gifford was carrying letters of introduction to Mary, for he was part of a network raising support for her. Sent to London for examination, Gifford changed sides. Thenceforth Mary’s letters, smuggled out in beer barrels, were being read in London. They proved that she was urging a group of conspirators, associated with Anthony Babington, to invade England and murder Elizabeth. With this proof in hand, Elizabeth reluctantly agreed to act against Mary.
From 1569 until 1573, and then again from 1579 until 1583, Munster was in rebellion, led by James Fitzmaurice Fitzgerald, the earl of Desmond, aided by Spanish and Italian troops. The Desmond revolts were crushed, and in 1583, Desmond’s estates began to be opened for the “plantation” of colonists. With Munster under control, the English turned their attention to mountainous Ulster, dominated by Hugh O’Neill, earl of Tyrone. As English pressure on Ulster increased, O’Neill reacted. By 1594 he was leading a full-scale revolt known as the Nine Years’ War.
It was happy to pass two subsidies, apparently in the belief that the nation was preparing for war in defense of Protestantism. The quid pro quo was to allow Parliament its head over the hated monopolies and abuses. One result of this attack on governmental corruption was that the lord chancellor, Francis Bacon, was impeached for taking bribes in court cases. The Politics of Renaissance England 23 The second session of the Parliament of 1621 ended in disaster for the king. Brimming with war fever, the Commons petitioned that if the Spanish did not withdraw their troops from Bohemia, war would be declared against Spain.