Abstract:The letters of Anthony Mingay indicate that in early 1635 Sir John Suckling was satirically personated in an unnamed play. This article considers Richard Brome's The Sparagus Garden and James Shirley's The Lady of Pleasure as possible candidates to be this play. It concludes, however, that the cowardly braggart soldier Sucket in Henry Glapthorne's The Lady Mother is the most likely personation of Suckling, as the humiliating beating of that character most closely aligns with the attack on Suckling by Sir John Digby as described in Mingay's letters.
{"title":"The Personation of John Suckling, 1635","authors":"J. Doelman","doi":"10.12745/ET.23.2.4131","DOIUrl":"https://doi.org/10.12745/ET.23.2.4131","url":null,"abstract":"Abstract:The letters of Anthony Mingay indicate that in early 1635 Sir John Suckling was satirically personated in an unnamed play. This article considers Richard Brome's The Sparagus Garden and James Shirley's The Lady of Pleasure as possible candidates to be this play. It concludes, however, that the cowardly braggart soldier Sucket in Henry Glapthorne's The Lady Mother is the most likely personation of Suckling, as the humiliating beating of that character most closely aligns with the attack on Suckling by Sir John Digby as described in Mingay's letters.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122927242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay examines the performative aspect of observances and festivities associated with Rogationtide, or 'perambulation day', in early modern England. After considering pre- and post-Reformation Rogationtide traditions, it identifies how these occasions were an opportunity for communities and parishes to reflect upon and consolidate local boundaries and identities. It also explores how documentary evidence for perambulations broadens critical understandings of the mimetic, musical, and festive activities recorded in the Records of Early English Drama (REED) project, posing methodological questions about using performance as well as mimesis as a characteristic determining a record's inclusion in a REED collection.
{"title":"Perambulation and Performance in Early Modern Festive Culture","authors":"M. Woodcock","doi":"10.12745/ET.23.2.4384","DOIUrl":"https://doi.org/10.12745/ET.23.2.4384","url":null,"abstract":"Abstract:This essay examines the performative aspect of observances and festivities associated with Rogationtide, or 'perambulation day', in early modern England. After considering pre- and post-Reformation Rogationtide traditions, it identifies how these occasions were an opportunity for communities and parishes to reflect upon and consolidate local boundaries and identities. It also explores how documentary evidence for perambulations broadens critical understandings of the mimetic, musical, and festive activities recorded in the Records of Early English Drama (REED) project, posing methodological questions about using performance as well as mimesis as a characteristic determining a record's inclusion in a REED collection.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133547574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay argues that The Merchant of Venice was highly influential on John Marston’s The Dutch Courtesan, guiding the changes Marston made to his source text. Marston extends Merchant’s critiques of nascent capitalism and is especially critical of the commodifying male sexuality embodied by Freevill and influenced by the characterizations of Portia and Bassanio. Recognizing Courtesan’s debts to Merchant also enables a better understanding of how Marston’s move to the Children of the Queen’s Revels affected his dramaturgy. By showing how Freevill self-consciously and inauthentically performs the role of a romance hero, Marston participates in the company’s characteristic ironizing of romance.
{"title":"How Marston Read His Merchant: Ruled Women and Structures of Circulation in The Dutch Courtesan","authors":"Meghan C. Andrews","doi":"10.12745/et.23.1.4174","DOIUrl":"https://doi.org/10.12745/et.23.1.4174","url":null,"abstract":"Abstract:This essay argues that The Merchant of Venice was highly influential on John Marston’s The Dutch Courtesan, guiding the changes Marston made to his source text. Marston extends Merchant’s critiques of nascent capitalism and is especially critical of the commodifying male sexuality embodied by Freevill and influenced by the characterizations of Portia and Bassanio. Recognizing Courtesan’s debts to Merchant also enables a better understanding of how Marston’s move to the Children of the Queen’s Revels affected his dramaturgy. By showing how Freevill self-consciously and inauthentically performs the role of a romance hero, Marston participates in the company’s characteristic ironizing of romance.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115623309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This paper situates the play in the context of the ongoing Complete Works of John Marston, under preparation for Oxford University Press, the first such collected critical edition ever to have been created. It discusses the edition’s aims and working practices as well as the new picture of Marston we expect to emerge from it. Scholars now often encounter The Dutch Courtesan in isolation, as Marston’s single best-known and most-read play. This paper approaches the play in the context of Marston’s career and publication history as a whole, in addition to the textual and theatrical relationships which work on the edition is gradually coming to disclose.
{"title":"The Oxford Marston and The Dutch Courtesan","authors":"M. Butler","doi":"10.12745/et.23.1.4172","DOIUrl":"https://doi.org/10.12745/et.23.1.4172","url":null,"abstract":"Abstract:This paper situates the play in the context of the ongoing Complete Works of John Marston, under preparation for Oxford University Press, the first such collected critical edition ever to have been created. It discusses the edition’s aims and working practices as well as the new picture of Marston we expect to emerge from it. Scholars now often encounter The Dutch Courtesan in isolation, as Marston’s single best-known and most-read play. This paper approaches the play in the context of Marston’s career and publication history as a whole, in addition to the textual and theatrical relationships which work on the edition is gradually coming to disclose.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115580628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay stages a dialogue between The Dutch Courtesan and the comparatively neglected The Family of Love by Lording Barry, discussing the differing ways Marston and Barry deploy the Familist fellowship that had recently come under fire from England’s reigning monarch. I juxtapose the dramatists’ representation of sensuality and spirituality across a broad range of characters. By attending to their shared preoccupation with the humoural, excretory body, the essay shows how these comedies leave us with divergent social visions.
{"title":"Sensuality, Spirit, and Society in The Dutch Courtesan and Lording Barry’s The Family of Love (1608)","authors":"Sophie Tomlinson","doi":"10.12745/et.23.1.4164","DOIUrl":"https://doi.org/10.12745/et.23.1.4164","url":null,"abstract":"Abstract:This essay stages a dialogue between The Dutch Courtesan and the comparatively neglected The Family of Love by Lording Barry, discussing the differing ways Marston and Barry deploy the Familist fellowship that had recently come under fire from England’s reigning monarch. I juxtapose the dramatists’ representation of sensuality and spirituality across a broad range of characters. By attending to their shared preoccupation with the humoural, excretory body, the essay shows how these comedies leave us with divergent social visions.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122592034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The Dutch Courtesan has traditionally been the subject of critical interpretations which offer simplified accounts of both its overall design and its scene-by-scene complexities. This article charts some of the recurrent problems that have, in particular, affected scholarly accounts of the Freevill/Malheureux/Franceschina plot, which became apparent as the author worked on the play in production. The aim is to map more clearly some of the key givens of the script, but not to dictate performance outcomes, since the play is sufficiently rich to invite and to accommodate contrasting realizations on stage.
{"title":"The Dutch Courtesan and ‘The Soul of Lively Action’","authors":"M. Cordner","doi":"10.12745/et.23.1.4178","DOIUrl":"https://doi.org/10.12745/et.23.1.4178","url":null,"abstract":"Abstract:The Dutch Courtesan has traditionally been the subject of critical interpretations which offer simplified accounts of both its overall design and its scene-by-scene complexities. This article charts some of the recurrent problems that have, in particular, affected scholarly accounts of the Freevill/Malheureux/Franceschina plot, which became apparent as the author worked on the play in production. The aim is to map more clearly some of the key givens of the script, but not to dictate performance outcomes, since the play is sufficiently rich to invite and to accommodate contrasting realizations on stage.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130198883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:John Marston’s play, The Dutch Courtesan, presents characters with remarkably polyglot names for action set in England. My essay examines this naming practice, attending in particular to the Italian name and background of the ‘Dutch’ courtesan, Franceschina, familiar to theatre-goers as a traditional character in commedia dell’arte troupes and scenarios. Overall, the essay argues that Marston’s deployment of foreign and polyglot names plays out and extends the ambivalences criticism has identified in the play, and in the genre of city comedy, towards hybridizations springing up in England in response to contemporary mercantile and cross-cultural relations.
{"title":"‘La bella Franceschina’ and Other Foreign Names in Marston’s The Dutch Courtesan","authors":"T. Bishop","doi":"10.12745/et.23.1.4171","DOIUrl":"https://doi.org/10.12745/et.23.1.4171","url":null,"abstract":"Abstract:John Marston’s play, The Dutch Courtesan, presents characters with remarkably polyglot names for action set in England. My essay examines this naming practice, attending in particular to the Italian name and background of the ‘Dutch’ courtesan, Franceschina, familiar to theatre-goers as a traditional character in commedia dell’arte troupes and scenarios. Overall, the essay argues that Marston’s deployment of foreign and polyglot names plays out and extends the ambivalences criticism has identified in the play, and in the genre of city comedy, towards hybridizations springing up in England in response to contemporary mercantile and cross-cultural relations.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"254 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117322481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:We have known for over a century that John Marston held a share in Children of the Queen’s Revels, the all-boy playing company that first performed The Dutch Courtesan in 1604, but how this knowledge affects our understanding of his plays requires further exploration. Drawing on neglected documentary sources, this essay reappraises the company’s links with the Chapel Royal choir to argue that Dutch Courtesan capitalizes on the skills that most clearly connected its performers with the royal choir, even while scrutinizing the ways in which the company turned pleasurable recreation into profit.
摘要:一个多世纪以来，我们都知道约翰·马斯顿(John Marston)是“女王狂欢之子”(Children of the Queen’s Revels)的股东，这个全男孩剧团于1604年首次演出了《荷兰妓女》(Dutch交花女子)，但这一知识如何影响我们对他的戏剧的理解，还需要进一步探索。利用被忽视的文献资料，本文重新评估了该公司与皇家教堂合唱团的联系，认为荷兰歌舞团利用了最清楚地将其表演者与皇家合唱团联系起来的技能，甚至在仔细审查该公司将愉快的娱乐转化为利润的方式的同时。
{"title":"Living by Others’ Pleasure: Marston, The Dutch Courtesan, and Theatrical Profit","authors":"Lucy Munro","doi":"10.12745/et.23.1.4165","DOIUrl":"https://doi.org/10.12745/et.23.1.4165","url":null,"abstract":"Abstract:We have known for over a century that John Marston held a share in Children of the Queen’s Revels, the all-boy playing company that first performed The Dutch Courtesan in 1604, but how this knowledge affects our understanding of his plays requires further exploration. Drawing on neglected documentary sources, this essay reappraises the company’s links with the Chapel Royal choir to argue that Dutch Courtesan capitalizes on the skills that most clearly connected its performers with the royal choir, even while scrutinizing the ways in which the company turned pleasurable recreation into profit.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"238 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116430230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The Dutch Courtesan reflects on the uses of seduction and desire in commercial culture. The eponymous courtesan Franceschina circulates among foreign clientele; the native conman Cocledemoy accumulates wealth through a range of foreign disguises. Their cosmopolitan appeal to diverse consumers illustrates the dangers of excessive desire linked to an intensifying fashion for foreign commodities in the period. The commodity that is the play itself also capitalizes on similar fascinations of London audiences. Franceschina and Cocledemoy’s explicitly theatrical performances display and satirize how salesmanship — in the form of seduction and trickery — preys on consumer interests to fuel commerce in the global marketplace.
{"title":"Cosmopolitan Desire and Profitable Performance in The Dutch Courtesan","authors":"Liz Fox","doi":"10.12745/et.23.1.4167","DOIUrl":"https://doi.org/10.12745/et.23.1.4167","url":null,"abstract":"Abstract:The Dutch Courtesan reflects on the uses of seduction and desire in commercial culture. The eponymous courtesan Franceschina circulates among foreign clientele; the native conman Cocledemoy accumulates wealth through a range of foreign disguises. Their cosmopolitan appeal to diverse consumers illustrates the dangers of excessive desire linked to an intensifying fashion for foreign commodities in the period. The commodity that is the play itself also capitalizes on similar fascinations of London audiences. Franceschina and Cocledemoy’s explicitly theatrical performances display and satirize how salesmanship — in the form of seduction and trickery — preys on consumer interests to fuel commerce in the global marketplace.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116038247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Karen Britland argues that The Dutch Courtesan uses contagion not only in its literal invocation of disease but also as a conceptual framework. The proximity of episodes invites an audience to read across plots so that seemingly separate threads become metaphorically cross-contaminated, providing tacit counter-narratives and refutations. This paper examines some of the conceptual contaminations presented by the play, moving from its consideration of venereal disease and human migration to the ways in which the emotional pain inflicted on its more liminal characters — Beatrice and Mulligrub — can be read as contaminating the positive narratives put forth by Freevill and Cocledemoy.
{"title":"‘Unwholesome Reversions’: Contagion as Dramaturgy in The Dutch Courtesan","authors":"N. Lior","doi":"10.12745/et.23.1.4168","DOIUrl":"https://doi.org/10.12745/et.23.1.4168","url":null,"abstract":"Abstract:Karen Britland argues that The Dutch Courtesan uses contagion not only in its literal invocation of disease but also as a conceptual framework. The proximity of episodes invites an audience to read across plots so that seemingly separate threads become metaphorically cross-contaminated, providing tacit counter-narratives and refutations. This paper examines some of the conceptual contaminations presented by the play, moving from its consideration of venereal disease and human migration to the ways in which the emotional pain inflicted on its more liminal characters — Beatrice and Mulligrub — can be read as contaminating the positive narratives put forth by Freevill and Cocledemoy.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129659768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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