Abstract:One of the challenges of the York pageant cycle is understanding how up to fifty pageants could have been performed at each one of ten to seventeen stations within the span of a single day. This paper proposes a new model of York's performance strategy based on staggered starting points. The strategy proposed here offers not only a complete, workable one-day cycle, but also a new breakdown of the pageants into four thematically rich subgroups. An appendix provides a schedule of the full playing day, plus timing calculations and alternative schedules accounting for varying numbers of stations and plays.
{"title":"A New Performance Strategy for a Twelve-Station, One-Day York Cycle","authors":"Arlynda L. Boyer","doi":"10.12745/et.22.2.3964","DOIUrl":"https://doi.org/10.12745/et.22.2.3964","url":null,"abstract":"Abstract:One of the challenges of the York pageant cycle is understanding how up to fifty pageants could have been performed at each one of ten to seventeen stations within the span of a single day. This paper proposes a new model of York's performance strategy based on staggered starting points. The strategy proposed here offers not only a complete, workable one-day cycle, but also a new breakdown of the pageants into four thematically rich subgroups. An appendix provides a schedule of the full playing day, plus timing calculations and alternative schedules accounting for varying numbers of stations and plays.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130849913","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 article examines the border wall and the image of fortress England in Robert Greene's Friar Bacon and Friar Bungay and early 1590s nationalist discourse. While Greene recognizes the need for an international outlook in geopolitics, Bacon's wall speaks to contemporary interest in coastal fortifications and brass ordnance in the wake of the Spanish Armada. Greene lampoons the wall as magical thinking, but the play clings to metaphorical walls as more cost-effective symbols of national security and autonomy. The play's awkward combination of pan-European sentiment and strident nationalism offers a prophetic commentary on post-Brexit Britain.
{"title":"Building a Wall Around Tudor England: Coastal Forts and Fantasies of Border Control in Friar Bacon and Friar Bungay","authors":"T. Borlik","doi":"10.12745/et.22.2.3873","DOIUrl":"https://doi.org/10.12745/et.22.2.3873","url":null,"abstract":"Abstract:This article examines the border wall and the image of fortress England in Robert Greene's Friar Bacon and Friar Bungay and early 1590s nationalist discourse. While Greene recognizes the need for an international outlook in geopolitics, Bacon's wall speaks to contemporary interest in coastal fortifications and brass ordnance in the wake of the Spanish Armada. Greene lampoons the wall as magical thinking, but the play clings to metaphorical walls as more cost-effective symbols of national security and autonomy. The play's awkward combination of pan-European sentiment and strident nationalism offers a prophetic commentary on post-Brexit Britain.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"7 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120839895","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}
{"title":"Temporality, Genre and Experience in the Age of Shakespeare: Forms of Time by Lauren Shohet (review)","authors":"Adam Railton","doi":"10.5040/9781350017320","DOIUrl":"https://doi.org/10.5040/9781350017320","url":null,"abstract":"","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"186 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123041978","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 activity through which the appropriations of William Barksted's Hiren, the Fair Greek entered the dialogue of The Insatiate Countess. The essay argues that Hiren is a more substantial source for The Insatiate Countess than has been supposed, that The Dumb Knight and The Turk also draw from Hiren, and that Barksted's narrative verse displays a tendency to use phrases previously deployed by John Marston. The essay considers the implications of these claims and suggests that one explanation for the striking verse register of The Insatiate Countess is that it features Marstonian diction shorn of Marstonian self-consciousness.
{"title":"The Insatiate Countess, William Barksted's Hiren, the Fair Greek, and the Children of the King's Revels","authors":"C. Cathcart","doi":"10.12745/ET.22.1.3787","DOIUrl":"https://doi.org/10.12745/ET.22.1.3787","url":null,"abstract":"Abstract:This essay examines the activity through which the appropriations of William Barksted's Hiren, the Fair Greek entered the dialogue of The Insatiate Countess. The essay argues that Hiren is a more substantial source for The Insatiate Countess than has been supposed, that The Dumb Knight and The Turk also draw from Hiren, and that Barksted's narrative verse displays a tendency to use phrases previously deployed by John Marston. The essay considers the implications of these claims and suggests that one explanation for the striking verse register of The Insatiate Countess is that it features Marstonian diction shorn of Marstonian self-consciousness.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123742734","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 article considers an ambiguity concerning the stage presentation of Pug, the inept devil-servant of Ben Jonson's The Devil Is an Ass, and explores the implications that 'complete' or 'partial' costume changes have for how an audience interprets the character, and how this apparent visual ambiguity may have been resolved by cosmetics and/or through the performance of a specific King's Men actor. The article concludes with a comparison of 'devilish servant-types' in Othello and The Changeling and argues that these three plays articulate early modern insecurities about the servant through an explicit association between the servile and the demonic.
{"title":"Thereby Hangs a Tail: Jonson's The Devil Is an Ass and Stage Representations of Devil-Servants","authors":"T. Harrison","doi":"10.12745/ET.22.1.3753","DOIUrl":"https://doi.org/10.12745/ET.22.1.3753","url":null,"abstract":"Abstract:This article considers an ambiguity concerning the stage presentation of Pug, the inept devil-servant of Ben Jonson's The Devil Is an Ass, and explores the implications that 'complete' or 'partial' costume changes have for how an audience interprets the character, and how this apparent visual ambiguity may have been resolved by cosmetics and/or through the performance of a specific King's Men actor. The article concludes with a comparison of 'devilish servant-types' in Othello and The Changeling and argues that these three plays articulate early modern insecurities about the servant through an explicit association between the servile and the demonic.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"190 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114189690","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:Marston's Antonio's Revenge is a self-reflexive tragedy with characters who speak and act like characters familiar with the conventions of Elizabethan revenge plays. This article argues that Marston's use of metatheatricality allegorizes the competitive nature of commercial theatres. As Marston's characters seek to emulate and surpass their theatrical models, revenge becomes a medium for aesthetic achievement, a show-case for acting and rhetorical skill. The play expands the theatrum mundi trope, imagining the world not as a single stage but as a marketplace of rival stages wherein playwrights vie for applause and seek recognition for their theatrical brilliance.
{"title":"'[A]dore my topless villainy': Metatheatrical Rivalry in John Marston's Antonio's Revenge","authors":"Mitchell Macrae","doi":"10.12745/ET.22.1.3691","DOIUrl":"https://doi.org/10.12745/ET.22.1.3691","url":null,"abstract":"Abstract:Marston's Antonio's Revenge is a self-reflexive tragedy with characters who speak and act like characters familiar with the conventions of Elizabethan revenge plays. This article argues that Marston's use of metatheatricality allegorizes the competitive nature of commercial theatres. As Marston's characters seek to emulate and surpass their theatrical models, revenge becomes a medium for aesthetic achievement, a show-case for acting and rhetorical skill. The play expands the theatrum mundi trope, imagining the world not as a single stage but as a marketplace of rival stages wherein playwrights vie for applause and seek recognition for their theatrical brilliance.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116173095","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 article reconsiders the York Bakers' pageant 'The Last Supper': both the play's representation of the biblical narrative and possible reasons for removal of a leaf from the text as recorded in the York register. Noting the play's uninterrupted production throughout the protracted Reformation, I argue that the pageant likely represented the bread shared by Christ and his disciples as a common loaf rather than as eucharistic wafers. This style of representation makes sense of the pageant's guild ascription but challenges current assumptions about why dialogue and action were eventually excised from the written text of the play.
{"title":"The York Bakers and Their Play of the Last Supper","authors":"Leanne Groeneveld","doi":"10.12745/ET.22.1.3681","DOIUrl":"https://doi.org/10.12745/ET.22.1.3681","url":null,"abstract":"Abstract:This article reconsiders the York Bakers' pageant 'The Last Supper': both the play's representation of the biblical narrative and possible reasons for removal of a leaf from the text as recorded in the York register. Noting the play's uninterrupted production throughout the protracted Reformation, I argue that the pageant likely represented the bread shared by Christ and his disciples as a common loaf rather than as eucharistic wafers. This style of representation makes sense of the pageant's guild ascription but challenges current assumptions about why dialogue and action were eventually excised from the written text of the play.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116743437","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:With few exceptions, criticism of the Towneley 'First Shepherds' Play' maintains that the food consumed by the shepherds in their feast-scene must have been imaginary and that performed consumption of this imaginary food must have been mimed. This essay counters this view, arguing that the shepherds' menu includes food commonly served at English medieval Christmas feasts, and that, given the play's theme, the play itself was likely performed in conjunction with—or even during—the actual Christmas feast. The play offers evidence of performance practices that integrated audience food consumption with the play itself.
{"title":"The Towneley 'First Shepherds' Play': Its 'Grotesque' Feast Revisited","authors":"E. Gerhardt","doi":"10.12745/ET.22.1.3601","DOIUrl":"https://doi.org/10.12745/ET.22.1.3601","url":null,"abstract":"Abstract:With few exceptions, criticism of the Towneley 'First Shepherds' Play' maintains that the food consumed by the shepherds in their feast-scene must have been imaginary and that performed consumption of this imaginary food must have been mimed. This essay counters this view, arguing that the shepherds' menu includes food commonly served at English medieval Christmas feasts, and that, given the play's theme, the play itself was likely performed in conjunction with—or even during—the actual Christmas feast. The play offers evidence of performance practices that integrated audience food consumption with the play itself.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123482038","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 deals with the worlds of early modern Malta and Venice, two distinctly non-English locations, as depicted by Marlowe and Shakespeare. In particular, it considers the roles Jews played in The Jew of Malta and The Merchant of Venice. I argue that while Shakespeare is completely accurate in his depiction of the spirit of financial and mercantile adventurism and huge risk-taking that characterized early modern Venice, he does not fully reflect the tolerance that marked this early modern trading capital. Shakespeare bases his play on binaries and antagonistic opposition between the Jews and the Christians in Venice while Marlowe consciously resists painting his world in black and white. Marlowe's Malta is a melting pot, a location where boundaries and distinctions between Jew, Christian, and Muslim, and between master and slave, blur, and easy definitions and categorizations become impossible. In spite of borrowing many historical details of the Great Siege of Malta (1565), Marlowe refuses to end his play with the siege and its attendant grand narrative of heroic Christian troops defeating barbaric Turks and bringing about a decisive victory for the Christian world.
{"title":"Marlowe and Shakespeare Cross Borders: Malta and Venice in the Early Modern World","authors":"Shormishtha Panja","doi":"10.12745/ET.22.1.3624","DOIUrl":"https://doi.org/10.12745/ET.22.1.3624","url":null,"abstract":"Abstract:This essay deals with the worlds of early modern Malta and Venice, two distinctly non-English locations, as depicted by Marlowe and Shakespeare. In particular, it considers the roles Jews played in The Jew of Malta and The Merchant of Venice. I argue that while Shakespeare is completely accurate in his depiction of the spirit of financial and mercantile adventurism and huge risk-taking that characterized early modern Venice, he does not fully reflect the tolerance that marked this early modern trading capital. Shakespeare bases his play on binaries and antagonistic opposition between the Jews and the Christians in Venice while Marlowe consciously resists painting his world in black and white. Marlowe's Malta is a melting pot, a location where boundaries and distinctions between Jew, Christian, and Muslim, and between master and slave, blur, and easy definitions and categorizations become impossible. In spite of borrowing many historical details of the Great Siege of Malta (1565), Marlowe refuses to end his play with the siege and its attendant grand narrative of heroic Christian troops defeating barbaric Turks and bringing about a decisive victory for the Christian world.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128819791","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 Parnassus comedies appeared at Cambridge University between 1598 and 1601. Since they make multiple allusions to topical events, texts, and personalities, scholars have conventionally read them as personal satire, with characters representing lumin-aries such as the recent Cambridge graduate Thomas Nashe. This article, however, demonstrates that speeches given to several characters in the last two plays are previously untraced quotations from another Cambridge alumnus, Nashe’s antagonist Gabriel Harvey. While the plays evoke Harvey and Nashe, they do this because the two men’s post-Cambridge experiences illustrate the plays’ theme: the struggles of the scholar in the late-Elizabethan world.
{"title":"Underemployed Elizabethans: Gabriel Harvey and Thomas Nashe in the Parnassus Plays","authors":"Peter Brynmor Roberts","doi":"10.12745/ET.21.2.3469","DOIUrl":"https://doi.org/10.12745/ET.21.2.3469","url":null,"abstract":"Abstract:The Parnassus comedies appeared at Cambridge University between 1598 and 1601. Since they make multiple allusions to topical events, texts, and personalities, scholars have conventionally read them as personal satire, with characters representing lumin-aries such as the recent Cambridge graduate Thomas Nashe. This article, however, demonstrates that speeches given to several characters in the last two plays are previously untraced quotations from another Cambridge alumnus, Nashe’s antagonist Gabriel Harvey. While the plays evoke Harvey and Nashe, they do this because the two men’s post-Cambridge experiences illustrate the plays’ theme: the struggles of the scholar in the late-Elizabethan world.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127991480","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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