To strut before a wanton ambling nymph; I, that am curtailed of this fair proportion, Cheated of feature by dissembling Nature, Deformed, unfinished, sent before my time Into this breathing world, scarce half made up, And that so lamely and unfashionable That dogs bark at me as I halt by them. Why, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to see my shadow in the sun And descant on mine own deformity. —William Shakespeare, Richard III
{"title":"Deformed, Unfinished History: Richard III as Mourning Play","authors":"Sofie Kluge","doi":"10.1086/705889","DOIUrl":"https://doi.org/10.1086/705889","url":null,"abstract":"To strut before a wanton ambling nymph; I, that am curtailed of this fair proportion, Cheated of feature by dissembling Nature, Deformed, unfinished, sent before my time Into this breathing world, scarce half made up, And that so lamely and unfashionable That dogs bark at me as I halt by them. Why, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to see my shadow in the sun And descant on mine own deformity. —William Shakespeare, Richard III","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"47 1","pages":"153 - 176"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/705889","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43238864","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}
ho is “John Fletcher”? Does he have a clearly distinguishable writerly identity? I believed so when, a quarter of a century ago, I published w a monograph about this resolutely collaborative playwright, setting out to distinguish him critically from Beaumont, Field, Massinger, Shakespeare, and his other purported coadjutors and addressing the “unease” I believed to be characteristic both of Fletcherian writing and of subsequent responses to his work. I say “critically” because I was writing a work of historicist literary criti-
{"title":"The Strange Case of Susan Brotes: Rhetoric, Gender, and Authorship in John Fletcher’s The Tamer Tamed, or How (Not) to Identify an Early Modern Playwright","authors":"Gordon McMullan","doi":"10.1086/705890","DOIUrl":"https://doi.org/10.1086/705890","url":null,"abstract":"ho is “John Fletcher”? Does he have a clearly distinguishable writerly identity? I believed so when, a quarter of a century ago, I published w a monograph about this resolutely collaborative playwright, setting out to distinguish him critically from Beaumont, Field, Massinger, Shakespeare, and his other purported coadjutors and addressing the “unease” I believed to be characteristic both of Fletcherian writing and of subsequent responses to his work. I say “critically” because I was writing a work of historicist literary criti-","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"47 1","pages":"177 - 200"},"PeriodicalIF":0.0,"publicationDate":"2019-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/705890","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46762037","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}
nlike many of Christopher Marlowe’s works, The Jew of Malta contains no clear presentation of same-sex relations, and, as a result, it is not often thought of as homoerotic. Nevertheless, I will argue, it presents us with as queer a protagonist, a play, and an aesthetic as any of Marlowe’s texts. The play repeatedly destabilizes narrative linearity, which is productive ofmeaning, as well as undermining the related notions of familial lineage, reproduction, and inheritance. It resonates eerily with Lee Edelman’s influential construction, “sinthomosexuality,” the denial of meaning and futurity identified in the current cultural imaginary with the homosexual, who is seen as embodying “an antisocial force that queerness might better name.” The sinthomosexual, Edelman explains, “speak[s] . . . for the death drive and its disarticulation of forms.” InNo Future, he calls on those whom society aligns with this figure of negativity (in an attempt to bestow meaning and coherence upon itself ) to embrace rather than to distance themselves from it. Such an embrace occurs in The Jew of Malta.
{"title":"Marlowe’s Queer Jew","authors":"J. Haber","doi":"10.1086/702987","DOIUrl":"https://doi.org/10.1086/702987","url":null,"abstract":"nlike many of Christopher Marlowe’s works, The Jew of Malta contains no clear presentation of same-sex relations, and, as a result, it is not often thought of as homoerotic. Nevertheless, I will argue, it presents us with as queer a protagonist, a play, and an aesthetic as any of Marlowe’s texts. The play repeatedly destabilizes narrative linearity, which is productive ofmeaning, as well as undermining the related notions of familial lineage, reproduction, and inheritance. It resonates eerily with Lee Edelman’s influential construction, “sinthomosexuality,” the denial of meaning and futurity identified in the current cultural imaginary with the homosexual, who is seen as embodying “an antisocial force that queerness might better name.” The sinthomosexual, Edelman explains, “speak[s] . . . for the death drive and its disarticulation of forms.” InNo Future, he calls on those whom society aligns with this figure of negativity (in an attempt to bestow meaning and coherence upon itself ) to embrace rather than to distance themselves from it. Such an embrace occurs in The Jew of Malta.","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"47 1","pages":"1 - 20"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702987","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43836396","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}
lthough he held Middleton among the finest of Elizabethan and Jacobean playwrights, T. S. Eliot nevertheless remained ambivalent about a his “authorial” status, Middleton’s role as a “shameless collaborator” hardly to be separated from Rowley. Unlike Shakespeare or Jonson or Donne, Middleton poses a peculiar dilemma for Eliot: he lacks “personality.” From his works alone, Eliot cannot imagine Middleton, as he might Jonson, “discoursing at the Mermaid or laying down the law to Drummond of Hawthornden.” We have no clues to his habits or his eccentricities of character. For modern readers, Eliot complains, Middleton exists only as some “collective name” unifying an otherwise disparate body of works, a textual marker devoid of any real, authorial substance. Although this emptiness may arise in part from Eliot’s ignorance about Middleton’s biography, it actually seems to be more firmly rooted in the distinctive features of collaboration, the incoherence of voice Eliot suggestively links to the multiple voices of collaborative authorship. The exceptionally diverse plays attributed to Middleton, from Women Beware Women to The Roaring Girl, are in Eliot’s mind “as if written by two different men.” Despite ostensibly arising from the sheer variety of his plays, from the lack of a single voice running throughout his many works, Eliot’s concern withMiddleton’s
{"title":"“Shameless Collaboration”: Mixture and the Double Plot of The Changeling","authors":"Michael R. Slater","doi":"10.1086/702988","DOIUrl":"https://doi.org/10.1086/702988","url":null,"abstract":"lthough he held Middleton among the finest of Elizabethan and Jacobean playwrights, T. S. Eliot nevertheless remained ambivalent about a his “authorial” status, Middleton’s role as a “shameless collaborator” hardly to be separated from Rowley. Unlike Shakespeare or Jonson or Donne, Middleton poses a peculiar dilemma for Eliot: he lacks “personality.” From his works alone, Eliot cannot imagine Middleton, as he might Jonson, “discoursing at the Mermaid or laying down the law to Drummond of Hawthornden.” We have no clues to his habits or his eccentricities of character. For modern readers, Eliot complains, Middleton exists only as some “collective name” unifying an otherwise disparate body of works, a textual marker devoid of any real, authorial substance. Although this emptiness may arise in part from Eliot’s ignorance about Middleton’s biography, it actually seems to be more firmly rooted in the distinctive features of collaboration, the incoherence of voice Eliot suggestively links to the multiple voices of collaborative authorship. The exceptionally diverse plays attributed to Middleton, from Women Beware Women to The Roaring Girl, are in Eliot’s mind “as if written by two different men.” Despite ostensibly arising from the sheer variety of his plays, from the lack of a single voice running throughout his many works, Eliot’s concern withMiddleton’s","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"47 1","pages":"41 - 71"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702988","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47659624","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":"“Here’s Beauty Changed to Ugly Whoredom”: Calvinist Theology and Neoplatonic Aesthetics in The Changeling","authors":"C. Jeffrey","doi":"10.1086/703040","DOIUrl":"https://doi.org/10.1086/703040","url":null,"abstract":"","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"47 1","pages":"21 - 39"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/703040","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41811847","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}
aced with exile, the historical Caius Martius Coriolanus found that even his own formidable voice was no match for that of the crowd that, in Plutarch’s account, “cried out so lowde, and made suche a noyse, that he could not be heard.” Similarly, inWilliam Shakespeare’sCoriolanus, the vox populi is nomere metaphor. Perfectly following the script the Tribunes have given them, the people “cry” and “with a din confused / Enforce the present execution” of the decree of banishment (3.3.19–21). When Sicinius proclaims, “I’th’ people’s name” that “it shall be so,” the people answer, “It shall be so, it shall be so! Let him away! / He’s banished and it shall be so!” and ultimately descend into inarticulate noise: “Our enemy is banished, he is gone! Hoo! Hoo!” (3.3.103–6, 136). Coriolanus responds by disparaging the people (whose voices he begrudgingly solicited a few scenes earlier) as no better than bellowing animals, a “common cry of curs,” and later, when he meets Aufidius at Antium, he bitterly recalls having been “whooped out of Rome” by “th’ voice of slaves” (3.3.119; 4.5.79–80). Likewise, Menenius, upon learning of Coriolanus’s defection to the Volscians and his imminent attack on Rome, mocks the citizens for having “made the air unwholesome when [they] cast / [their] stinking greasy caps in hooting / At Coriolanus’ exile,” recalling the gross materiality of the vox populi as it is repeatedly conjured by the stage direction “The citizens all shout and throw up their caps” (3.3.134 SD). Pointing out that the word “voices” appearsmore frequently inCoriolanus than in any other work of Shakespeare, Peter Holland remarks, “There is a powerful
{"title":"Coriolanus and the Voice of Cynicism","authors":"Thomas Ward","doi":"10.1086/702986","DOIUrl":"https://doi.org/10.1086/702986","url":null,"abstract":"aced with exile, the historical Caius Martius Coriolanus found that even his own formidable voice was no match for that of the crowd that, in Plutarch’s account, “cried out so lowde, and made suche a noyse, that he could not be heard.” Similarly, inWilliam Shakespeare’sCoriolanus, the vox populi is nomere metaphor. Perfectly following the script the Tribunes have given them, the people “cry” and “with a din confused / Enforce the present execution” of the decree of banishment (3.3.19–21). When Sicinius proclaims, “I’th’ people’s name” that “it shall be so,” the people answer, “It shall be so, it shall be so! Let him away! / He’s banished and it shall be so!” and ultimately descend into inarticulate noise: “Our enemy is banished, he is gone! Hoo! Hoo!” (3.3.103–6, 136). Coriolanus responds by disparaging the people (whose voices he begrudgingly solicited a few scenes earlier) as no better than bellowing animals, a “common cry of curs,” and later, when he meets Aufidius at Antium, he bitterly recalls having been “whooped out of Rome” by “th’ voice of slaves” (3.3.119; 4.5.79–80). Likewise, Menenius, upon learning of Coriolanus’s defection to the Volscians and his imminent attack on Rome, mocks the citizens for having “made the air unwholesome when [they] cast / [their] stinking greasy caps in hooting / At Coriolanus’ exile,” recalling the gross materiality of the vox populi as it is repeatedly conjured by the stage direction “The citizens all shout and throw up their caps” (3.3.134 SD). Pointing out that the word “voices” appearsmore frequently inCoriolanus than in any other work of Shakespeare, Peter Holland remarks, “There is a powerful","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"47 1","pages":"95 - 121"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702986","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45650415","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}
hakespearean scholars interested in political thought perennially return to the middle scenes of King Lear, an episode that seems to lay bare truths about sovereignty and subjection by staging their dissolution. A crisis of authority permeates every line of the tragedy; fromLear’s love test to Albany’s failure to establish a successor to the throne, the play frantically searches for an anchor on which to ground the state. But no moment more urgently interrogates these central themes than the scenes on the heath. The king has given away his land yet demands that he retain the royal title. In his fall, he also mirrors the abused bodies of the masterless men to whom he apostrophizes at the start of act 3, scene 4. In examining the problem of authority, scholars home in on the trope of the “unaccommodated man.” A human being stripped of political, social, and familial ties raises questions about sovereignty, natural law, and the effects of social hierarchies. This trope could provide a materialist critique of political structures. Or it might reflect philosophical developments, anticipating seventeenthcentury contract theory. King Lear engages political thought at a moment of ex-
{"title":"Human Insufficiency and the Politics of Accommodation in King Lear","authors":"Jeffrey B. Griswold","doi":"10.1086/702989","DOIUrl":"https://doi.org/10.1086/702989","url":null,"abstract":"hakespearean scholars interested in political thought perennially return to the middle scenes of King Lear, an episode that seems to lay bare truths about sovereignty and subjection by staging their dissolution. A crisis of authority permeates every line of the tragedy; fromLear’s love test to Albany’s failure to establish a successor to the throne, the play frantically searches for an anchor on which to ground the state. But no moment more urgently interrogates these central themes than the scenes on the heath. The king has given away his land yet demands that he retain the royal title. In his fall, he also mirrors the abused bodies of the masterless men to whom he apostrophizes at the start of act 3, scene 4. In examining the problem of authority, scholars home in on the trope of the “unaccommodated man.” A human being stripped of political, social, and familial ties raises questions about sovereignty, natural law, and the effects of social hierarchies. This trope could provide a materialist critique of political structures. Or it might reflect philosophical developments, anticipating seventeenthcentury contract theory. King Lear engages political thought at a moment of ex-","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"47 1","pages":"73 - 94"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702989","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46981538","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}
ecent attention to the evidently remarkable seventeenth-century English entertainer William Vincent might be dated from 1993, when Richard Burt identified the connection between the man and his widely known contemporary stage name,Hocus Pocus, a fact not known to G. E. Bentley in writing his entry on Vincent for The Jacobean and Caroline Stage in the 1940s. The first of two successive royal patents issued to Vincent was discovered by N. W. Bawcutt, who in 2000 published the new evidence of Vincent’s earlier career and surveyed some of the many allusions to him that continued to appear until the end of the century. A phrase from his juggler’s patter became his signature stage title and passed into subsequent English usage as “hocus pocus” to mean both trickery and verbal obscurantism, much employed in the later seventeenth century in works of religious polemic. (Vincent may have had another performance alias suited to another aspect of his skills, as I go on to argue.) Five years later Philip Butterworth surveyed some of Vincent’s career as part of his book on stagemagic, identifying further allusions and claiming the anonymous 1634 book Hocus Pocus Junior as William Vincent’s work, a case he strengthened in a short note in 2014.Most recently I have identified a playbill dating from the early 1630s preserved at the British Library as advertising a performance by Vincent and his company in Bristol. In this article, I consider some of the suggestions of this ac-
{"title":"William Vincent and His Performance Troupe, 1619–1649","authors":"John H. Astington","doi":"10.1086/699624","DOIUrl":"https://doi.org/10.1086/699624","url":null,"abstract":"ecent attention to the evidently remarkable seventeenth-century English entertainer William Vincent might be dated from 1993, when Richard Burt identified the connection between the man and his widely known contemporary stage name,Hocus Pocus, a fact not known to G. E. Bentley in writing his entry on Vincent for The Jacobean and Caroline Stage in the 1940s. The first of two successive royal patents issued to Vincent was discovered by N. W. Bawcutt, who in 2000 published the new evidence of Vincent’s earlier career and surveyed some of the many allusions to him that continued to appear until the end of the century. A phrase from his juggler’s patter became his signature stage title and passed into subsequent English usage as “hocus pocus” to mean both trickery and verbal obscurantism, much employed in the later seventeenth century in works of religious polemic. (Vincent may have had another performance alias suited to another aspect of his skills, as I go on to argue.) Five years later Philip Butterworth surveyed some of Vincent’s career as part of his book on stagemagic, identifying further allusions and claiming the anonymous 1634 book Hocus Pocus Junior as William Vincent’s work, a case he strengthened in a short note in 2014.Most recently I have identified a playbill dating from the early 1630s preserved at the British Library as advertising a performance by Vincent and his company in Bristol. In this article, I consider some of the suggestions of this ac-","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"46 1","pages":"213 - 229"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/699624","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43952477","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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