ohn Marston’s The Malcontent (printed 1604, written 1602–4) seems to offer one of the most clear-cut explanations in all of early modern drama as to why jmultiple texts of a single play exist. It also seems to give unusually clear information about who was responsible for this textual variation. The title page of the play’s third edition, containing the text, known as QC, that is substantively different from the texts of the first two quartos, reads “THE / MALCONTENT. / Augmented byMarston. / With the Additions played by the Kings / Maiesties servants. / Written by Ihon Webster” (see fig. 2 below). Further, in the play’s metatheatrical Induction, William Sly, Henry Condell, and Richard Burbage have the following exchange:
{"title":"“Address to Public Council”: The Additions to Marston’s The Malcontent, the King’s Men’s Repertory, and Early Modern Theatrical Economics","authors":"Meghan C. Andrews","doi":"10.1086/694330","DOIUrl":"https://doi.org/10.1086/694330","url":null,"abstract":"ohn Marston’s The Malcontent (printed 1604, written 1602–4) seems to offer one of the most clear-cut explanations in all of early modern drama as to why jmultiple texts of a single play exist. It also seems to give unusually clear information about who was responsible for this textual variation. The title page of the play’s third edition, containing the text, known as QC, that is substantively different from the texts of the first two quartos, reads “THE / MALCONTENT. / Augmented byMarston. / With the Additions played by the Kings / Maiesties servants. / Written by Ihon Webster” (see fig. 2 below). Further, in the play’s metatheatrical Induction, William Sly, Henry Condell, and Richard Burbage have the following exchange:","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"45 1","pages":"181 - 209"},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/694330","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49165129","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}
he Staple of News, Ben Jonson’s indictment of the seventeenth-century newspaper industry, is surely due for revival now that the press is under fire frommore than one direction. The play is designed, Jonson explains “To the Readers,” to show the public the folly of its own hunger for sensational stories—“and no syllable of truth in them” (line 13). But, however pertinent the theme, in a faithful production something would stand to be lost for twenty-firstcentury audiences, since The Staple of News was itself a revival of sorts. The play reinvents an old genre, the moral interlude, that had flourished, evidently within living memory, on the early modern stage. What continuities and what changes went into the making of a new play that alluded so confidently to the past?
本·琼森（Ben Jonson）对17世纪报业的控诉《新闻史泰博》（Staple of News）肯定会复兴，因为新闻界正受到来自多个方向的抨击。琼森在《致读者》中解释说，这部剧的设计是为了向公众展示它对耸人听闻的故事的渴望是愚蠢的——“其中没有一个事实”（第13行）。但是，无论主题多么贴切，在忠实的制作中，二十一世纪的观众都会失去一些东西，因为《新闻台》本身就是一种复兴。该剧重塑了一种古老的类型，即道德插曲，这种类型在现代早期已经蓬勃发展，显然在人们的记忆中。一部如此自信地影射过去的新剧在制作过程中发生了哪些持续性和变化？
{"title":"Continuity and Change on the English Popular Stage","authors":"Catherine Belsey","doi":"10.1086/694327","DOIUrl":"https://doi.org/10.1086/694327","url":null,"abstract":"he Staple of News, Ben Jonson’s indictment of the seventeenth-century newspaper industry, is surely due for revival now that the press is under fire frommore than one direction. The play is designed, Jonson explains “To the Readers,” to show the public the folly of its own hunger for sensational stories—“and no syllable of truth in them” (line 13). But, however pertinent the theme, in a faithful production something would stand to be lost for twenty-firstcentury audiences, since The Staple of News was itself a revival of sorts. The play reinvents an old genre, the moral interlude, that had flourished, evidently within living memory, on the early modern stage. What continuities and what changes went into the making of a new play that alluded so confidently to the past?","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"45 1","pages":"141 - 160"},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/694327","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42802405","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}
n James Shirley’s Love’s Cruelty (first performed 1631), Sebastian asks the courtier Bovaldo, “shall we to a tavern”? As he explains, the “court’s too open.” Only by leaving the court can the men “speak . . . what [they] think” and “not fear to talk” (3.1, 224; 3.1, 225). Since what they plan to discuss is the Duke’s unwanted, unrelenting pursuit of Sebastian’s daughter, they have good reason to fear being overheard. “[When] we give our thoughts / Articulate sound,” another courtier warns Sebastian, “wemust distinguish hearers” (1.2, 202). The question is, how and where to do this best? That the public space of a commercial tavern might offer greater protection than the court or the home is an assumption that fits with recent work on the history of privacy. It is not that the tavern is assumed to be a more democratic space than the court, allowing for greater freedom of speech and association (like Mistress Quickly’s Eastcheap establishment), but
{"title":"Taverns, Theaters, Publics: The Intertheatrical Politics of Caroline Drama","authors":"A. Deutermann","doi":"10.1086/694328","DOIUrl":"https://doi.org/10.1086/694328","url":null,"abstract":"n James Shirley’s Love’s Cruelty (first performed 1631), Sebastian asks the courtier Bovaldo, “shall we to a tavern”? As he explains, the “court’s too open.” Only by leaving the court can the men “speak . . . what [they] think” and “not fear to talk” (3.1, 224; 3.1, 225). Since what they plan to discuss is the Duke’s unwanted, unrelenting pursuit of Sebastian’s daughter, they have good reason to fear being overheard. “[When] we give our thoughts / Articulate sound,” another courtier warns Sebastian, “wemust distinguish hearers” (1.2, 202). The question is, how and where to do this best? That the public space of a commercial tavern might offer greater protection than the court or the home is an assumption that fits with recent work on the history of privacy. It is not that the tavern is assumed to be a more democratic space than the court, allowing for greater freedom of speech and association (like Mistress Quickly’s Eastcheap establishment), but","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"45 1","pages":"237 - 256"},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/694328","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49439203","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}
hat, exactly, has Faustus done? How has he come to act against the command of God? The moral and theological framework of Christow pher Marlowe’s Doctor Faustus has proven notoriously hard to fix. Critics have plausibly interpreted the play through a variety of religious and philosophical lenses, from Calvinist predestinarianism to free-thinking iconoclasm. And turning to the text scarcely clarifies Faustus’s theological context and devo-
{"title":"Doctor Faustus and the Art of Dying Badly","authors":"M. Vinter","doi":"10.1086/691197","DOIUrl":"https://doi.org/10.1086/691197","url":null,"abstract":"hat, exactly, has Faustus done? How has he come to act against the command of God? The moral and theological framework of Christow pher Marlowe’s Doctor Faustus has proven notoriously hard to fix. Critics have plausibly interpreted the play through a variety of religious and philosophical lenses, from Calvinist predestinarianism to free-thinking iconoclasm. And turning to the text scarcely clarifies Faustus’s theological context and devo-","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"45 1","pages":"1 - 23"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691197","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45199412","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}
nHamlet, as the court of Denmark settles in for a performance of The Murder of Gonzago, the prince asks Ophelia, “Lady, shall I lie in your lap?” She responds, “No, my lord.” As Hamlet nonetheless forces his attentions on her, an exchange, laden with sexual innuendoes, follows, of which Theobald avers that “if ever the Poet deserved Whipping for low and indecent Ribaldry, it was for this Passage”—strong words, given the competition in Shakespeare’s oeuvre. Generations of readers since have found the Ribaldry in this scene, though they may not feel it warrants a Whipping. Yet, as Zachary Lesser’s recent work on the First Quarto’s reading of “contrary” rather than the infamous “country matters” suggests, gestures like Hamlet’s may encode more than one relationship between agents, more points of conflict than sexual desire. In this essay, I argue that early modern plays,Hamlet among them, employ the head-in-lap configuration to stage conflicts over such culturally pressing issues as female agency, the role of sensual pleasure in a virtuous life, and the difficulty of balancing reciprocal intimacy with structural hierarchies, all intertwined, and all negotiated through this symbolically ambiguous act of erotic touch. Recent models of early modern touch stress its role in enacting power relations, with dominance made manifest
{"title":"“Lady, Shall I Lie in Your Lap?”: Gender, Status, and Touch on the English Stage","authors":"Alex MacConochie","doi":"10.1086/691195","DOIUrl":"https://doi.org/10.1086/691195","url":null,"abstract":"nHamlet, as the court of Denmark settles in for a performance of The Murder of Gonzago, the prince asks Ophelia, “Lady, shall I lie in your lap?” She responds, “No, my lord.” As Hamlet nonetheless forces his attentions on her, an exchange, laden with sexual innuendoes, follows, of which Theobald avers that “if ever the Poet deserved Whipping for low and indecent Ribaldry, it was for this Passage”—strong words, given the competition in Shakespeare’s oeuvre. Generations of readers since have found the Ribaldry in this scene, though they may not feel it warrants a Whipping. Yet, as Zachary Lesser’s recent work on the First Quarto’s reading of “contrary” rather than the infamous “country matters” suggests, gestures like Hamlet’s may encode more than one relationship between agents, more points of conflict than sexual desire. In this essay, I argue that early modern plays,Hamlet among them, employ the head-in-lap configuration to stage conflicts over such culturally pressing issues as female agency, the role of sensual pleasure in a virtuous life, and the difficulty of balancing reciprocal intimacy with structural hierarchies, all intertwined, and all negotiated through this symbolically ambiguous act of erotic touch. Recent models of early modern touch stress its role in enacting power relations, with dominance made manifest","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"45 1","pages":"25 - 50"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691195","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46250844","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}
peaking in response to the spectacular entrance of Martius during the battle of Corioles, the amazed General Cominius recognizes the enigmatic antihero of Shakespeare’s Coriolanus—so bloody that he appears “flayed”— because of his “stamp.” Here “stamp” could mean “physical or outward form,” or it may be a reference to Coriolanus’s characteristic stamping of his feet (1.3.34). The word, however, also evokes the image of an imprint, casting his wounds as newly stamped impressions. Coriolanus’s identifiable “stamp” is the blood
{"title":"“The Stamp of Martius”: Commoditized Character and the Technology of Theatrical Impression in Coriolanus","authors":"Harry Newman","doi":"10.1086/691201","DOIUrl":"https://doi.org/10.1086/691201","url":null,"abstract":"peaking in response to the spectacular entrance of Martius during the battle of Corioles, the amazed General Cominius recognizes the enigmatic antihero of Shakespeare’s Coriolanus—so bloody that he appears “flayed”— because of his “stamp.” Here “stamp” could mean “physical or outward form,” or it may be a reference to Coriolanus’s characteristic stamping of his feet (1.3.34). The word, however, also evokes the image of an imprint, casting his wounds as newly stamped impressions. Coriolanus’s identifiable “stamp” is the blood","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"45 1","pages":"51 - 80"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691201","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49406617","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}
n the final act of Shakespeare’s Cymbeline, Posthumus experiences a masquelike vision of his family that, in repairing the lacuna of his familial origins announced at the play’s beginning, evokes honor and shame in turn. In a ghostly visitation, the Leonati address Posthumus, revealing to him his origins. His father Sicilius, for example, announces that “great nature like his ancestry /Moulded the stuff so fair” that Posthumus “deserved the praise o’th’ world / As great Sicilius’ heir” (5.3.141–45). Whereas the play opens with the First Gentleman saying he cannot “delve [Posthumus] to the root” (1.1.33), the vision reveals these roots, and Posthumus learns that they would, as the Second Gentleman says, “honour him / Even of out of . . . report” (1.1.60–61). When he awakes from the dream, he apostrophizes Sleep, thanking it for having “begot / A father tome” and “created / A mother and two brothers” (5.4.217–19). Though grateful for this dream, Posthumus also feels a certain shame, based on his unworthiness to receive such knowledge about his family and noble ancestry: “Many dream not to find, neither deserve, / And yet are steeped in favours; so am I, / That have this golden chance and know not why” (5.3.224–26). This vision serves to remind him of his own dishonorable actions: he not only plotted to murder Innogen, whom he falsely believes has betrayed him, but he has also avoided participating in skirmishes between the British and Roman soldiers.
{"title":"“Part Shame, Part Spirit Renewed”: Affect, National Origins, and Report in Shakespeare’s Cymbeline","authors":"Joseph Bowling","doi":"10.1086/691194","DOIUrl":"https://doi.org/10.1086/691194","url":null,"abstract":"n the final act of Shakespeare’s Cymbeline, Posthumus experiences a masquelike vision of his family that, in repairing the lacuna of his familial origins announced at the play’s beginning, evokes honor and shame in turn. In a ghostly visitation, the Leonati address Posthumus, revealing to him his origins. His father Sicilius, for example, announces that “great nature like his ancestry /Moulded the stuff so fair” that Posthumus “deserved the praise o’th’ world / As great Sicilius’ heir” (5.3.141–45). Whereas the play opens with the First Gentleman saying he cannot “delve [Posthumus] to the root” (1.1.33), the vision reveals these roots, and Posthumus learns that they would, as the Second Gentleman says, “honour him / Even of out of . . . report” (1.1.60–61). When he awakes from the dream, he apostrophizes Sleep, thanking it for having “begot / A father tome” and “created / A mother and two brothers” (5.4.217–19). Though grateful for this dream, Posthumus also feels a certain shame, based on his unworthiness to receive such knowledge about his family and noble ancestry: “Many dream not to find, neither deserve, / And yet are steeped in favours; so am I, / That have this golden chance and know not why” (5.3.224–26). This vision serves to remind him of his own dishonorable actions: he not only plotted to murder Innogen, whom he falsely believes has betrayed him, but he has also avoided participating in skirmishes between the British and Roman soldiers.","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"45 1","pages":"81 - 106"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691194","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45010780","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}
He was raign’d downe to us out of heaven, and drew Life to the spring, yet like a little dew Quickly drawne thence; so many times miscarries A Christall glasse, whilst that the workeman varries The shape i’ the furnace, (fix’d too much upon The curiousnesse of the proportion) Yet breakes it ere’t be finisht, and yet then Moulds it anew, and blows it up agen, Exceeds his workmanship, and sends it thence To kisse the hand and lip of some great prince; [. . .] So to eternity he now shall stand, New form’d and gloried by the All-working hand.
{"title":"Allegories of Creation: Glassmaking, Forests, and Fertility in Webster’s The Duchess of Malfi","authors":"B. Johnson","doi":"10.1086/691196","DOIUrl":"https://doi.org/10.1086/691196","url":null,"abstract":"He was raign’d downe to us out of heaven, and drew Life to the spring, yet like a little dew Quickly drawne thence; so many times miscarries A Christall glasse, whilst that the workeman varries The shape i’ the furnace, (fix’d too much upon The curiousnesse of the proportion) Yet breakes it ere’t be finisht, and yet then Moulds it anew, and blows it up agen, Exceeds his workmanship, and sends it thence To kisse the hand and lip of some great prince; [. . .] So to eternity he now shall stand, New form’d and gloried by the All-working hand.","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"45 1","pages":"107 - 137"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691196","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42172992","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}
in the late 1590s, around the zenith of the Elizabethan theater, a few London players gathered wagonloads of theatrical materials and a handful of plays and began touring northern Europe. The traveling players have long drawn interest—and often opprobrium—as artisans between national traditions, players who fully belong neither to Germany nor England and, therefore, are assumed to lack their own history and theatrical art. Scholars have traced the players’ routes through courts and cities and pieced together details of contemporary reception, but only recently have critics begun formulating theories of the their success and speculating what these marginalized players might reveal of the national and transnational cultures they navigated. For, despite the negative critical attention, these wandering players presenting English plays to largely uncomprehending German-speaking audiences were massively successful. In this article, I will join a number of contemporary critics who have begun to read the early modern theater transnationally, recognizing the striking ways in which the players and their identities remained premodern. Inevitably, this involves a process of recovery, exploring how early inherited nationalistic biases continue to impede our research not only by providing terms imbued with national meaning but even in determining the objects of our study. The lingering influence exerts greatest force, perhaps, in the continued focus on language, geography, and plot and the denigration of action and neglect of episode and emblem—a hierarchy that would not necessarily have been shared by an early modern and one that has recently again been destabilized. The characteristics of the traveling theater that have faced the most critical dismissal, as we will see, are exactly those that were most transnational. I will first survey the repertoires of the traveling players and records of their acting and then attempt to adumbrate the national biases linger-
{"title":"Faust mit Springen: On the English Players Returning Faustus to the German-Speaking Lands","authors":"Kevin Chovanec","doi":"10.1086/688685","DOIUrl":"https://doi.org/10.1086/688685","url":null,"abstract":"in the late 1590s, around the zenith of the Elizabethan theater, a few London players gathered wagonloads of theatrical materials and a handful of plays and began touring northern Europe. The traveling players have long drawn interest—and often opprobrium—as artisans between national traditions, players who fully belong neither to Germany nor England and, therefore, are assumed to lack their own history and theatrical art. Scholars have traced the players’ routes through courts and cities and pieced together details of contemporary reception, but only recently have critics begun formulating theories of the their success and speculating what these marginalized players might reveal of the national and transnational cultures they navigated. For, despite the negative critical attention, these wandering players presenting English plays to largely uncomprehending German-speaking audiences were massively successful. In this article, I will join a number of contemporary critics who have begun to read the early modern theater transnationally, recognizing the striking ways in which the players and their identities remained premodern. Inevitably, this involves a process of recovery, exploring how early inherited nationalistic biases continue to impede our research not only by providing terms imbued with national meaning but even in determining the objects of our study. The lingering influence exerts greatest force, perhaps, in the continued focus on language, geography, and plot and the denigration of action and neglect of episode and emblem—a hierarchy that would not necessarily have been shared by an early modern and one that has recently again been destabilized. The characteristics of the traveling theater that have faced the most critical dismissal, as we will see, are exactly those that were most transnational. I will first survey the repertoires of the traveling players and records of their acting and then attempt to adumbrate the national biases linger-","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"125 - 155"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/688685","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60604991","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}
by the time of her death in 1645, Mary Ward, a Yorkshire Catholic, had achieved international fame. In 1611, Ward claimed she had received a vision telling her to “Take the same of the Society.” God, she believed, wanted her to found a female institute that faithfully emulated the Society of Jesus, one based on the rules, apostolic work, and educational curriculum at the heart of the Jesuit mission. Over the next two decades, she founded over a dozen religious houses on the Continent, from Belgium and France to Italy and Bavaria, with day and boarding schools attached to each one. The women who joined her in her mission took vows but refused enclosure—a violation of Boniface VIII’s 1563 bull Periculoso, which mandated that female religious stay within convent walls. In a further contentious imitation of the Jesuits, Ward stipulated that the institute superior would answer only to the pope, thus bypassing the limits of local church authorities. Although Ward found few friends among the Jesuits (whose Society forbade female members), and many enemies within the Catholic establishment, she was able to keep the educational part of her mission alive, even after the Institute’s papal suppression in 1631 and her death— thanks in large part to an international cast of noble, secular supporters: among them, Infanta Isabella Clara Eugenia of the Netherlands; the Elector of Bavaria,
{"title":"Repeat Performances: Mary Ward’s Girls on the International Stage","authors":"Caroline Bicks","doi":"10.1086/688688","DOIUrl":"https://doi.org/10.1086/688688","url":null,"abstract":"by the time of her death in 1645, Mary Ward, a Yorkshire Catholic, had achieved international fame. In 1611, Ward claimed she had received a vision telling her to “Take the same of the Society.” God, she believed, wanted her to found a female institute that faithfully emulated the Society of Jesus, one based on the rules, apostolic work, and educational curriculum at the heart of the Jesuit mission. Over the next two decades, she founded over a dozen religious houses on the Continent, from Belgium and France to Italy and Bavaria, with day and boarding schools attached to each one. The women who joined her in her mission took vows but refused enclosure—a violation of Boniface VIII’s 1563 bull Periculoso, which mandated that female religious stay within convent walls. In a further contentious imitation of the Jesuits, Ward stipulated that the institute superior would answer only to the pope, thus bypassing the limits of local church authorities. Although Ward found few friends among the Jesuits (whose Society forbade female members), and many enemies within the Catholic establishment, she was able to keep the educational part of her mission alive, even after the Institute’s papal suppression in 1631 and her death— thanks in large part to an international cast of noble, secular supporters: among them, Infanta Isabella Clara Eugenia of the Netherlands; the Elector of Bavaria,","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"201 - 215"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/688688","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60604672","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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