A companion to shakespeares works, the poems, problem comedies, late plays

A Companion to Shakespeare’s Works Volume IV Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors in English literary culture and history Extensive volumes provide new perspectives and positions on contexts and on canonical and post-canonical texts, orientating the beginning student in new fields of study and providing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field 10 11 A Companion to Romanticism Companion to Victorian Literature and Culture A Companion to Shakespeare A Companion to the Gothic A Feminist Companion to Shakespeare A Companion to Chaucer A Companion to English Literature from Milton to Blake A Companion to English Renaissance Literature and Culture A Companion to Milton A Companion to Twentieth-Century Poetry A Companion to Anglo-Saxon Literature 12 13 14 15 A Companion to Restoration Drama A Companion to Early Modern Women’s Writing A Companion to English Renaissance Drama A Companion to Victorian Poetry 16 A Companion to the Victorian Novel Edited by Duncan Wu Edited by Herbert F Tucker Edited by David Scott Kastan Edited by David Punter Edited by Dympna Callaghan Edited by Peter Brown Edited by David Womersley Edited by Michael Hattaway Edited by Thomas N Corns Edited by Neil Roberts Edited by Phillip Pulsiano and Elaine Treharne Edited by Susan J Owen Edited by Anita Pacheco Edited by Arthur Kinney Edited by Richard Cronin, Alison Chapman and Anthony Harrison Edited by Patrick Brantlinger and William B Thesing A Companion to Shakespeare’s Works 17 A Companion to Shakespeare’s Works, Volume I: The Tragedies 18 A Companion to Shakespeare’s Works, Volume II: The Histories 19 A Companion to Shakespeare’s Works, Volume III: The Comedies 20 A Companion to Shakespeare’s Works, Volume IV: The Poems, Problem Comedies, Late Plays Edited by Richard Dutton and Jean E Howard Edited by Richard Dutton and Jean E Howard Edited by Richard Dutton and Jean E Howard Edited by Richard Dutton and Jean E Howard A C OMPANION T O S HAKESPEARE’SWORKS VOLUME IV THE P OEMS, P ROBLEM C OMEDIES, LATE P LAYS EDITED BY RICHARD DUTTON A N D J E A N E H O WA R D Editorial material and organization copyright © 2003 by Blackwell Publishing Ltd 350 Main Street, Malden, MA 02148-5018, USA 108 Cowley Road, Oxford OX4 1JF, UK 550 Swanston Street, Carlton South, Melbourne, Victoria 3053, Australia Kurfürstendamm 57, 10707 Berlin, Germany The right of Richard Dutton and Jean E Howard to be identified as the Authors of the Editorial Material in this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher First published 2003 by Blackwell Publishing Ltd Library of Congress Cataloging-in-Publication Data has been applied for ISBN 0-631-22635-4 (hardback) ISBN 1-405-10730-8 (four-volume set) A catalogue record for this title is available from the British Library Set in 11 on 13pt Garamond by SNP Best-set Typesetter Ltd, Hong Kong Printed and bound in the United Kingdom by MPG Books Ltd, Bodmin, Cornwall For further information on Blackwell Publishing, visit our website: http://www.blackwellpublishing.com Contents Notes on Contributors Introduction viii 1 Shakespeare’s Sonnets and the History of Sexuality: A Reception History Bruce R Smith The Book of Changes in a Time of Change: Ovid’s Metamorphoses in Post-Reformation England and Venus and Adonis Dympna Callaghan 27 Shakespeare’s Problem Plays and the Drama of His Time: Troilus and Cressida, All’s Well That Ends Well, Measure for Measure Paul Yachnin 46 The Privy and Its Double: Scatology and Satire in Shakespeare’s Theatre Bruce Boehrer Hymeneal Blood, Interchangeable Women, and the Early Modern Marriage Economy in Measure for Measure and All’s Well That Ends Well Theodora A Jankowski 69 89 Varieties of Collaboration in Shakespeare’s Problem Plays and Late Plays John Jowett 106 “What’s in a Name?” Tragicomedy, Romance, or Late Comedy Barbara A Mowat 129 vi Contents Fashion: Shakespeare and Beaumont and Fletcher Russ McDonald 150 Place and Space in Three Late Plays John Gillies 175 10 The Politics and Technology of Spectacle in the Late Plays David M Bergeron 194 11 The Tempest in Performance Diana E Henderson 216 12 What It Feels Like For a Boy: Shakespeare’s Venus and Adonis Richard Rambuss 240 13 Publishing Shame: The Rape of Lucrece Coppélia Kahn 259 14 The Sonnets: Sequence, Sexuality, and Shakespeare’s Two Loves Valerie Traub 275 15 The Two Party System in Troilus and Cressida Linda Charnes 302 16 Opening Doubts Upon the Law: Measure for Measure Karen Cunningham 316 17 “Doctor She”: Healing and Sex in All’s Well That Ends Well Barbara Howard Traister 333 18 “You not your child well loving”: Text and Family Structure in Pericles Suzanne Gossett 348 19 “Imagine Me, Gentle Spectators”: Iconomachy and The Winter’s Tale Marion O’Connor 365 20 Cymbeline: Patriotism and Performance Valerie Wayne 389 Contents 21 “Meaner Ministers”: Mastery, Bondage, and Theatrical Labor in The Tempest Daniel Vitkus vii 408 22 Queens and the Structure of History in Henry VIII Susan Frye 427 23 445 Mixed Messages: The Aesthetics of The Two Noble Kinsmen Julie Sanders Index 462 Notes on Contributors David M Bergeron is Conger-Gabel Teaching Professor of English (2001–4) at the University of Kansas He has published extensively on Shakespeare, Renaissance drama, and the Stuart royal family His most recent books include King James and Letters of Homoerotic Desire (1999) and Practicing Renaissance Scholarship: Plays and Pageants, Patrons and Politics (2000) Bruce Boehrer is a Professor of English Renaissance Literature at Florida State University and founding editor of the Journal for Early Modern Cultural Studies His latest book, Shakespeare Among the Animals, was published in 2002 Dympna Callaghan is William P Tolley Professor in the Humanities at Syracuse University Her books include Women and Gender in Renaissance Tragedy, Shakespeare Without Women, and the edited collection, A Feminist Companion to Shakespeare Linda Charnes is Associate Professor of English and Cultural Studies at Indiana University, Bloomington She is the author of Notorious Identity: Materializing the Subject in Shakespeare (1993) and the forthcoming Hamlet’s Heirs: Essays on Inheriting Shakespeare Karen Cunningham is Visiting Associate Professor of English at the University of California, Los Angeles, where she teaches Renaissance drama, Milton, and Renaissance law and literature She is the author of Imaginary Betrayals: Subjectivity and the Discourses of Treason in Early Modern England (2002) Susan Frye is Professor of English with appointment in Women’s Studies at the University of Wyoming She is the author of Elizabeth I: The Competition for Representation (1997) and co-editor with Karen Robertson of Maids and Mistresses, Cousins and Queens: Women’s Alliances in Early Modern England (1999) She has published on Spenser, Shakespeare, and women writers and is currently completing a book on the material relations between early modern women’s work and women’s writing Notes on Contributors ix John Gillies is Professor of Literature at the University of Essex and has studied and worked in Australia and England at various times in his career His interests include the poetics of space in Renaissance literature, theatre, and culture; also Shakespearean performance issues and performance history He explores uses of multimedia as an analytic tool in performance studies He is the author of Shakespeare and the Geography of Difference in addition to various articles and book chapters Suzanne Gossett is Professor of English at Loyola University, Chicago, and is currently editing Pericles for Arden Three and Eastwood Ho! for the Cambridge Jonson Her other editions include Jonson’s Bartholomew Fair, Middleton’s A Fair Quarrel and, with Josephine Roberts and Janel Mueller, Lady Mary Wroth’s Urania, Book Two She has written extensively about early modern drama, most recently in the chapter on “Dramatic Achievements” in The Cambridge Companion to English Literature 1500– 1600, edited by Arthur F Kinney Diana E Henderson is Associate Professor of Literature at MIT She is the author of Passion Made Public: Elizabethan Lyric, Gender, and Performance (1995) and numerous articles including essays on early modern drama, poetry, and domestic culture, Shakespeare on film, James Joyce, and Virginia Woolf Recent work includes “Shakespeare: The Theme Park” in Shakespeare After Mass Media, edited by Richard Burt (2002), “Love Poetry” in Blackwell’s A Companion to English Renaissance Literature and Culture, edited by Michael Hattaway (2002), “The Disappearing Queen: Looking for Isabel in Henry V” in Shakespeare and his Contemporaries in Performance, edited by Edward Esche (2000) and “King and No King: ‘The Exequy’ as an Antebellum Poem” in The Wit to Know: Essays on English Renaissance Literature for Edward Tayler, edited by Eugene D Hill and William Kerrigan (2000) Her current book manuscript is entitled Uneasy Collaborations: Transforming Shakespeare across Time and Media Theodora A Jankowski is the author of Women in Power in the Early Modern Drama (1992) and Pure Resistance: Queer Virginity in the Early Modern English Drama (2000) She has written numerous articles on Shakespeare, John Lyly, Thomas Heywood, John Webster, Margaret Cavendish, and Andrew Marvell She is currently working on a project which argues for the use of “class” as a legitimate modality of analysis within early modern English literary texts and also explores the development, in Thomas Heywood’s plays, of a “middle-class” identity that is clearly set in contrast to gentry identity John Jowett is Reader in Shakespeare Studies at the Shakespeare Institute, University of Birmingham He edited plays for the Oxford Shakespeare Complete Works (1986), and is currently an Associate General Editor of the forthcoming Oxford edition of Thomas Middleton’s Collected Works Publications include Shakespeare Reshaped 1606–1623 (1993) with Gary Taylor, and the Oxford edition of Richard III (2000) x Notes on Contributors Coppélia Kahn is Professor of English at Brown University, and is the author of Man’s Estate: Masculine Identity in Shakespeare (1981) and Roman Shakespeare: Warriors, Wounds, and Women (1997) She has also written articles on Shakespeare, early modern drama, and gender theory Her current work deals with the racialized construction of Shakespeare in the early twentieth century Russ McDonald teaches at the University of North Carolina at Greensboro He is the author of The Bedford Companion to Shakespeare, has edited four plays in the New Pelican Shakespeare series, is at work on a critical study of Shakespeare’s late style, and is preparing a collection for Blackwell called Shakespeare Criticism, 1945–2000 Barbara A Mowat is the Director of Academic Programs at the Folger Shakespeare Library, Senior Editor of the Shakespeare Quarterly, and Chair of the Folger Institute She is co-editor, with Paul Werstine, of the New Folger Library Shakespeare and the author of The Dramaturgy of Shakespeare’s Romances and of essays on Shakespeare’s plays and on the editing of his plays Marion O’Connor teaches at the University of Kent at Canterbury She has published widely on dramatic revivals and theatrical reconstructions Richard Rambuss is Professor of English at Emory University He is the author of Spenser’s Secret Career and Closet Devotions His numerous essays in journals and edited volumes range from Renaissance literature to various topics in cultural studies and gender studies Julie Sanders is Reader in English at Keele University She is the author of Ben Jonson’s Theatrical Republics (1998) and Novel Shakespeare: Twentieth-Century Women Writers and Appropriation (2002) She is currently editing The New Inn for The Cambridge Edition of the Works of Ben Jonson Bruce R Smith is Professor of English at Georgetown University He is the author of Homosexual Desire in Shakespeare’s England: A Cultural Poetics (1991), The Acoustic World of Early Modern England (1999), and Shakespeare and Masculinity (2000) Barbara Howard Traister is Professor of English at Lehigh University She is the author of The Notorious Astrological Physician of London: Works and Days of Simon Forman and Heavenly Necromancers: The Magician in English Renaissance Drama Valerie Traub is Professor of English and Women’s Studies at the University of Michigan She is the author of Desire and Anxiety: Circulation of Sexuality in Shakespearean Drama and The Renaissance of Lesbianism in Early Modern England 468 Index Freud, Sigmund (cont’d) theory of anality 69, 79 Frye, Northrop 136, 195, 198 “A Funeral Elegy” 107 Galen Ganymede myth 246, 256 Gardiner, Stephen 369 Garrick, David 219, 220, 221, 237, 390, 391, 396–7, 398 Gascoigne, George 317 Gates, Sir Thomas 420 gender inversion crossdressing 95, 243, 251–2, 289, 290 Venus and Adonis 242, 243, 244, 246, 247, 251 gender passing 289–90 gender studies 36 genre theory family resemblance school 134–5, 137–8 metrical tests 129, 144 Shakespeare’s late plays 129–35 gentility, early modern notions of 69–70 geography the late plays 175–6 see also place and space Gervinus, G G 130 Gesta Romanorum 351 ghosts 379 Giacomo (Cymbeline) 97 Gielgud, Sir John 219, 227–8 “Giulio Romano” (The Winter’s Tale) 204, 385 Globe 50, 154, 155, 162, 169, 170, 220, 418, 419, 427 Golden Legend 136, 137, 138 Golding, Arthur, The XV Bookes of P Ouidius Naso 27, 37 Gondomar, Don Diego Sarmiento da Acuna, Count 79–80, 81, 82, 83, 84 Gonzalo (The Tempest) 120, 206, 213, 421 Gosson, Henry 350 Gosson, Stephen, The Schoole of Abuse 33–4, 37 Gouge, William 91 Gower, John 317, 349–50 Confessio Amantis 30, 179, 180, 182, 190–1, 351, 354, 356 Gower (Pericles) 118, 161, 181, 350, 352, 357, 358 Granville Barker, Harley 219 green sickness (lovesickness) 338–41 Greene, Robert 107 Greene’s Groatsworth of Wit 106–7, 119 Pandosto 138, 162, 177, 185, 186, 205, 359, 381 Griffin, Bartholomew 11 Griffin, Rose 335 Groom of the Stool 78, 79 Guarini, Giovanni Battista 140, 446 Gunpowder Plot 82, 217 Gyles, Nathaniel 415 Hall, Elizabeth 360 Hallam, Henry 19 Hamlet 46, 59, 60, 164, 178, 448, 458 Hampton Court 431 Harington, Sir John 70, 76, 437 Harrison, Stephen 196–7 Arches of Triumph 196–7 Hastings, Henry, earl of Huntingdon 456, 457 Hathaway, Anne 18 Hawkins, William 390, 397 Hazlitt, William 131, 144 Hector (Troilus and Cressida) 55, 56, 66, 309, 310 Hecuba 270, 273 Heine, Heinrich 54 Helena (All’s Well That Ends Well) 47–8, 49, 53, 59–60, 66, 83, 84, 85, 98, 99, 100, 101, 333–45 feelings of unworthiness 60 green sickness 338, 339, 340, 341 healing role 83, 333–4, 335–8, 341, 343, 344, 345 inward characterization 47–8, 49, 59–60, 62 Heliodorus 136 Henrietta Maria, Queen 452 Henry IV Part I 7, 55 Henry IV Part II 122, 338 Henry, Prince of Wales (son of James I) 198, 199, 200, 205, 208, 237, 357, 429, 432, 434, 454, 456 Henry V 176, 178, 307 Henry VI Part I 106 Henry VIII 328, 334, 366 Henry VIII 2, 109, 111, 132, 155, 226, 419, 427–42, 445, 456 carnivalesque 439 contentious power relations 437 equation of queens and favorites 428, 435, 436, 437, 438 fragmented structure 427, 430, 435, 436 Index interactive political worlds 427, 437, 440 language of execution and divorce 435–6, 437 performance history 440 sexual preoccupations 161, 162 Shakespeare–Fletcher collaboration 106, 110, 112–13, 153, 428, 434 sources 428 Tudor–Stuart referencing of place and name 432 see also individual characters Henslowe, Philip 52, 54, 111, 412, 413, 414, 415, 422, 423, 424 Herbert, William, earl of Pembroke 18 Hermione (The Winter’s Tale) 168, 187, 205, 211–12, 374, 375, 380 Herrick, Robert 166 Herring, Francis 336 Heywood, Thomas 50, 53, 423 If You Know Not Me, You Know Nobody, Or The Troubles of Queen Elizabeth 64, 65–6 Love’s Schoole: PVBLII OVIDII NASONIS DE ARTE AMANDI Or the Art of Love 30 The Four Prentices of London 51 Hippocrates 340 Historia Apollonii 351 Home, George, earl of Dunbar 433 Homer 32 Iliad 73 homoeroticism androgyny 243, 290 and Aristotle 13 cross-dressed boys 95, 243, 251–2, 289, 290 female homoeroticism 15 and heterosexual desire 253–4, 283, 286, 293–4, 295 homoerotics of warfare 303 and hunting 241, 254 male–male eroticism 13, 15, 18, 276 multiple understandings of same-sex desire 287, 290 in Ovid 256 and patriarchy 13 psychosexual narrative of male development 283 sonnets 14, 18, 20, 23, 275, 276, 277, 278, 279, 286–7, 288 Venus and Adonis 242, 246, 248, 251, 252, 255 homosexuality 22, 250, 276 and effeminacy 250 469 honor fragility of female honor 96, 97 masculine honor 262, 267, 268, 271 rape and 266, 267, 268, 269 virginity and 96 Hooker, Richard 316 Horace 54 Howard, Henry, earl of Northampton 433 Howard, Henry, earl of Surrey 30 Howard, Thomas, earl of Suffolk 436–7 Howell, Thomas 36 The Fable of Ovid tretting of Narcissus, translated out of Latin into English meter, with a moral therunto, very pleasaunte to rede 43 Hoy, Cyrus 108, 112, 172 Hubbard, William, The Tragicall and lamentable historie of Ceyx, Kynge of Trachine and Alcoine his wife 43 Hughes, Willie 21 human waste 78–9 humours, theory of hunting and homoeroticism 241, 254 hyper-masculine world 241, 245, 251 Two Noble Kinsmen 452 Venus and Adonis 241, 245, 251, 254 Hymen 103 Iachimo (Cymbeline) 161, 202–3 iconoclasm 40, 366–70 Elizabethan Homily Against Idolatry 368, 369 objections to images 367–8 iconomachy 365–83 images as objects of worship 367–8 images as similitudes 366, 368–9 images and women’s sexual seduction of men 384 images–witchcraft association 369–70 mechanical frauds 366–7 statue plays 370–80, 384 The Winter’s Tale 365–83 identity formation construction of difference 79, 292 cultural identity issues 390 group identity construction 79 problem plays and 53 sexuality and self-identity 6, 7, 15–16, 22, 24 Il Fedele 371, 385 Imogen (Cymbeline) 168, 202, 203, 209 470 Index incest 177, 179, 180 A King and No King 160, 161 late plays 161–2 Pericles 161, 182, 183, 201, 352, 353, 359 The Winter’s Tale 177, 183, 184, 359 inheritance 91, 102 blood kinship 330 primogeniture 102 Inns of Court 317, 328, 447 Ireland, William Henry 17 Isabella (Measure for Measure) 66, 98, 99–100, 317, 325–6, 328 Jailer’s Daughter (Two Noble Kinsmen) 448–9, 450, 452–3 James I 77, 120, 125, 126, 162, 164, 208, 217, 329, 357, 363, 397, 409, 432–3, 455, 458 absolutism 162, 326, 329 favorites 436–7 and Henry VIII 428 and Measure for Measure 329, 330 royal entry pageant (1604) 195, 196–7, 207 succession issue 209, 430, 431 jealousy 17, 183–4, 185, 210 Jewell, John, The Second Tome of Homilies 37 Johnson, Robert 121 Johnson, Samuel 16, 129–30 Jones, Inigo 198, 199, 200 Jonson, Ben 7, 20, 34, 51, 62, 83, 169, 196, 198, 451 The Alchemist 70, 176 ambivalent relations with the popular 77 Bartholomew Fair 77, 454 The Case is Altered 77 civic topography 176 coarse humor 77 critical of courtly pretense 48 Entertainment at Ashby 458 Entertainment at Highgate 458 Entertainment at Welbeck 458 Epigrams 76 Every Man In His Humour 54, 61 Every Man Out of His Humour 54 The Haddington Masque 206 Hymenaei 206, 208, 213 insistance on the unities 175–6 masques 121, 122, 200, 204, 208 Oberon, the Fairy Prince 200, 204, 208 Poetaster 29, 54 The Sad Shepherd 459 self-promotion 77 on Shakespeare 61, 62, 140, 175 Volpone 49, 176, 346 Julia (granddaughter of Emperor Augustus) Juliet (Measure for Measure) 98, 101 Julius Caesar 108 29 Katherine of Aragon (Henry VIII) 428, 430, 432, 433, 434, 435, 436, 437–8, 440 Katherine (The Taming of the Shrew) 96 Kean, Charles 222 Kean, Edmund 391 Kemble, Fanny 229 Kemble, John Philip 221, 391, 394 Kemp, Will 50 King John 360 King Lear 53, 116, 129, 164, 176, 181, 320, 349 King’s Men 50, 52, 54, 65, 66, 70, 77, 79, 112, 116, 120, 121, 142, 154, 155, 162, 169, 204, 349, 350, 365, 412, 419, 447, 455 Knight, Charles 129 Knollys, Lord 457 Kuhn, Hans Peter 235 La! Tempest! Ah! 228 Lacan, Jacques 24 Lacy, James 220 Lady Elizabeth’s Men 413 Lafeu (All’s Well That Ends Well) 59, 341 language allusion 117 attribution studies 108 borrowings 117 censorship 120, 124 conjecture and conditionality 323 images of appetite and disease 73 metaphoric and hyperexpressive 115 play of courtly language against plain speech 53 repertory language 51 satiric and reductive 115 scatalogical rhetoric 69–85 of social difference 60 of spectacle 201 Lanyer, Emilia 18 late plays 129–36 benevolent endings 142–3 biographical and theatrical influences 132 Eustace-type plots 136, 140 Index generic classifications 129–35 geographical interest 175–7 incest 161–2 intertextual relations with Beaumont and Fletcher 153, 155, 169 plot motifs 138–9 political readings 164–5, 209–13 problem of government 164 romance/tragicomedy dyad 131–43, 153, 194–5 self-consciousness 168 spatial and placial idiom 175–92 spectacle 194, 201–14 tonal ambiguity 168 see also Cymbeline; Pericles; The Tempest; The Winter’s Tale Latinity, presumed dangers of 31–2 Lavatch (All’s Well That Ends Well) 58, 339, 343 law 316 biblical attitudes toward divine and human law 316 common law courts 316 courts of Chancery 316 equity courts 316 Inns of Court 317, 328, 447 marriage contracts 90, 91, 104 and Measure for Measure 316–17 mobility of legal practice 320 question of intent 330 relationship between justice and mercy 316 transit between the proverbial and the legal 328 see also inheritance; mooting Law, Ernest 227, 234 Lawes, Henry 219 Legouais, Chrétien 41 Leontes (The Winter’s Tale) 161, 183–4, 185, 203–4, 210, 374–5, 376–7, 378, 380 Lepage, Robert 187, 231 lesbianism 293 Levine, Lawrence 224 Lewis, C S 28 Lillo, George, Marina 352 Linacre, Thomas 334 Lintott, Bernard 15 A Collection of Poems in Two Volumes Being All the Miscellanies of Mr William Shakespeare, Which Were Published by Himself in the Year 1609 15 literacy, presumed dangers of 32 471 Livy 263 location notes and lists of actors 122 The London Prodigal 107 Lord Chamberlain’s Men 50, 52, 54, 65, 79, 412 Lord Mayor’s Show 196, 205, 207 Love’s Labour’s Lost 7, 11, 15, 448 Lowin, John 205 Lucio (Measure for Measure) 98, 126 Lydgate, John The Recuyell of the Historyes of Troye 85 Troy Book 85 Lyly, John 107 The Woman in the Moon 370, 372 Macbeth 106, 123, 124, 129, 164, 349 Macdonnell, Patrick 229 Machiavelli, Niccolò, The Prince 317 MacKaye, Percy, Caliban by the Yellow Sands 224–6, 228, 237 Macready, William Charles 219, 221, 229, 391 maidenhead 93–4, 103 see also virginity male friendship 13 model for collaboration 113 transition to marital heterosexuality 283 Two Noble Kinsmen 446, 449, 450 in Venus and Adonis 242 Malone, Edward 16–17, 18, 19, 129, 144 Marian piety 39 Mariana (Measure for Measure) 100, 101, 126, 324, 338 Marina (Pericles) 183, 201, 355, 356, 357, 358, 359, 360, 361 Marlowe, Christopher 107 Amores translation 35, 37 “[Come] live with me and be my love” 11, 20 Hero and Leander 28, 36–7, 38, 156, 243 in Shakespeare in Love (film) 282, 283 Tamburlaine 176 marriage abandonment of wives 99 and chastity 261, 262 communal force of marriage contract 327 companionate marriage 89, 90, 92, 94, 97–8, 98–9, 101, 102 consummation 93, 97, 101 contractual understanding of 90, 91 control of female sexuality 264 counter-narratives of 94 472 Index marriage (cont’d ) couverture 102 cross-rank marriage 57, 139 de praesenti and de futuro contracts 104 dynastic marriage 90, 91, 94, 98–9 early modern marriage 94, 97–8, 100 economic considerations 90, 91, 101 and the emerging middle class 91, 92 interchangeability of women’s bodies 95 parental role 92, 342 patriarchal marriage 90, 99, 101 Protestant concept of 91, 92, 102 “true love” matches 90, 92, 97–8 widows 102 see also virginity Marston, John 51, 52, 317 The Malcontent 64 The Metamorphosis of Pigmalions Image 42 What You Will 51–2, 54 Martial 31 Mary I (Mary Tudor) 64 Mary Magdalene 135, 138 Mary Stuart, Queen of Scots 430 masculus amor (“masculine love”) 15 masques 120, 121, 194–204, 418, 441 aesthetics of masquing culture 458 anti-masques 131, 201, 204, 455, 457 aristocratic entertainments 456–7 boundary crossing between fiction and reality 197 court masques 131, 132, 199–200 nuptial masques 206, 208, 384, 456–8 politics of 207–9 propaganda purposes 207 significance to commercial theatre 446, 456 The Tempest 195, 201, 206, 217, 417, 418 The Winter’s Tale 186, 204 see also pageants Massinger, Philip 108, 154 mastery and bondage playhouse labor 410–11, 412, 413–15, 417, 420 slave labor 229, 420 The Tempest 410, 411, 419, 421–3 Mater Dolorosa 39–40 Maudlin (All’s Well That Ends Well) 343 Measure for Measure 62–6, 122, 124–6, 156, 316–17, 321–30, 446, 453 bed trick 90, 97, 99–101, 322, 323, 334 complex political perspective 53, 62–5, 125–6 deferrals and substitutions 322 dramatic mooting 318, 321–8 familial relationships 324 First Folio listing hypersexual and asexual characters 98 ideological perspective 62–3 implied ideology of community 328 inventiveness 66 and Jacobean absolutism 64, 65, 66 language of conjecture and conditionality 323 Middleton’s adaptation of 106, 124–6 pessimism 66 practice of proverbs 327–8 “problem play” 46 proliferation of pregnancies 324, 325 prostitution culture 98, 104, 325 reaffirmation of marriage 46, 317, 327 relationships to the law 316–17, 329 religious subtexts and biblical allusions 316, 329 rethinking of comedic genre 63 sexual profligacy 98, 325, 327, 334 textual history 329 see also individual characters medicine apothecaries 335 College of Physicians of London 334–5, 337, 345, 346 empirics 335, 336, 337, 345 erotic illnesses 340 fee bargaining 337 fistulas 81, 82, 83, 84, 86, 341, 345 licensed physicians 334, 335, 337 medical hierarchy 334 Melville, Herman, Billy Budd 255, 257 The Merchant of Venice 103, 252, 253–4, 256–7, 296, 438 Meres, Francis 35 Palladis Tamia, Wit’s Treasury 4–5, 6, 30 Metamorphoses (Ovid) 28, 31, 33, 36 challenge to Christianity 29 English publication 30 Golding’s translation 29–30 Protestant translators 30 series of epyllia 28 sexuality 5, 29 and Venus and Adonis 240–1, 242, 244, 254 Metamorphosis Ovidiana moraliter explanata 29 methodological individualism 304–5 Index middens 79 middle class 91 and marriage 91, 92 Middleton, Thomas 51, 52, 53 adaptation of Macbeth 106, 124 adaptation of Measure for Measure 106, 124–6 The Changeling (Middleton and Rowley) 89, 103 A Game at Chess 70, 78, 79–83, 370, 384 A Mad World My Masters 32–3 The Phoenix 64–5 The Puritan Widow 51, 52 Timon of Athens (Shakespeare–Middleton) 106, 107, 109, 110, 114–15 The Witch 124 A Yorkshire Tragedy 107, 112, 362 Miller, Jonathan 231, 235 Milton, John 18, 220 Paradise Lost 220 miracle plays 135–6, 187 Miranda (The Tempest) 235, 416 Missa Compassionis sive Lamentationis beatae Mariae Virginis 40 Mistress Overdone (Measure for Measure) 98, 325, 326 modernity 304 monarchy disguised ruler plays 64 plays of accession 64 see also court Montaigne, Michel Eyquem de 113–14, 120, 123 Essays 119 mooting 317–26 implied ideology of community 328 intellectual and imaginative properties 321 irresolution and contestation 318 “Jacob and Esau” case 319–20, 321 and Measure for Measure 318, 321–8 paternity concerns 320 and popular chronicle histories 319 recurring topic of pregnancy 320, 324 themes 321 threat to royal and parliamentary authority 328–9 More, Thomas 317 Morley, George mourning, excessive 361 “Mr W H.,” identity theories 12, 18, 21 Mucedorus 135, 139, 141–2, 146 473 Much Ado About Nothing 94, 95, 96, 283, 324 Munday, Anthony 196, 199, 205, 207 Chruso-thriambos 205 Fedele and Fortunio 370–2, 385 London’s Love to Royal Prince Henry 199 The Triumphes of Re-United Britannia 207–8 music All’s Well That Ends Well 58 The Tempest 121, 217, 417 music of the spheres 178, 202 Myrrha and Cinyras 247 mystères littéraires 28 myth, new skepticism about 42 Napoleonic invasion threat 221, 391, 393 Nashe, Thomas 20, 32, 38 Lenten Stuffe 38 nationalism 390–9 A Game at Chess (Middleton) 82 Cymbeline 209, 389, 390–9, 400–1, 403, 404 Protestant nationalism 30 New Criticism 23, 170, 278 new historicism 23, 170, 352, 409 New Shakspere Society 129 Newcastle, William Cavendish, earl of 458 news-sheets (“corantos”) 125–6 Nietzsche, Friedrich 73 Norden, John 431 Norton, Thomas 317 Osment, Philip, This Island’s Mine 231 Othello 96–7 Our Lady of Pity, feast of 41 Overbury, Thomas 441 Ovid 15, 27–30 aesthetic and pagan conception of 28 allegorical and didactic interpretations 29, 30 Amores Ars Amatoria 5, 29, 30, 34 erotic desire exile 29 Fasti 31 Heroides 30 homoeroticism 256 ironic distance 37 Marlowe’s neo-pagan reading of 37 medieval readership 30 Metamorphoses 5, 28, 34, 240–1, 242, 244, 254, 255 moral and aesthetic problematic 28, 30, 31 474 Index Ovid (cont’d) and the new secular–aesthetic 27, 28 Protestant prohibitions on 34–5 relation between rhetoric and 31 relation with orthodox religion 27–8 satirical and parodic approach to 42 socially disruptive potential of verse 30 Ovide moralisé 29 pagan goddess cults 39 paganism Christianizing of pagan images 41 relation with orthodox religion 27, 28, 33, 38 pageants 195 civic pageants 196–7, 198–9 emblematic art 195 politics of 207–9 propaganda purposes 207 royal entry pageant (1604) 195, 196–7, 207 triumphal arches 196–7 see also masques Painter, William 337, 342 Palace of Pleasures 83 Palamon (Two Noble Kinsmen) 449, 450, 453 Palgrave, Francis Turner, The Golden Treasury of the Best Songs and Lyrical Poems in the English Language 19–20 Pandarus (Troilus and Cressida) 56, 74, 313–14 Pander (Pericles) 358–9 Paracelsus 336 Paré, Ambroise 93 Parolles (All’s Well That Ends Well) 49, 58, 84, 338 Parr, Katherine 429, 434 Parsons, Robert, Resolutions by Religion 33 passion 5–6, 7, 8, 241 The Passionate Pilgrim 10–11, 13, 15 paternity 320 patriarchy feminist critique 294 and homoeroticism 13 patriarchal marriage 90, 99, 101 and The Rape of Lucrece 259, 271 patronage 78 literary patrons 120 Paulina (The Winter’s Tale) 204, 205, 376, 378–9, 380 Peake, Robert 431 Peele, George 107 The Old Wives Tale 135, 140 and Titus Adronicus 107–8 Peend, Thomas, The Pleasant fable of Hermaphroditus and Salmacis 43 Pembroke’s Men 414 Pepys, Samuel 220, 427 The Perambulation 383 Perdita (The Winter’s Tale) 377, 382 Pericles 2, 108, 112, 114, 179–83, 212, 338, 348–63 Apollonius story 179, 180, 181, 349, 362 collaboration with George Wilkins 106, 117–18, 349, 350, 354 conflict between demonic and idyllic worlds 201–2 cross-rank wooing 139 father-figures 353–4 feminist critique 352, 356, 358 gaps in plot and motivation 350, 352 generic placing 129, 130, 132–3 incest 161, 182, 183, 201, 352, 353, 359 indeterminate text 348, 350, 351 lost and recovered child motif 359 nature and nurture issue 356, 357 new historical criticism 352, 356 parental love 353, 356, 358, 359, 360 placial complex 179–83 playtexts 350–1 political reading 165, 212 proto-modern quality 180, 181, 182 psychoanalytic reading 352, 362 recognition scene 359 self-consciousness 168, 182 separated family plot 137, 138 setting 177 sexual preoccupations 161 sources 137, 161, 351 spectacle 201–2 stylometric analysis 348–9 theatricality 182, 183 see also individual characters Pericles (Pericles) 182, 202, 212, 350, 353–4, 355–6, 357, 359, 362 Pestell, Thomas 457 Petrarchan poetic conventions 13, 242 Petruccio (The Taming of the Shrew) 96 Philharmonus the Soothsayer (Cymbeline) 209, 210 Phillips, Robin 400, 401 Philomel 273 Philoten (Pericles) 357–8 Pippi, Giulio 385 Index place and space cartography 176, 189 civic topography 176 “exposure” and “return” 177–8, 181, 183, 184–5, 187 homing instinct 178 Jonson’s formulation 175 late plays 175–92 localization 186–7 moments of return 178, 179 Pericles 179–83 relation to the embodied self 177 sea symbolism 182–3 space (placelessness) 177 spatial anxiety 181 spatial economy of Cartesian physics 181 structured modality of place 177 The Tempest 187–90 The Winter’s Tale 183–7 “Placy Dacy, alias Saint Eustacy” 136, 138 plagiarism 119 plague 351, 361 Plato 33, 120 playhouses between-the-acts intervals 447 closures 220, 351, 361–2, 419 critique of law and government 63 five-act tradition 447, 451 institutional politics 62–3 lax regulation of 63 playhouse bonded labor 410–11, 412, 413–15, 417, 420 populuxe theatre 49, 50, 52, 58, 59, 61 “private” playhouses 51, 155, 169, 447 profanity forbidden 120, 124 “public” playhouses 169–70 sharers in theatre companies 414 theatrical illusion 411, 418–19 see also acting companies; audiences; Blackfriars; Globe playwrights contest for theatrical success 53 freelance dramatists 349 “private theatre” dramatists 51 satiric playwrights 54 uplifting of playwright to literary author 111 see also collaboration; playwriting playwriting actor contributions 116, 118 allusion and borrowings 117 author as originator 120 475 blurred boundary between authorship and staging 116 material conditions of playing 121 musical scores 121 narrative-based construction 54, 57 physical and intellectual contributions of others 119 relation with compositorial work 122 revision and adaptation practices 116 reworking of literary models 120 shaped by theatrical circumstances 110–11 see also collaboration; playwrights Poel, William 219, 223 Poems Written by Wil Shake-speare, Gent 14 poetry comic pathos 39 “hidden and divine” meanings 38 moralistic view of 34, 36 Protestant attacks on 34–5 secular amorous literary tradition 36 secular–aesthetic 35–6 urban and urbane 35 “war against poetry” 33–4 politics basis for dramatic conflict 162 and desire 163–4 issues 164 and the late plays 164–5 subjectivity 304, 306 succession and union issues 209, 211, 212 Polixenes (The Winter’s Tale) 184, 210, 211, 383 Pople, Cecilie 335 populuxe theatre 49, 50, 52, 58, 59, 61 Porter, W 394 postcolonialism Cymbeline 389, 399, 402–4 The Tempest 228, 230, 234, 409 Posthumus (Cymbeline) 97, 161, 203, 358, 396, 398, 401 postmodernism 171, 217–18, 234 Priam (Troilus and Cressida) 309 primogeniture 102 Prince Henry’s 429 Prince Henry’s Barriers 198, 208 printing of plays 122 Priory of St Mary, Worcester 367 problem plays generic designation 71 gloom and disillusion 71 and institutional identity formation 53 476 Index problem plays (cont’d) moral issues 90 radical experiments 46–7 in a relational grid 71 satire and raillery 84 see also All’s Well That Ends Well; Measure for Measure; Troilus and Cressida prophecy 370 Prospero (The Tempest) 162, 177, 178, 179, 187–9, 205–6, 212–13, 216, 218, 231, 415–16 conventional “blocking figure” 416 identification with Shakespeare and others 408, 409 narrative authority and verbal dominance 217–19 power/mastery 411, 421 renunciation of magic 419 “rough magic” 189, 213, 216, 236, 419 spatial mastery 188–9, 190 Prospero’s Books (Peter Greenaway) 217–18, 219, 228, 232–3, 234, 235 prostitution child prostitution 359 Measure for Measure 98, 104, 325 Protestantism 30, 316 attacks on poetry 34–5 and companionate marriage 91, 92, 102 eucharist 380 Protestant nationalism 30 state religion 30 Thirty-Nine Articles 30 proto-gay literature Billy Budd 255, 257 Venus and Adonis 252 proverbs 327–8, 330 Purcell, Henry 123, 219, 220 Puttenham, George 1, 272 Queen’s Men 349 queer cultural criticism 294 racial issues Cymbeline 402 The Tempest 228 rake-figure 16 Raleigh, Sir Walter 11, 103, 317 rank 47, 50 acting companies and 52 actors and 49–50 and All’s Well That Ends Well 60, 84–5 anti-courtly view of social hierarchy 51, 52 and class 48 cross-rank wooing and marriage 57, 139–40 early modern notions of gentility 69–70 languages of social difference 60 lower-rank attitudes toward the court 48 psychological dynamic 50 social binaries 70 rape 94, 260 consent criteria 260–1, 266, 272 crime against property 260 and male rivalry 263, 271 sexual pollution 268 The Rape of Lucrece 259–73 binaries 262 chastity within marriage and the Roman state 261–2, 271 and the complaint poem 269–70, 273 ekphrasis 270 images of hindrance 263 language of stain and moral fault 261 Livy’s account 263 Lucrece’s identification with Hecuba 270, 273 Lucrece’s suicide 266–9 Lucrece’s voice and agency 264, 265, 267, 272 male honor 262, 267, 268, 271 patriarchy and 259, 271 political dimensions 264, 269–71 “publishing” of Lucrece’s “shame” 260, 271 self-conscious rhetoric 260 sources 261, 263 syneciosis 263–4, 272 Tarquin’s coercion 267 violence of desire The Rare Triumphs of Love and Fortune 135, 136, 139, 141, 142 reading communities Reformation 37 religion Christian–pagan coexistence 27, 28, 33, 38 iconoclasm 366–70 matter of practice not belief 37 mystères littéraires 28 sacramental theology 380 see also Catholicism; Protestantism Reno, Janet 311–12 Reynolds, Frederic 221 Rice, John 199 Ristine, F H 133 Index Robin Hood myth 451, 455, 459 Rollo, Duke of Normandy (or, The Bloody Brother) 124 romance 130–1, 132, 133, 134, 135, 136, 195–6 ascent and descent motifs 198 “dramatic romance” 131, 135, 137, 138–9, 142, 143 early dramatized romances 135–6, 137, 140–1, 142 non-dramatic romance 136 and political issues 196, 209–13 reconciliation and reformation 445 romance/tragicomedy dyad 131–43, 153, 194–5 Shakespeare’s experiments with 142 Shakespeare’s late plays 131–43 and spectacle 195 Romeo and Juliet 16, 94, 250, 289, 338 Rowley, Samuel, When You See Me, You Know Me 428–9, 430, 434, 438 Rowley, William, The Changeling (Middleton and Rowley) 89, 103 Rudolf II 409 Sackville, Thomas 317 sacramental theology 380 Sadler, Mrs (empiric) 335 Salmacis and Hermaphroditus 247, 256 Salter, Thomas 32 same-sex attraction see homoeroticism Sandys, George, Ovids Metamorphosis Englished, Mythologiz’d, and Represented in Figures 30, 42 satiric drama Enlightenment satire 75 fashion of satirical ranting 54 follies of social types and languages 54 preoccupation with social problems 71 scatalogical satire 78, 79 Savonarola, Girolamo 33 Bonfire of the Vanities 35 scatology 69–86 A Game at Chess (Middleton) 70, 79–83 The Alchemist 70, 75–9 ambivalent relation to 69–70 preoccupation with doubling devices 70 Troilus and Cressida 69, 70, 72–5 Scheie, Danny 403, 404 Scot, Reginald, The Discoverie of Witchcraft 369, 370 477 sea symbolism 182–3 secular–aesthetic 27, 28, 35, 41, 42 secularization 36 Seneca 117 sexual pollution 177–8 adultery 177 rape 268 sexual preoccupations audiences’ taste for 162 Beaumont and Fletcher 156–62 imagined sexual perfidy 161 incest see incest occurrence of word “sex” in Shakespeare’s plays public taste for erotic poetry 156 sexuality aggressive female sexuality 246, 247 as cultural construct 23, 24 disarticulation and realignment 295 earliest recorded application of the word emergence as knowledge domain 17 historical construct and identity-formation 6, 7, 15–16, 22, 24 interarticulation of sequence and 280, 288, 292, 293, 294, 295 lesbianism 293 male sexuality and social disruption 325, 327 marriage and control of female sexuality 264 medical concept Metamorphoses (Ovid) passion 5–6, 7, psychological concept and shame 265 sonnets and 11, 17, 19, 20, 22, 23, 279 see also homoeroticism Seymour, Jane 429, 430 Seymour, Sir William 456 Shadwell, Thomas 123, 219, 220 Shake-speare’s Sonnets Never Before Imprinted 5, 8, 11–12 Shakespeare, Edmund 349, 350, 361 Shakespeare, Hamnet 360, 361 Shakespeare, William apparent obsession with royalty 59 bardolatry 154, 170, 219 collaboration 106–27 construction as “national poet” 18, 221 dramatic innovations 47, 53, 57 engagement with literary and dramatic traditions 46 478 Index Shakespeare, William (cont’d) family bereavements 360–1 first reference as a playwright 106–7 ideological complexity 53 imputed sexuality 17, 21, 23, 276, 277, 279 Ovidianism 42 plagiarism 119 political plays 164–5 populuxe art 59 retirement 419 sharer in theatrical companies 169, 412, 414 violation of the unities 61 see also individual play titles Shakespeare Hall, Susanna 360, 361 Shakespeare in Love (film) 4, 276, 279–84, 288–92, 293–4, 295 Shakespeare in Love: The Love Poetry of William Shakespeare Shaw, George Bernard, Cymbeline Refinished 402 Shelley, Percy Bysshe 19, 20 Shoreditch 50 Siddons, Sarah 391, 394 Sidney, Mary, Countess of Pembroke 458 Sidney, Sir Philip 1, 7, 20, 36 Arcadia 135, 157, 454 attack on drama 142, 175 Sidney, Robert 357 Simonides (Pericles) 356 Sir Gawain and the Green Knight 195 Sir Thomas More 106 slave labor 420 social binaries 70 society hierarchical organic conception of 48, 51 Shakespeare’s political perspective on 58 see also class; court; rank sodomy 14, 248 prosecutions for 16, 19 sonnets and 17 woman-as-sodomite 285 soliloquies 61 in Dekker’s plays 59 inward life 46–8 sharing a world view 61 Sonnet 14 Sonnet 8, 9–10, 13, 14 Sonnet 14 Sonnet 13 Sonnet 18 20, 284, 286, 287, 288, 291, 294 Sonnet 20 5–6, 12, 13, 15, 16, 18, 293 Sonnet 27 12, 15 Sonnet 28 12, 15 Sonnet 29 15 Sonnet 30 15 Sonnet 31 15 Sonnet 32 13, 15, 17 Sonnet 33 14 Sonnet 41 292 Sonnet 42 113, 292 Sonnet 64 20 Sonnet 65 20 Sonnet 66 20 Sonnet 71 20 Sonnet 99 14 Sonnet 104 14 Sonnet 105 285 Sonnet 106 13–14, 20, 24 Sonnet 116 13 Sonnet 126 12 Sonnet 128 8, 13 Sonnet 129 286 Sonnet 133 24, 292 Sonnet 134 292 Sonnet 135 281 Sonnet 136 281 Sonnet 138 11, 13, 14, 285 Sonnet 140 14 Sonnet 144 6, 11, 13, 14, 23, 24 Sonnet 146 20 Sonnet 148 20 Sonnet 154 14 sonnets 4–25, 275–98 1609 Quarto 11–12, 13–14 asymmetry of identifications 288 Benson’s edition (1640) 14–15 biographical issues 17, 18, 276, 277, 278, 279, 296 “bisexual” poems 12, 14, 22, 288 circulation copying of deconstructionist readings 23–4 earliest recorded reference 4–5 first appearance in print 10–11 generic titles 14 groupings 12 homoeroticism 14, 18, 20, 23, 275, 276, 277, 278, 279, 286–7, 288 insistent “I” 18, 23, 24, 277, 278 male-to-female eroticism 14 Malone’s edition (1783) 16–18 manuscript culture 7, 9–10, 13 misogyny 284, 285 Index new historicist studies 23 pastoral dream world 11 procreation sequence (1–18) 287, 288 read in sequence 12 reception history 4–25 repetition and wordplay 281 seduction devices sexual cynicism 13 sexual history 11, 17, 19, 20, 22, 23 sexuality of the sequence 279 “sugared” 5, 6–7 tension between the visual and verbal 24 textual indeterminacy 278, 279, 280, 286 to the “man right fair” 9–10, 12–13, 23, 24, 278, 287 to the “woman colored ill” (dark lady) 12, 13, 18, 22, 23, 24, 278, 284, 285, 286 Venus and Adonis sonnets 11 South Park (television sitcom) 69 Southampton, earl of see Wriothesley, Henry, earl of Southampton spectacle 194–214 display and purpose 194 narrative and political purpose 201 Pericles 201–2 and romance conventions 195 Shakespeare’s late plays 194, 201–14 supernatural 195 The Tempest 194, 206, 217, 221, 222–3, 224 textual quality 201 see also masques; pageants Spedding, James 112 Spenser, Edmund Epithalamion 10, 103 The Faerie Queene 30 spiritus Stabat Mater dolorosa 41 stage directions The Tempest 121–2 Victorian drama 144 Stanley, Elizabeth, countess of Huntingdon 458, 459 Stationers’ Register 113, 351 statue plays 370–80, 384 Stead, W T 230 Steevens, George 16, 17, 19 Stephano (The Tempest) 235–6, 416, 421 Stockwood, John 31 Stone, Nicholas 385 Strachey, Lytton 131 Strachey, William 419 479 For the Colony in Virginea Britannia Lawes Divine, Morall, and Martiall 420–1 “True Repertory of the Wracke” 420 Strehler, Giorgio 234, 235, 236 Stubbes, Philip 33 Suckling, Sir John 317 Brennoralt 14 suicide Lucrece 266–9 Orthodox Christian thought 266 Roman ethos 266, 267–8 supernatural 195 Swan playhouse 414 Swift, Jonathan, Gulliver’s Travels 369 syneciosis 263–4, 272 The Taming of the Shrew 53, 61, 63, 94, 96 Taylor, John, Great Britain All in Black 429 The Tempest 119–23, 155, 187–90, 205–6, 212–13, 216–38, 362, 408–24, 456 allegorical reading 216 aspirational quality 123 author-centered readings 120, 217, 218, 223, 408–9 benevolent ending 143 burlesques and satires on 228 class and 236 colonial and postcolonial readings 228, 229, 230–1, 234, 408–24 courtliness 122 cross-rank wooing 139 Eustace-like story 138 experimental versions 227 filmed performance 217–18, 219, 223–4, 228, 232–4 First Folio listing 2, 122, 130, 217, 237 generic placing 129, 130, 132–3 geographical and historical referentiality 120 golden age topos 119, 183 imprint of royal ideology 120 kinetic energy 216, 218, 222 localized significations 409, 411 location note and list of actors 122 masque-like qualities 120, 121–2, 123, 227 mastery and bondage 410, 411, 419, 421–3 mercy and repayment 422, 423 multiple exposures 187 musicality 121, 217, 417 non-authorial cultural materials 120, 122–3 novelistic spin-offs 231, 238 480 Index The Tempest (cont’d ) nuptial masque 195, 201, 206, 217, 417, 418 operatic versions 123, 220, 221 in performance 120, 121, 216–38, 419 placial complex 187–90 political issues 164–5, 212–13, 217, 230, 231–2 postmodern Tempests 217–18, 234 reliance on the unities 194 Restoration adaptation 123, 218–19, 220–1, 423 self-consciousness 168, 205 sexual preoccupations 161, 177–8 sociotextual history 119 spectacle 194, 206, 217, 221, 222–3, 224 stage directions 121–2 tension between the self and spatiality 187–8 theatrical illusion 411, 418–19, 422 theatrical subtext 410, 411, 412, 413–14, 415–19, 423 see also individual characters The Tempest (Derek Jarman) 218, 232–4, 235 Tempest (Paul Mazursky) 232–3, 234, 235 Tennyson, Alfred, Lord 19 Thaisa (Pericles) 359 theatre see acting companies; playhouses; playwrights; playwriting theatrical illusion 411, 418–19 Theobald, Lewis, The Double Falsehood 124 Thersites (Troilus and Cressida) 15, 55, 56, 69, 72, 73, 74, 75 Third Folio (1664) 112 Thirty Years War 125–6, 455 Thorndike, Ashley H 132, 154 Thorpe, Thomas 11, 12 and “M[aste]r W H.” 12, 18 Time (The Winter’s Tale) 168, 204, 451 Timon of Athens 113, 122, 164 collaboration with Middleton 106, 107, 109, 110, 114–15 Tipton, Jennifer 235, 236 Titus Andronicus 106 possibility of Peele’s collaboration 107–8 Todi, Jacopone da 41 tragicomedy 132, 133, 134, 135, 140, 153, 157, 170, 171 Beaumont and Fletcher 152, 153, 157 early forms of 142 interest in margins 446 Italianate tragicomedy 142, 143, 169 masque-like elements 446 romance/tragicomedy dyad 131–43, 153, 194–5 Shakespeare’s late accommodation with 153, 164, 446 travel–travail motif 177–8 Tree, Herbert Beerbohm 223, 224, 229, 230 Trinculo (The Tempest) 235–6, 416 Troilus and Cressida 2, 15, 53–7, 72–5, 114, 226, 303, 306–14 carnivalesque motifs 75 cynical essentialism 306, 307, 308–9, 310, 311 de-idealizing discourse 303 debate on “value” 309–11 display of social types 54 doubling devices 72, 73, 74, 78 eventual emergence of tragic narrative 56 gentility and baseness 70 images of appetite and disease 73, 304, 313 inventiveness 66 language and genre 53, 54–7 nihilism 306 pairing and opposition 70 pessimism 66 physicality 73 “problem play” 46 retrospective parody 55 rhetoric of desire 313, 314 romance motif 303 satirical ranting 54 scatalogical impulse 69, 70, 72–5 self-referentiality 303 social discrimination 74 suspension of narrative progress 55 textual and performance history 85, 86 see also individual characters Troilus (Troilus and Cressida) 55, 56, 307–8, 309–10, 311, 313 True Lawes of Free Monarchies 329 Twelfth Night 53, 243, 252, 284, 289, 296, 360 Twine, Laurence, Pattern of Painefull Adventures 351, 354, 356, 359 The Two Gentlemen of Verona 95, 113, 114, 122, 448, 451 Two Noble Kinsmen 2, 112, 155, 358, 445–59 binaries and dualisms 449–50 carnival elements 452 chivalric romance context 456 Index collaboration with John Fletcher 106, 107, 113, 153, 419 Greek theatrical conventions 449 hunting topos 452 images of water and horses 453 invaded spaces and interrupted rituals 454 language of flowers 453, 458 male friendship 446, 449, 450 masque aesthetics 456, 458 mixed generic structure 447–51 mixed messages 447 offstage events and contexts 449, 454–9 performance history 459 precarious sense of closure 451 sources 445, 450, 451, 454 spatial aesthetics 451–4 subplot 450, 454 time compression 450, 451 topical allusions 446 tragicomic architecture 445, 459 uneasy proximity of weddings and funerals 448, 454 see also individual characters tyranny 163, 164 Ulysses (Troilus and Cressida) 55, 311, 312 Underdown, Thomas, Invective against Ibis 43 Urban, Charles 223 The Vampyre 131 Venus and Adonis 11, 28, 36, 156, 240–57, 260 Adonis’ anti-venerian discourse 241, 242, 244, 249, 250–1, 253 androgyny 243 anti-heterosexuality 253, 254 emphasis on female power 39 homoeroticism 242, 246, 248, 251, 252, 255 hyper-masculinity 242 lyric meditation on conditions of desire 244 masculine poetic texture 242 Ovidian dimensions and sources 28, 34, 240, 241, 242, 244, 254 popularity 240 pre-Reformation resonances 40–1 proto-gay reading 252 rhetorical brilliance 240 role reversal and gender inversion 242, 243, 244, 246, 247, 251 secular amorous literary tradition 36 transposition of Petrarchan conventions 242 481 Venus as figure of comic femininity 39, 242 Venus as Mater Dolorosa 39–40 violence of desire 5, 242, 245–6, 247 wild boar mythography 241–2, 248, 249, 250, 255 Vespucci, Amerigo 120 vestal virgins 262, 263 Victorian biographical criticism 46 Villiers, George, duke of Buckingham 435, 436, 441 Vincentio (Measure for Measure) 64, 65 Virgil 30, 32, 123 Aeneid 10, 120, 123, 270 Virginia Company 419 virginity 89, 92 and All’s Well That Ends Well 100 bleeding hymen 92, 93, 96, 97, 100, 101 Catholic glorification of 91 commodification of 49 consequences attendant upon loss of 89, 96 defloration 92, 94, 96, 97, 101 fetishization of the hymen 89, 90 intactness 92, 96 loss of, and social death 96 maidenhead 93–4, 103 and Measure for Measure 98 pre-marital bleeding 93 Roman ethos 262 see also bed tricks von Nettisheim, Cornelius Agrippa 91 Voragine, Jacobus de 138 wager plot 168 Warner, Marina, Indigo 231 Webb, William 31 wetnursing 356 Whitehall 220, 431 Whitney, Isabella, Her Will to London 181 widows 102 wild boar mythography 241–2, 248, 249, 250, 255 Wilde, Oscar arraignment for gross indecency 21, 22 “The Portrait of Mr W H.” 21–2 Wilkins, George collaboration in Pericles 106, 117–18, 349, 350, 354 The history of Iustine 362 Law Tricks 362 The Miseries of Enforced Marriage 117, 349, 350, 362 482 Wilkins, George (cont’d ) The Painfull Adventures of Pericles Prince of Tyre 117, 118, 351, 356 Three Miseries of Barbary 362 The Travails of Three English Brothers 362 Wilson, John 121 Wilson, Woodrow 225–6 The Winter’s Tale 155, 183–7, 203–5, 210–12, 359, 365–85, 446, 451, 456, 458 adultery-anxiety 183–4 benevolent ending 143 cross-rank wooing 139 Eustace-like story 138 First Folio listing 2, 130 focus on surfaces 185, 187 generic placing 129, 130, 132–3 iconomachy 365–83 incest motif 177, 183, 184, 359 localization 186–7 lost and recovered child motif 360 masque element 186, 204 performance history 365 placial complex 183–7 political readings 165, 210–12 problem of the bear 186, 382 separated family plot 138 sexual preoccupations 161, 162, 177 “Sicilia” and “Bohemia” 185–6 sources 138, 162, 177, 205, 381 spectacle 203–5, 211 statue scene 187, 205, 211–12, 374–80 supernatural 203–4 theatrical self-consciousness 168, 185, 186 visual signification 381–2 see also individual characters Index witchcraft 96, 369–70, 377, 378 Wither, George 34 Wittgenstein, Ludwig 134, 137 Wolfe, George C 232, 235 Wolsey, Thomas (Henry VIII) 431–2, 433, 437–8 women aggressive female sexuality 247 association with flowers 453, 458 as chattels 90 female homoeroticism 15 femes covert 90, 320, 350 interchangeability of women’s bodies 95, 97, 100 as “leaky vessels” 81 lesbianism 293 reading habits 32–3 reduction to a hymen 101 stage heroines 452 widows 102 women–pregnancy association 320 see also chastity; marriage; virginity Woodhouse, Mrs (empiric) 335 Wooer (Two Noble Kinsmen) 452–3 Woolf, Virginia, Orlando 289 Worde, Wynkyn de, The flores of Ovide de arte amandi with theyr englysshe afore them 30–1 Wordsworth, William, “Scorn not the sonnet” 18 world upside-down trope 75 World War I 225–6 Wotton, Sir Henry 427 Wriothesley, Henry, earl of Southampton 5, 18, 240, 257 Wroth, Lady Mary 458 ... Culture A Companion to Shakespeare A Companion to the Gothic A Feminist Companion to Shakespeare A Companion to Chaucer A Companion to English Literature from Milton to Blake A Companion to English... Renaissance Literature and Culture A Companion to Milton A Companion to Twentieth-Century Poetry A Companion to Anglo-Saxon Literature 12 13 14 15 A Companion to Restoration Drama A Companion to. .. William B Thesing A Companion to Shakespeare’s Works 17 A Companion to Shakespeare’s Works, Volume I: The Tragedies 18 A Companion to Shakespeare’s Works, Volume II: The Histories 19 A Companion to