Introduction 1. Seeing double: collaboration and the interpretation of Renaissance drama 2. Between gentlemen: homoeroticism, collaboration, and the discourse of friendship 3. Representing authority: patriarchalism, absolutism, and the author on stage 4. Reproducing works: dramatic quartos and folios in the seventeenth century 5. Mistris Corrivall: Margaret Cavendish's dramatic production Notes Bibliography Index.

Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama: reprinted in Reconceiving the Renaissance: a critical reader

This thesis examines the functions of music in the extant repertory of a single playing company, the Admiral’s Men, at their primary venues between 1594 and 1621 Music’s effectiveness as a theatrical tool depends upon the presence of an audience willing and able to be affected by it The mimetic relationship between representation in the playhouse and musical practices in the non-dramatic world allows that ability This thesis traces the dissemination of musical behaviors and ideas to potential playgoers and offers a critical analysis of the evidence of musical performance and discourse in the repertory Contrary to the long-standing reputation of the company as appealing primarily to a rough and rowdy audience (particularly at the first Fortune), the use of music throughout the repertory suggests the continuous presence of a socially diverse and musically literate body of theatrical patrons

'Govern'd by stops, Aw'd by dividing notes' : the functions of music in the extant repertory of the Admiral's Men 1594-1621

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Domesticating the citizen : household authority, the merchant class family and the early modern stage

Hamlet is a characteristic intellectual more inclined to lecture actors about their craft than listen to them, and is a precursor of Enlightenment figures like Diderot and Lessing. This book is a quest for the voice of early professional actors, drawing on English, French and other European sources to distinguish the methods of professionals from the theories of intellectual amateurs. David Wiles challenges the orthodoxy that all serious discussion of acting began with Stanislavski, and outlines the comprehensive but fluid classical system of acting which was for some three hundred years its predecessor. He reveals premodern acting as a branch of rhetoric, which took from antiquity a vocabulary for conversations about the relationship of mind and body, inside and outside, voice and movement. Wiles demonstrates that Roman rhetoric provided the bones of both a resilient theatrical system and a physical art that retains its relevance for the post-Stanislavskian performer.

The Players' Advice to Hamlet: The Rhetorical Acting Method from the Renaissance to the Enlightenment

Ranging from the works of Shakespeare, Spenser, Jonson and Milton to those of Robert Southwell and Anna Trapnel, this groundbreaking study explores the conscious use of archaic style by the poets and dramatists between 1590 and 1674. It focuses on the wide-ranging, complex and self-conscious uses of archaic linguistic and poetic style, analysing the uses to which writers put literary style in order to re-embody and reshape the past. Munro brings together scholarly conversations on temporality, memory and historiography, on the relationships between medieval and early modern literary cultures, on the workings of dramatic and poetic style, and on national history and identity. Neither pure anachronism nor pure nostalgia, the attempts of writers to reconstruct outmoded styles within their own works reveal a largely untold story about the workings of literary influence and tradition, the interactions between past and present, and the uncertain contours of English nationhood.

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Archaic Style in English Literature, 1590–1674

Lust's Dominion; or, the Lascivious Queen: Authorship, Date, and Revision

The playwriting practices of the Children of the King's Revels at Whitefriars were highly interactive and frequently collaborative. Yet the prologues of three of their plays show an uncontextualized use of the authorial "he." This usage has no contemporary match elsewhere. What might account for this paradox? The ethos of the children's companies may offer a partial explanation, as may the examples of Ben Jonson and of John MarstonNbut not a full one. This odd and thrice-offered designation of the writer suggests that an authorial sense of self-importance was more prominent among Renaissance dramatists than is often thought.

Authorship, Indebtedness, and the Children of the King's Revels

Contents: The war of the theatres and the virtues of conjecture Love's Martyr, the 'vatum chorus', and speculative attribution John Weever and 'Horace merit' Why did What You Will appear in 1607? The Insatiate Countess: emulation, appropriation and cuckoldry The Family of Love and John Marston The Family of Love and the 'poets' war' Malvolio, Marston and Frederick Fleay Afterword Bibliography Index.

Marston, Rivalry, Rapprochement, and Jonson

Hamlet: Date and Early Afterlife

This essay examines the activity through which the appropriations of William Bark­sted’s Hiren, the Fair Greek entered the dialogue of The Insatiate Countess. The essay argues that Hiren is a more substantial source for The Insatiate Countess than has been supposed, that The Dumb Knight and The Turk also draw from Hiren, and that Barksted’s narrative verse displays a tendency to use phrases previously deployed by John Marston. The essay considers the implications of these claims and suggests that one explanation for the striking verse register of The Insatiate Countess is that it features Marstonian diction shorn of Marstonian self-consciousness.

https://jps.library.utoronto.ca/index.php/eth/article/download/32781/25147

Charles Cathcart

Papers

Lust's Dominion; or, the Lascivious Queen: Authorship, Date, and Revision

Authorship, Indebtedness, and the Children of the King's Revels

Marston, Rivalry, Rapprochement, and Jonson

Hamlet: Date and Early Afterlife

The Insatiate Countess, William Barksted’s Hiren, the Fair Greek, and the Children of the King’s Revels