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The twenty-eight essays of this collection, first published in 1962, are the work of distinguished British, Canadian, and American scholars. The essays range widely over the field of Elizabethan drama, concentrating attention on Shakespeare and Marlowe but not neglecting earlier dramatists such as Kyd and Greene or later ones such as Heywood and Massinger. Among the general topics treated are the staging of the interludes, intrigue in Elizabethan tragedy, and Jacobean stage pastoralism. This title will be of interest to students of English literature.
This ground breaking and accessible study explores the connections between the English Reformation's impact on the belief in eternal salvation and how it affected ways of believing in the plays of Shakespeare. Claire McEachern examines the new and better faith that Protestantism imagined for itself, a faith in which scepticism did not erode belief, but worked to substantiate it in ways that were both affectively positive and empirically positivist. Concluding with in-depth readings of Richard II, King Lear and The Tempest, the book represents a markedly fresh intervention in the topic of Shakespeare and religion. With great originality, McEachern argues that the English reception of the Calvinist imperative to 'know with' God allowed the very nature of literary involvement to change, transforming feeling for a character into feeling with one.
This project takes the human body and the bodily senses as joints that articulate new kinds of connections between church and theatre and overturns a longstanding notion about theatrical phenomenology in this period.
"As the poetics is based on the texts (not derived by deduction or theoretical extension from some principle of poetics), so it is applied as a tool of analysis to the texts and used in conjunction with evaluation. The underlying assumption is that the task of poetics is instrumental, and that its usefulness has to be demonstrated and verified in practice. Hence, the division of the book into two parts. As Part I formulates a poetics on the basis of the texts, so Part II applies the poetics to the major texts - always within the dynamics of the multiple-plot and multi-layered perspective on a play. Part II focuses in detail on The Merry Wives of Windsor, The Merchant of Venice, and Twelfth Night, analyzing the agons and placing them in relation to the comedy of love and the perspective of folly."--Jacket.
This study explores the structure of psychological, social and political exchanges that were negotiated between audiences and plays in Elizabethan public theatres in a period ostensibly dominated by Shakespeare, but strongly rooted in Marlowe.