This examination of the relation between law and drama in Renaissance England establishes the diversity of their dialogue, encompassing critique and complicity, comment and analogy, but argues that the way in which drama addresses legal problems and dilemmas is nevertheless distinctive. As the resemblance between law and theatre concerns their formal structures rather than their methods and aims, an interdisciplinary approach must be alive to distinctions as well as affinities. Alert to issues of representation without losing sight of a lived culture of litigation, this study primarily focuses on early modern implications of the connection between legal and dramatic evidence, but expands to address a wider range of issues which stretch the representational capacities of both courtroom and theatre. The book does not shy away from drama's composite vision of legal realities but engages with the fictionality itself as significant, and negotiates the methodological challenges it posits.

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Law and representation in early modern drama

Introduction: rhetorics and records Part I. Change: 1. Troubled times 2. Mapping troubles 3. Streets Part II. Crime: 4. Crime: worlds 5. Crime: words Part III. Control: 6. Court days 7. Bodies 8. Policing: people and policy 9. Policing: night battles 10. Policing: process and prosecution 11. Policing: knowledge Conclusion.

Lost Londons: Change, Crime, and Control in the Capital City, 1550-1660

London twas thou that didst thy Prince betray And could thy sable vent no other way. Fragment of anonymous elegy on Charles I, Cardiff Central Library, ms 1.482, fo. 33v Contexts and conditions As Chapter 21 in this volume demonstrates, the civil crisis of the mid-century was one that embraced three kingdoms and a principality. It drew England into several armed conflicts with other west European states: most significantly, that other maritime and Protestant power, the United Provinces. Additionally, the literary consequences of the war of the three kingdoms, and the First Dutch War (1652–4), were felt in the English language used in the provinces, in Scotland, Ireland and Wales, in the Celtic language cultures of these places, and in Dutch literature. London, however, was at the heart of the Civil War, and understanding its unique role is one of the keys to understanding the nature of the English Revolution and the literary innovations of these years. London was important not merely because it was the capital city of the nation, the major centre of population and of commerce. It was also near the places where government occurred and where the theatre of state played itself out. London’s peculiar urban culture gave the capital a life of its own. We might more accurately say, a set of lives, since in the twenty years of Civil War, revolution and experimentation with non-monarchical forms of government, various forces would emerge from London culture and have a decisive effect on the turn of events in the nation at large.

Literature and London

The most neglected of the English Renaissance playwrights are the major Carolines--Philip Massinger, John Ford, James Shirley, and Richard Brome. Writing in the 1620s and 1630s, always in the shadow of their great precursors, Shakespeare and Jonson, they have often been dubbed mere purveyors of slick, escapist sensationalism who avoided the great issues of their day and turned away from the impending breakdown of English society. Ira Clark's revisionist book shows us these dramatists and their time whole, particularly through analysis of their treatment of sociopolitical issues--issues that find echoes in twentieth-century concerns. For each of these playwrights, Clark sketches his known social circle, describes characteristic social and political stances and dramatic techniques, and provides a detailed reading of an exemplary play. In considering their artistry, he notes their variations on traditional dramatic characters, situations, and styles. Where their predecessors had offered deep psychological portrayals, the Carolines, he finds, present characters whose roles grow out of their social relations. The issues they engage range from the sovereignty of King or Parliament and the criteria for social mobility to parental dominion and the rights of women and children. Their presentations range from conservatism--Ford's distilled and Shirley's playful--through Massinger's accommodation, to Brome's extemporaneous experimentation. The Carolines' theatrical world, Clark argues, is accessible to modern readers through the social theories of our time, which depend on their "world as a stage" trope for such concepts as symbolic interactionism and the ritual inculcation of social cohesion.This important book sheds new light on both the artistic and the political climate of seventeenth-century England.

Professional Playwrights: Massinger, Ford, Shirley and Brome

For one hundred years the drama of Shakespeare's contemporaries has been consistently represented in anthologies, edited texts, and the critical tradition by a familiar group of about two dozen plays running from Kyd's Spanish Tragedy to Ford's 'Tis Pity She's a Whore by way of Dekker, Jonson, Middleton and Webster. How was this canon created, and what ideological and institutional functions does it serve? What preceded it, and is it possible for it to become something else? Jeremy Lopez takes up these questions by tracing a history of anthologies of 'non-Shakespearean' drama from Robert Dodsley's Select Collection of Old Plays (1744) through those recently published by Blackwell, Norton, and Routledge. Containing dozens of short, provocative readings of unfamiliar plays, this book will benefit those who seek a broader sense of the period's dazzling array of forms.

Constructing the Canon of Early Modern Drama

Volume 1: 478 p., plate, facsimiles, music example. Volume 2: 386 p., facsimiles. Volume 3: 494 p., plates, facsimiles, music example. Volume 4: 430 p., facsimiles. Volume 5: 374 p.

The plays and poems of Philip Massinger

Three Turk plays from early modern England : Selimus, A Christian turned Turk, and The renegado

Sir John van Olden Barnavelt

Play script, including biographical notes, textual details, and information about the staging of the play.

A New Way to Pay Old Debts

A scholarly edition of fourteen plays which have been ascribed to William Shakespeare. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

/pdf/the-shakespeare-apocrypha-being-a-collection-of-fourteen-58cd55gred.pdf

The Shakespeare Apocrypha: Being a Collection of Fourteen Plays which have been Ascribed to Shakespeare: Being a Collection of Fourteen Plays which have been Ascribed to Shakespeare

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Philip Massinger

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