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In This Index Shakespeare's Plays Are Entered Under Their Titles, As Are

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Index In this index Shakespeare’s plays are entered under their titles, as are anonymous works. All other publications are entered under their authors. Act of the Six Articles, 1539 68, 69, in Richard II 4–5, 39–41, 42, 43–7, 71, 72 49–50, 55–6 Acte to Restraine Abuses of Players, Arminianism 178 1606 119 As You Like It adultery see sexual fidelity/infidelity Catholic themes 7, 154–5, 160, affective technologies 111, 112–13, 161–2, 173n43 114, 116–17, 118, 120, 121, 125, festivals/festivity in 7, 154, 162, 127 164–5, 168–9, 194n31 see also audiences/audience hospitality depicted in 160–1 reaction; material technologies hunting depicted in 164, 165 Agamben, Giorgio 210–11, 246 marriage depicted in 166–7 Allen, Robert: A Treatise of Christian as a pastoral 162–3, 165, 166, 169, Beneficence 160 170 Anderson, Judith 149n36 religious debate in 165–6 anger/violence sources: Thomas Lodge: Rosalynde in Hamlet 182, 183, 185–7 163, 173n37; Robin Hood in Reformation discourse 179–80, plays/games 159–60, 161–2, 164 192, 193n12 subject matter/themes 7, 159–62, 164–70 antitheatrical writings 119, 120, wrestling depicted in 160, 162, 153–4, 155–6, 170, 219, 255 165 against Corpus Christi plays 225–6 Ascham, Roger 64, 70, 75 Marprelate texts as 165–6 Ashton, Abdy 53–4 Antony and Cleopatra 244, 250 Ashton, John 139 apocalyptic visions 67 Ashton, Margaret 140 Appleyard, Sir John, his pro-Catholic Asquith, Claire 11n9, 239–40 uprising, 1570 96–7, 107n28 atheism 229 Arianism 97 atonement 5, 42, 43, 44–5, 54, aristocracy 4, 5 57n19, 168, 175n69 in Shakespeare’s plays 17 see also repentance/redemption aristocratic honor culture 20, 40–1 audiences/audience reaction 9–10, in adversity 44–7, 50, 51, 52 88, 120, 219, 222–3, 241 Richard Barckley on 38–9 for biblical drama 114, 118, 119 Christianity and 4–5, 42–3, 44–7, for The Comedy of Errors 32–3 49–50, 52–4, 55–6 as consumers 119 as competitive 38, 56 for King Henry VIII 145–6 compromise in 38–40 for Measure for Measure 187, 188, Earl of Essex and 51–4 190, 241 Mervyn James on 4, 33n7, 38, for A Midsummer’s Night Dream 55–6 247, 248 261 262 Index audiences/audience reaction – B[ecket], W[illiam] (W. B.): continued Commentarie … Uppon the Epistle for Othello 199 to the Philippians 237n26 for sermons 100, 102–5, 219 Beckingsale, B. W. 74 for The Winter’s Tale 126, 256 Beckwith, Sarah 12n10 Augmentation, Court of 69 Becon, Thomas 64, 72 Augsburg Confession, 1530 76 A Comparison Betwene the Lordes authorship 9–10, 221 Supper and the Popes Masse competitive 9, 221, 222–4, 235n6 230–31, 233 A New Dialog between Thangell Shakespeare’s 9, 220–24, 230–34 of God & the Sheperdes in the John Weever on 221, 222–4, Felde 72–3 230–31, 233 Bednarz, David 175n70 beds/bed-curtains, as an Bacon, Anne (née Cooke) altar/tabernacle 207, 208, (Mrs Nicholas Bacon) 26 213n24 Bacon, Sir Francis 38, 52, 64 Bellarmine, Cardinal Robert 135, ‘Of Adversity’ 44 149n28, 196 Bacon, Nicholas (father of Francis Bentley, G.E. 236n23 Bacon) 64, 69 Berry, Edward, on hunting 164 Badby, John 143, 145 Bevington, David 116, 194n33 Bakhtin, M. M. Bible authoritative discourse concept Bishop’s Bible 237n26 10, 241–2, 258n content 196 disassociation concept 243, 244, Coverdale’s translation 57n19, 67, 245 149n30 orchestration concept 240, 245, Geneva Bible, 1560 57n19, 196, 258n8 199, 203, 205, 206–8, 211n9, Bale, John 5, 64, 68, 70, 71, 72, 73, 213n20, 237n26, 247, 129n4 259n26 Thomas Cromwell and 68, 69 Great Bible 247 King Johan 234n2 King James Bible 57n19, 205, plays by 68, 234n2 211n9, 213n20 Bancroft, Archbishop Richard reading(s) of 196–7 172n12 Shakespeare’s use of 196, 197; in baptism 31–2 Othello 197–8, 199–203, 204, Barber, C. L. 9, 13n16, 154, 217–18, 205–6, 207, 208, 209–11 221, 228, 229, 232–3, 234n4 Tyndale’s translation 44, 57n19, Barckley, Richard, on honor 38–9 180–81, 247 Barkan, Leonard 129n3 Bible: Old Testament 8 Barlowe, Bishop of St David’s 115 Deuteronomy 208, 209 Bate, Jonathan 36n38 exile/return narratives 8, 197, Bayly, Bishop Lewis: The Practice of 200–1, 206, 209–10, 212n12 Pietie 45 Exodus 197, 200, 201, 202, 207–8, Beard, Thomas: Theatre of God’s 209 Judgements 225 Isaiah: the man of sorrows in 203 Beaumont, Francis 136 Jeremiah 204–5, 206, 209, 213n19 Beauregard, David N. 12n11 Job 203 Index 263 prophetic wilderness in 199–200, heresy trials at 143, 144–5, 201, 202 149n37 Proverbs 203–5, 208, 212n17, Blackfriars Synod, 1382 134, 139, 213n19 140, 141, 142 Psalms 203, 206 Blackfriars Theater 111, 148n15, Song of Solomon 207 149n36 Bible: New Testament King Henry VIII performed at 7, Erasmus’s paraphrase of 69, 70 133, 134, 136, 142, 145–6 Philippians 233, 237n26 the King’s Men at 133, 136 Resurrection story 113–14, 121 Blount, Edward 251–2 Revelation 206–7 Book of Common Prayer 43, 45 biblical/religious drama 3, 5, 66, 81, conformity to 98, 104 111–12, 217 introduction of 65 affective power of 112–13, 114, marriage ceremony in 167 116–17, 118, 125 Book of Homilies 26, 44 audiences/audience reaction 114, Book of Martyrs see Foxe, John: Acts 118, 119 and Monuments as Catholic 119 Boose, Lynda E. 206–7, 208 bourgeoisie Chester Cycle 77, 81, 116–18, business transactions among 130n15 19–20 Corpus Christi see Corpus Christi characteristics 17 plays in The Comedy of Errors 4, 5, 17–36 Italian 248 as honest 20 Mons play 116 in The Merry Wives of Windsor 17 as moral lessons 66 reputation, importance of 20, 23 mystery plays 111, 113, 114, in The Taming of the Shrew 17 118–19, 130n5, 130n10 Bowers, Fredson 186–7 Paris play 115–16 Brandon, Catherine, Dowager post-Reformation 117–18 Duchess of Suffolk 65, 71, 74, as profane 225–6 75 resurrection plays as 113–16, 121, as a patron 79, 80 127, 130n10; see also Corpus Brandon, Charles, Duke of Suffolk Christi plays 79 Shakespeare’s history plays as Briggs, Revd Francis 176–7 221–2 Bristol, Michael 154 suppression/control of 81, 117–20, Brown, John Russell, on The Duchess 197, 217 of Malfi 120 survival of 5, 118, 197 Browne, Robert 100, 101 Towneley Crucifixion play 235n16 Browne, William: Britannia’s Pastorals the Trinity, representation of 162 118–19 Brownists (congregationalists) 100–1 Wakefield Cycle 118–19 Bucer, Martin 67 York Cycle 81, 217, 236n16 De Honestis Ludis 66 Birkhead, George 139 Burghley, first Lord see Cecil, William Bishop, Tom 8, 245–6 Burton, Robert: The Anatomie of Blackfriars, Parliament Chamber Melancholy 163 133–4, 136, 142, 143, 145–6, Burton, William 99, 100, 108n38 147n4 on Francis Kett 97, 99 264 Index Burton, William – continued Jesuits 63, 140, 149n28, 239, 251 Norwich Cathedral sermon, the Mass, Real Presence doctrine December 1589 6, 99–105, 69, 77, 232–3, 257 108n46; impact of 100, 102–3, persecution of 249, 251 104; subject matter 100–102 purgatory, belief in 31 preaching style 99 repentance/penance and 30, 31, 189–90, 208, 213n26, 229 Shakespeare’s possible Catholicism calendars 158 2, 11n10, 238–9, 258n2 Calvin, John 237n26 in Shakespearian studies 2, 3, Institutes of the Christian Religion 11n6, 238 245 the Virgin, devotion to 161 Calvinism see Protestantism see also Christianity; recusants Cambridge University/Colleges Cavell, Stanley 127 William Cecil at 63, 64, 65, 80 Cecil, Mary (née Cheke) (Mrs William drama at (academic plays) 65–7, Cecil I) 64 68, 71 Cecil, Mildred (née Cooke) English Protestant humanism (Mrs William Cecil II) 64 centred on 63–4, 65, 67, 70, 72, Cecil, Richard (father of William 81 Cecil) 69 Camden, William, on the Essex Cecil, Sir Robert (son of William Cecil) rebellion, 1601 52–3 51, 53, 54 Campion, Edmund 251 Cecil, Thomas, second Lord Burghley Shakespeare and 239 (son of William Cecil) 64 Candido, Joseph 33n3 Cecil, William, first Lord Burghley Carlson, Marvin, on theater of 63, 71 memory 134 at Cambridge University 63, 64, carnival see festivals/festivity 65, 68, 80 Castiglione, Count Baldassare 64 career 63–5, 70, 71, 72, 73, 74–5, The Book of the Courtier 162 80–1 Catherine Parr, Queen 64, 69, 81 Catherine Parr: Lamentation …, his Henry VIII, marriage to 69–70 preface to 71–2 Lamentation, or Complaint of a Elizabeth I and 75, 76, 81, 98 Sinner, William Cecil’s preface to at Gray’s Inn 68–9 71–2 marriages 64 as a patron 69, 70, 71, 79 as member of parliament 71 Thomas Seymour, marriage to 72 propaganda, use of drama for 5, Richard Udall and 70 63, 75–87 Catholicism as a Protestant 65, 71–2, 73, 75 anti-papal drama/publications Thomas Smith as his secretary 64 66–7, 68, 72 censorship 73, 73, 79 in As You Like It 7, 154–5, 160, of the theater see theater 161–2, 173n43 censorship/control in The Comedy of Errors 27–31 see also printing/publishing crypto-Catholicism 2, 3, 11n9 Chamberlain, John 53 drama and 2, 3, 6–7, 8, 11n6, 32, Chambers, E.K. 1 68, 81, 119, 126–7, 129, 217, Chapman, Alison 158 218–19, 232–3, 239 Charles I 120 equated with Christianity 218–19 Chaudhuri, Sukanta 162 Index 265 Cheke, John 64, 70, 74, 75 professionalization of 177, 191 Cheke, Mary see Cecil, Mary self-examination by 181–2, 184–6, Chettle, Henry see Munday, Anthony 188, 190 and Henry Chettle in Shakespeare’s plays 178, 191–2, Cheyne, Thomas 69 193nn6–7, 233 Chillingworth, William: The struggles/failures experienced by Religion of the Protestants … 178, 180–1, 182, 186, 187, 191, 211n5 192, 193n6 Christianity see also preachers/preaching in adversity 44–7, 50, 51, 52 Clopper, Lawrence 117–18 aristocratic honor culture and 4–5, Coke, Edward 55 42–3, 44–7, 49–50, 52–4, 55–6 speech to Norwich assizes, 1606 atonement and 5, 42, 43, 44–5, 42–3 54, 57n19, 168, 175n69 Coleridge, Samuel Taylor 248 Diocletian persecutions 245, Collinson,
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  • So We Are Talking Roughly About Twenty‐Five Years of Theatre. Roughly, Because the Tendencies That Characteriz

    So We Are Talking Roughly About Twenty‐Five Years of Theatre. Roughly, Because the Tendencies That Characteriz

    So we are talking roughly about twenty‐five years of theatre. Roughly, because the tendencies that characterize Jacobean theatre started before James I came to the throne (1603, died 1625) around the year 1599 – the year when the Lord Chamberlain’s Men relocated their theatre from Shoreditch to Southwark (on the southern bank of the Thames) and called it “The Globe”, the year when the private theatre of Paul’s boys was reopened, and a little later the Lord Chamberlain’s Men got hold of the Blackfriars theatre. These developments brought about an unprecedented avalanche of play‐writing and dramaturgical innovation that made the Jacobean period one of the most dynamic and spectacular periods in theatre history as we know it. The period also established a new generation of playwrights: the most prominent of whom are Ben Jonson, John Marston, George Chapman, Thomas Middleton, John Webster, Francis Beaumont and John Fletcher – who worked alongside, competed with, collaborated and learned from William Shakespeare – the major figure that continued to sway the English stage from the Elizabethan well into the Jacobean period. 1 Of course, at the beginning of the period the most successful playwright in London was Shakespeare. So far, his fame rested mainly on the series of history plays: the two tetralogies (Henry VI, Parts I‐III and Richard III; and Richard II, Henry IV, Parts I‐II and Henry V) and King John; and his witty romantic comedies that Queen Elizabeth reportedly liked so much: e.g. Love’s Labour’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It.