No description available.

This thesis examines spectrality in Elizabethan literature, focusing on the ghost as a figuration of disjuncture within contemporary constructions of the dead. Taking account of the cultural unease and uncertainties about the afterlife generated during the Reformation, I explore how particular conceptualizations of the dead manifest instabilities that move the figure of the ghost into the disturbing role of the spectre. The literature I examine ranges from Elizabethan translations of Seneca and key theological treatises to examples of the English revenge tragedy produced by Shakespeare, Marston, and Chettle. In drawing upon this cross-section of work, I highlight the resonances between varying forms of spectrality in order to explore ways in which the ghost incorporates, but also exceeds, the theatre’s requirement for dramatic excess. It thus becomes clear that the presence of the spectre extends beyond the immediate purposes of particular writers or genres to expose a wider disruption of the relation between, and ontologies of, the living and the dead. The theoretical apparatus for this project is drawn primarily from deconstruction and psychoanalytic theory, with attention to the uncanny as an area in which the two intersect and overlap. These modes of analysis usefully highlight areas of disturbance and slippage within the linguistic and conceptual structures by which the living and dead are defined and understood. In adopting this approach, I aim to expand upon and complicate existing scholarship concerning the figure of the ghost in relation to sixteenth-century theological, philosophical, mythological, and popular discourses and traditions. I do so by demonstrating that the emergence of the uncanny arises through a culturally specific haunting of the form and language of Elizabethan treatments of the dead. The spectre thereby emerges as a figure that is as much the product as the cause of instabilities and erosion within the Elizabethan construction and containment of the dead.

Anne, Lady Bacon (c.1S2B-1610) is chiefly remembered as the translator of several important religious texts and as the mother of Francis and Anthony Bacon. This thesis seeks to re-evaluate her fulfilment of her role as a mother, translator and religious patron through an examination of her correspondence and an assessment of her published works. In doing so it demonstrates that Anne was adept at utilising epistolary conventions in order to achieve her politico-religious aims, and was far more capable at negotiating complex webs of power than has hitherto been acknowledged. Over one hundred of her letters survive, most of which are written to Anthony between the 1592 and 1596, and only a few of which have been published. I have transcribed all these extant letters, and through a close analysis of their content and material construction I offer an outline of her epistolary habits, and demonstrate how her letter-writing practice was influenced by the practical elements of sixteenth-century epistolary culture. I describe the factors that influenced Anne's relationship with her sons, and analyse how both parties performed or neglected their duties. The second half of my thesis focuses on Anne's religious patronage. I describe the iconographic significance of the female translator, and examine Anne's contribution to the nascent Protestant literary culture. Faced with a political climate that was becoming increasingly hostile to expressions of nonconformity, I look at how Anne harnessed other means by which to support the puritan cause, and assess the extent to which she directed the religious tenor of her local parishes.

This thesis combines corpus stylistic, literary and historical linguistic approaches to test critical observations about the language of Shakespeare’s late plays. It finds substantial evidence of increased syntactic complexity, and identifies significant linguistic differences between members of the wider group of later plays. Chapter One outlines the critical history of the late works, including consideration of stylometric approaches to Shakespeare’s language. Chapter Two describes the stylistic methodology and corpus techniques employed. Chapter Three reports the finding of salient which frequency in the late plays, and details the analytical categories to be used in the examination of which usage, the results of which are discussed in Chapter Four. Chapter Five describes two further analyses, where a broader group of ten late plays is considered on the basis of their high which frequency. The relativisation syntax of the five post-1608 plays (Cymbeline, The Winter’s Tale, The Tempest, Henry VIII and The Two Noble Kinsmen) is found to distinguish them unequivocally as a group, while Pericles stands out as an anomaly. Finally, in Chapter Six it is argued that Shakespeare’s syntax reflects a stylistic phenomenon unrelated to individual dramatic characterisation, motivated by his re-association with the Elizabethan romance writers of the sixteenth century.

The first part of this thesis offers a study of the phenomenon of fascination as it was understood in early modern England—specifically in its relation to magic, demonology and witchcraft. It examines fascination’s place within cultural traditions, and its operation within perception theory and the psychophysiology of the early modern medical understanding. It also examines some ways in which fascination operates within a theatrical context, and encounters the discourse of early modern “anti-theatricalists.” The second part of the thesis is an analysis of the Shakespearean tragic hero’s encounter with elements of fascinating bewitchment, and the problems of discerning reality through the mesmeric pull of misperception. The specific subjects of the dramatic analysis are Othello and Macbeth.

‘Rewriting History’ is a reappraisal of Shakespeare’s history cycle, exploring its origins, its popularity and its effects before challenging its dominance on critical and theatrical perceptions of the history plays. A critical history of the cycle shows how external factors such as patriotism, bardolatory, character-focused criticism and the editorial decision of the First Folio are responsible for the cycle, more so than any inherent aspects of the plays. The performance history of the cycle charts the initial innovations made in the twentieth century which have affected our perception of characters and key scenes in the texts. I then argue how the cycle has become increasingly restrictive, lacking innovation and consequently undervaluing the potential of the histories. Having accounted for the history of the cycle to date, the second part of my thesis looks at the consequent effects upon each history play, and details how each play can be performed and analysed individually. I close my thesis with the suggestion that a compromise between individual and serial perceptions is warranted, where both ideas are acknowledged equally for their effects and defects. By broadening our ideas about these plays we can appreciate the dramatic potential locked within them.

This thesis dexamines for the first time the origin and development of the multi-part play in English between the years 1587 and 1630. After Tamburlaine, dramatic sequels become a regular feature of the professional theatre, and figure significantly in the early careers of Shakespeare and Marston as well as that of Marlowe. More than one hundred separate plays, extant and lost, are considered for evidence of composition, performance, publication, and literary and theatrical relationship. The plays are grouped according to genre, but at the same time a continuing chronological development is revealed. Many of the multi-part plays were unanticipated by the author, sequels appearing in response to popular success; others, especially among the Histories, were deliberately conceived in two or more parts. Nevertheless, in both categories, verbal and structural cross-references exist which can indicate intellectual consistency even where the original circumstances of performance made this difficult to perceive. From the general considerations, some specific conclusions emerge: many of the problems of 1 Henry VI are explained with reference to other planned sequences influenced by Tamburlaine; Munday's Huntington plays are shown to have an ingenious design in an extended rehearsal framework; new reasons are given for the derivation of 1 Hieronimo from an earlier sequel to Kyd's revenge tragedy; the structure of Chapman's Byron plays yields new evidence of their textual history; and Dekker's 2 The Honest Whore is profitably discussed in relation to Shakespeare's treatment of Hal in 2 Henry IV. In an essay comparing the composition and structure of sequels, it is suggested that they have an unrecognized significance to the growth and achievement of English Renaissance drama.

This thesis aims to demonstrate that Shakespeare encoded his comedies with spiritual arcana including: theurgy; Celtic mysticism; alchemy; Renaissance Platonism; and the Bible. An analysis of The Comedy of Errors and A Midsummer Night's Dream shows that the plays are polysemous, providing simultaneous readings of a number of spiritual allegories. The arcana are examined in the light of material to which Shakespeare could have had access. They are separately documented in chapters designed to provide a resource of information on their contemporary nature mediated for modern understanding. The research is based on an exploration of plays in production, represented in programme notes in the appendices. The work was undertaken to clarify the director's notes to cast and audiences of the international professional Theatre Set-Up company and the results of this study informed their productions from 1983 to 1996. It was found that explanations of the scripts' iconography which the research revealed, clarified and lightened their performance. Early chapters review a range of opinions from literary criticism on the issues discussed in the thesis, revealing considerable sympathy with its tenets.

This thesis explores gendered embodiment in early-modern England as a 'semiotic field' onto which were transcribed anxieties about the contingent nature of individual and national 'masculine' identity in an era of social and religious change and flux. I examine how the construction of an emergent 'Englishness' is articulated through the employment of eroticised metaphors of religious and national opposition. Anxieties about the threat to English national stability are feminised in order to contain and distance them, where the trope of the 'worrying feminine', in the Biblical archetype of the ambitious and sexually promiscuous Whore of Babylon, becomes an 'over-coded' entity representing a spectrum of anxieties surrounding internal and external religious threats to the self-constituted identity of English Protestant masculinity. In contrast to this, chaste female virtue in the form of the Bride of Christ is used, frequently in conjunction with the trope of the 'motherland', to privilege the righteousness of the Protestant masculine agenda against a perceived lack of proper monarchical rule. Together with the insights of literary criticism and history, I draw on models from gender and identity theory and cultural theory of the body, to engage with a series of six 'moments' from 1530 to 1640. Plays by Bale, Sackville and Norton, Shakespeare, Dekker, Heywood, Middleton, Davenport, Brome, Richards and Quarles are analysed in conjunction with Spenser's poetry and polemical works by Knox, Aylmer and Stubbes. I explore the ways in which the antithetical tropes are employed and how this reflects, interacts with and works against shifting social and cultural preoccupations. I conclude that the elaborate and over-insistent emphasis upon individual and national masculine supremacy is undermined by the irreconcilable contradictions inherent in its gendered construction. I argue that these disjunctures are nonetheless revealing, since the disentangling and examination of their complexities enables new and productive insights into the cultural climate of the period.

'Banished' - the word resounds in many Elizabethan and Jacobean plays, particularly in those of Shakespeare. This thesis examines the drama of banishment, that is, the sentence, lamentation, displacement, and metamorphosis of the exile in Romeo and Juliet, Richard II, Henry IV, As You Like It, King Lear, Coriolanus and The Tempest. To appreciate the rich and polysemous nature of 'banished' in Shakespeare's society I have considered a number of legal, historical and literary sources which reveal certain tropes of exile. The poet of Ovid's Tristia and Plato's Republic, the beast/god of Aristotle's Politics, the seventeenth-century colonialist, the Petrarchan lover, are all examples of the archetypes against which Shakespeare's banished characters fashion themselves. For banishment is a process of annihilation and of self-creation, and as such it raises various questions about identity in Shakespeare's plays. The possibility of its destruction and transformation reveals identity to be a fictional construct, based on ideology not inherent nature or right. This suggestion that the social distinctions between men are equally fictional gives a particular frisson to the juxtaposition of the exiled king and the naked beggar, to the transformation of greatness into barbarousness, that is so often staged on the Elizabethan and Jacobean stage through banishment.