This thesis examines the reciprocity of literary and legal cultures, and seeks to enhance understanding of cultural and socio-legal constructions of morality in early modern England. Identifying the tensions in an institutional legality in which both secular pragmatism and moral idealism act as formulating principals, it interrogates the sense of disjuncture that arises between imaginative concepts of moral justice and their translation into the formal structures of law. Chapter 1 investigates representations of rape in light of the legislative changes of the 1570s, and addresses the question of how literature shapes the legal imaginary of immorality. Literary models, notably Shakespeare's The Rape Of Lucrece (1594), and George Peele's Tale of Troy (1589), are examined together with the texts of Edward Coke and Thomas Edgar to argue that lawyers' mythopoeic interpretative strategies produce a form of legal fiction in relation to sexual crime. These strategies are contextualised in Chapter 2 in relation to the education and literary-legal culture at the Inns of Court, and the thesis progresses to an examination of the inns' literary and dramatic output – notably that of Thomas Norton and Thomas Sackville's Gorbuduc, and Arthur Broke's contemporaneous revels' masque, Desire and Lady Bewty (1561-2) – to establish how the legal fraternity wielded significant authority over Tudor sexual politics, moral signification, and interpretative practices. Chapters 3 and 4 explore legal and ethical challenges heralded by the Jacobean accession, particularly those posed by the Somerset scandal. Analysis of histories, letters, and court satire, together with Thomas Campion's The Lord Hay's Masque (1607), and George Chapman's Andromeda Liberata (1614) and The Tragedy of Chabot (1639), illuminates the period's textual negotiations of legal, political, and personal ethics, and offers a revealing picture of the moral paradoxes produced by the opacity of the parameters between the personal and political lives of the ruling elite.

"God's Spies": Reading, Revelation, and the Poetics of Surveillance in Early Modern England The recent material turn in humanities scholarship has yielded fascinating and insightful research in roughly the past decade, especially in the fields of book history and the history of reading. Scholars of material culture have researched the concrete particulars of book production, the places books were sold, and the conditions in which they were read. This dissertation focuses on the clandestine aspects of early modern English material culture, with particular emphasis on the secret spaces in which reading occurred. Early modern English monarchs cultivated a culture of surveillance in an effort to eliminate illicit religious texts, which combined with changes to the conditions in which texts were read to encourage more private and secretive reading habits. Ultimately, technological, religious, and political change became epistemological as readers increasingly applied a hermeneutics of surveillance to the texts they approached, reading for hidden meaning and for total interpretive control of a text. Writers of imaginative fiction staged scenes of what I call textual surveillance in their works, transforming the hermeneutics of surveillance into a poetics of surveillance that scrutinized the validity of this interpretive strategy and explored how these material, religious, and political changes warped the way readers interpreted, thought, and perceived reality.

This dissertation examines beggars, gypsies, rogues, and vagrants presented in early modern English drama, with the discussion of how these peripatetic characters represent the discourses of vagrancy of the period. The first chapter introduces Tudor and early Stuart governments' legislation and proclamations on vagabondage and discusses these governmental policies in their social and economic contexts. The chapter also deals with the literature of roguery to point out that the literature (especially in the Elizabethan era) disseminated such a negative image of beggars as impostors and established the antagonistic atmosphere against the wandering poor. The second chapter explores the anti-theatrical aspect of the discourses of vagrancy. Along with the discussion of early playing companies' traveling convention, this chapter investigates how the long-held association of players with beggars is addressed in the plays that are dated from the early 1570s to the closing of the playhouses in 1642. In the third chapter I read Shakespeare's King Lear with the focus on its critical allusions to the discourses of vagrancy and interpret King Lear's symbolic experience of vagrancy in that context. The chapter demonstrates that King Lear represents the spatial politics embedded in the discourses of vagrancy and evokes a sympathetic understanding of the wandering poor. Chapter IV focuses on Beggars' Bush and analyzes the beggars' utopian community in the play. By juxtaposing the play with a variety of documents relating to the vagrancy issue in the early seventeen century, I contend that Beggars' Bush reflects the cultural aspirations for colonial enterprises in the early Stuart age. Chapter V examines John Taylor's conceptualization of vagrancy as a trope of travel and free mobility, and discusses the "wanderlust" represented in A Jovial Crew: Merry Beggars as an exemplary anecdote showing the mid seventeenth century's perceptions on vagrancy and spatial mobility. Thus, by exploring diverse associations and investments regarding vagrants, this study demonstrates that the early modern discourses of vagrancy have been informed and inflected by shifting economic, socio-historical, and national interests and demands.

This dissertation analyzes undertheorized grammatical and linguistic details of Shakespeare’s language. Using tools derived from the fields of linguistics, pragmatics, and discourse analysis, I trace the ways that Shakespeare’s speakers represent themselves in language, and how they position themselves relative to their interlocutors. Grounding my study in a selection of Shakespeare’s works in which questions of self-positioning are particularly fraught, I argue that the nuances of grammar that undergird the linguistic performance of Shakespeare’s speakers encode significant clues about interaction and interpersonal relationships. I maintain that the minute details of linguistic encounters, easily overlooked words such as modal verbs (particularly shall and will) and deictic markers (words such as I, this, and now), hold important information about speakers’ perceptions of themselves, their interlocutors, and their environment. Attention to such details, and to charged moments of linguistic encounter in which speakers must negotiate their modes of self-positioning, helps to illuminate the troubled processes of self-representation and changing self-perception. Chapter one focuses on Shakespeare’s sonnets, and suggests that these poems provide a productive model for the examination of the nuances of speech and interactive dialogue. I anchor my discussion in the particular resonance of the word shall in the sonnets, and explore the ways in which the sonnet speaker attempts to preserve linguistic control relative to a threatening interlocutor. The second chapter extends these concerns to consider how the speakers of Troilus and Cressida respond to a wide network of potentially threatening interlocutors. In this chapter, I focus on linguistic encounters such as arguments and gossip to examine the risks that speakers encounter when they enter the fray of communal discourse. My third chapter turns to Coriolanus to consider moments of aggressive linguistic collisions, in which speakers vie for the right to speak a potent and contested word such as shall. The fourth and final chapter analyzes Richard II through the frame of deictic markers and grammatical modes of self-reference to consider the protective strategies afforded by language in moments of crisis.

This dissertation analyzes undertheorized grammatical and linguistic details of Shakespeare’s language. Using tools derived from the fields of linguistics, pragmatics, and discourse analysis, I trace the ways that Shakespeare’s speakers represent themselves in language, and how they position themselves relative to their interlocutors. Grounding my study in a selection of Shakespeare’s works in which questions of self-positioning are particularly fraught, I argue that the nuances of grammar that undergird the linguistic performance of Shakespeare’s speakers encode significant clues about interaction and interpersonal relationships. I maintain that the minute details of linguistic encounters, easily overlooked words such as modal verbs (particularly shall and will) and deictic markers (words such as I, this, and now), hold important information about speakers’ perceptions of themselves, their interlocutors, and their environment. Attention to such details, and to charged moments of linguistic encounter in which speakers must negotiate their modes of self-positioning, helps to illuminate the troubled processes of self-representation and changing self-perception. Chapter one focuses on Shakespeare’s sonnets, and suggests that these poems provide a productive model for the examination of the nuances of speech and interactive dialogue. I anchor my discussion in the particular resonance of the word shall in the sonnets, and explore the ways in which the sonnet speaker attempts to preserve linguistic control relative to a threatening interlocutor. The second chapter extends these concerns to consider how the speakers of Troilus and Cressida respond to a wide network of potentially threatening interlocutors. In this chapter, I focus on linguistic encounters such as arguments and gossip to examine the risks that speakers encounter when they enter the fray of communal discourse. My third chapter turns to Coriolanus to consider moments of aggressive linguistic collisions, in which speakers vie for the right to speak a potent and contested word such as shall. The fourth and final chapter analyzes Richard II through the frame of deictic markers and grammatical modes of self-reference to consider the protective strategies afforded by language in moments of crisis.

This dissertation examines beggars, gypsies, rogues, and vagrants presented in early modern English drama, with the discussion of how these peripatetic characters represent the discourses of vagrancy of the period. The first chapter introduces Tudor and early Stuart governments' legislation and proclamations on vagabondage and discusses these governmental policies in their social and economic contexts. The chapter also deals with the literature of roguery to point out that the literature (especially in the Elizabethan era) disseminated such a negative image of beggars as impostors and established the antagonistic atmosphere against the wandering poor. The second chapter explores the anti-theatrical aspect of the discourses of vagrancy. Along with the discussion of early playing companies' traveling convention, this chapter investigates how the long-held association of players with beggars is addressed in the plays that are dated from the early 1570s to the closing of the playhouses in 1642. In the third chapter I read Shakespeare's King Lear with the focus on its critical allusions to the discourses of vagrancy and interpret King Lear's symbolic experience of vagrancy in that context. The chapter demonstrates that King Lear represents the spatial politics embedded in the discourses of vagrancy and evokes a sympathetic understanding of the wandering poor. Chapter IV focuses on Beggars' Bush and analyzes the beggars' utopian community in the play. By juxtaposing the play with a variety of documents relating to the vagrancy issue in the early seventeen century, I contend that Beggars' Bush reflects the cultural aspirations for colonial enterprises in the early Stuart age. Chapter V examines John Taylor's conceptualization of vagrancy as a trope of travel and free mobility, and discusses the "wanderlust" represented in A Jovial Crew: Merry Beggars as an exemplary anecdote showing the mid seventeenth century's perceptions on vagrancy and spatial mobility. Thus, by exploring diverse associations and investments regarding vagrants, this study demonstrates that the early modern discourses of vagrancy have been informed and inflected by shifting economic, socio-historical, and national interests and demands.

The question of adverbs and the meaning of the present perfect across varieties of English is central to sociolinguistic variationist methodologies that have approached the study of the present perfect (Winford, 1993; Tagliamonte, 1997; van Herk, 2008, 2010; Davydova, 2010; Tagliamonte, 2013). This dissertation attempts to disentangle the effect of adverbial support from the three canonical readings of the present perfect (Resultative, Experiential and Continuative). Canadian English, an understudied variety of English, is used to situate the results seen in the Early Modern English data. Early Modern English reflects the time period in which English has acquired the full modern use of the present perfect with the three readings. In order to address both these questions and current controversies over statistical models in sociolinguistics, different statistical models are used: both the traditional Goldvarb X (Sankoff, Tagliamonte and Smith, 2005) and the newer mixed-effects logistic regression (Johnson, 2009). What is missing from the previous literature in sociolinguistics that advocates logistic mixed-effects models, and provided in this dissertation, is a clear statement of where they are inappropriate to use and their limitations. The rate of adverbial marking of the present perfect in Canadian English falls between rates reported for US and British English in previous studies. The data show in both time periods that while adverbs are highly favored in continuative contexts, they are strongly disfavored in experiential and resultative contexts. In Early Modern English, adverbial support functions statistically differently for resultatives and experientials, but that difference collapses in the Canadian English sample. Both this and the other linguistic contexts support a different analysis for each set of data with respect to adverbial independence from the meaning of the present perfect form. Finally, when the focus of the analysis is on linguistic rather than social factors, both the traditional and newer models provide similar results. Where there are differences, however, these can be accounted for by the number of tokens and different estimation techniques for each model.

The question of adverbs and the meaning of the present perfect across varieties of English is central to sociolinguistic variationist methodologies that have approached the study of the present perfect (Winford, 1993; Tagliamonte, 1997; van Herk, 2008, 2010; Davydova, 2010; Tagliamonte, 2013). This dissertation attempts to disentangle the effect of adverbial support from the three canonical readings of the present perfect (Resultative, Experiential and Continuative). Canadian English, an understudied variety of English, is used to situate the results seen in the Early Modern English data. Early Modern English reflects the time period in which English has acquired the full modern use of the present perfect with the three readings. In order to address both these questions and current controversies over statistical models in sociolinguistics, different statistical models are used: both the traditional Goldvarb X (Sankoff, Tagliamonte and Smith, 2005) and the newer mixed-effects logistic regression (Johnson, 2009). What is missing from the previous literature in sociolinguistics that advocates logistic mixed-effects models, and provided in this dissertation, is a clear statement of where they are inappropriate to use and their limitations. The rate of adverbial marking of the present perfect in Canadian English falls between rates reported for US and British English in previous studies. The data show in both time periods that while adverbs are highly favored in continuative contexts, they are strongly disfavored in experiential and resultative contexts. In Early Modern English, adverbial support functions statistically differently for resultatives and experientials, but that difference collapses in the Canadian English sample. Both this and the other linguistic contexts support a different analysis for each set of data with respect to adverbial independence from the meaning of the present perfect form. Finally, when the focus of the analysis is on linguistic rather than social factors, both the traditional and newer models provide similar results. Where there are differences, however, these can be accounted for by the number of tokens and different estimation techniques for each model.

‘Chastity on the Early Modern English Stage’ seeks to explain the relationship between tragicomedy’s brief and short-lived English popularity and the royal cult of chastity which spanned exactly the same historical time-frame. This study attempts to define a cultural movement which influenced the political, religious, social, intellectual, aesthetic, and medical fields in the first half of the seventeenth-century and argues that the narrative tropes which structured, and assisted the spread of, the post-Elizabethan cult of chastity were the same tropes governing the tragicomedies so popular in the period. The arguments made for tragicomedy are speculatively extended to all generic forms, with the intention of expanding an area of scholarship still dominated by formalist analysis. By focussing on narrative tropes and locating them within both fictional and non-fictional texts and in the presentation and discussion of significant events (from medical discoveries to liturgical arrangements and royal birthing rituals) this thesis aims to illustrate that the human and cosmic visions articulated by different dramatic genres were as relevant to early modern lives outside the theatre as they were to those within it. Genre is thus less a description of a text’s formal characteristics and more a set of truths governing certain human experiences both in texts and in life. Focussing on Shakespeare’s The Winter’s Tale, two plays by John Ford, Caroline court masques and birthing rituals, Milton’s A Maske and a number of non-professional performances (from the Earl of Castlehaven’s trial to William Harvey’s demonstration of the circulation of the blood), ‘Chastity on the Early Modern English Stage’ describes the four tropes of chastity and their place in tragicomic experience from the death of Elizabeth I to the beheading of Charles I. While Charles’s death and the closure of the theatres are crucial reasons for the abrupt end of the cult of chastity and tragicomedy, this thesis argues that cause must also be attributed to the efforts of pro-Parliamentary and Puritan writers who, throughout the 1630s and 1640s, sought to claim the tropes of chastity for their own rhetoric and cause. Their success resulted in a redefinition of chastity as masculine, individuated, Parliamentarian, Protestant, intellectual, civic and prosaic instead of Catholic, royal, spectacular, feminised, Marian, pietised, and theatrical.

This thesis provides a full-length critical treatment of the Essayes (1600-01) of Sir William Cornwallis (c.1579-1614). Cornwallis' Essayes are the first examples of the ‘familiar’ essay in English: to which the rhetorical shaping of persona and the use of the personal voice are central. This is the first such study of Cornwallis since the first half of the twentieth century, and situates his Essayes within their cultural, social, and material contexts. The thesis draws upon previous work on Cornwallis and his Essayes from the 1930s and 1940s, but also on recent developments in early-modern English studies, especially in the fields of the history of rhetoric and the history of reading. The thesis challenges the assumptions behind two major critical approaches to the early-modern essay: firstly that it is a form in which the personal voice can be unambiguously expressed, and secondly that it is an essentially unoriginal genre which is more closely related to reading than to writing. This thesis qualifies these approaches, while demonstrating that the origins of each are found in the rhetorical practices of early English essays. This thesis argues however that Cornwallis’s essays are elaborate fusions of classical commonplaces, humanistic rhetoric, and ethical theories of how to live, resulting from complex interactions between different strands of humanistic educative practices, and that Cornwallis’s use of the personal voice is shaped by ethically-inflected rhetorical theories of affect and imitation. The thesis further attempts to think about how essays were being read in this period, and to do so offers a study of the material traces of reading, in the form of annotations and commonplace books, left by early-modern readers of John Florio’s English translation of Montaigne (1603).