‘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).

This thesis provides the first study of the representation, performance, and reception of Shakespeare’s ageing women in early modern and present-day England. It contributes an exposition of the physiology and theory of early modern ageing, drawing on this original material to make an argument for the ageing woman as a source of anxiety within the plays as they were originally staged, and as they are performed and received today. It finds the old and ageing woman in Shakespeare’s drama to be represented as physically and verbally excessive; the thesis also identifies a corresponding urge in the plays and in their reception towards the ageing woman’s containment and control. This containment is exercised in the text, the rehearsal room, the theatre, and the public space of performance reviews. My introduction determines my methodology and establishes the terms of reference for the project. The first chapter defines early modern old age and delivers a study of the early modern literature and theory of the ageing body. Each of the four subsequent chapters explores an ageing female character or characters through the lens of a theme: magic, motherhood, sexuality, and memory. The characters studied are drawn from The Merry Wives of Windsor, Macbeth, The Winter’s Tale, Coriolanus, King John, All’s Well That Ends Well, Antony and Cleopatra, Hamlet, and Richard III. Some brief concluding remarks complete the thesis. The larger project of the thesis is a cultural study. Throughout, I am keen to learn how characters are talked about as well as written and performed. My effort to understand the work which Shakespeare’s older women are asked to carry out in the present day defines my methodology: I draw on prompt books, production recordings, reviews, costume, photographs, programmes, and interviews with actors and directors to aid my investigation, juxtaposing these with close study of the written plays and the early modern culture and knowledge which underpins them. The word count, exclusive of bibliography but inclusive of all footnotes and an appendix, is approximately 92,000.

This thesis studies the literary genre of pastoral between 1559 and 1647. The first of these dates is that of a work that changed the course of early modern pastoral, Montemayor’s Diana; and the second marks the English translation of Gomberville’s Polexandre, a pastoral romance which exemplifies the shifts in cultural values that re-shaped Montemayor’s model over the century that followed its publication. My study focusses on the significance for this genre of the ethical quality known to classical moral philosophy as otium, and translated in early modern English by words such as peace, leisure, retirement, ease and idleness. Otium has strong historical associations with the tradition of Virgilian pastoral. Its significance in early modern pastorals, however, has been largely overlooked, despite the fact that early modern interest in otium had been revitalised by the rediscovery of some of its most important classical discussions. This renewed interest in otium, I argue, was essential to the development of early modern pastoral. My argument challenges both old and new critical perspectives on pastoral, and engages with key issues in early modern culture which literary scholars have neglected. Older studies understood pastoral otium simply as idyllic retreat; newer ones accept this view, but argue against its privileged and quietist political implications, preferring to concentrate on the tradition of interpreting pastoral as political allegory. Otium’s principal connotations, however, were neither quiet nor idyllic. Though its restorative qualities were sometimes cautiously acknowledged, otium’s potential to corrupt was ever-present, and affected a range of areas including privacy, politics, moral psychology and medicine. When people wanted to imaginatively explore those effects, I argue, pastoral was the genre to which they were most likely to turn. Listening to what pastorals say about otium can play an important role in reconstructing this crucial and misunderstood aspect of early modern culture.

The aim of this paper is to describe the different ways in which syntactic means may be employed to serve as indicators of information structure and to trace the historical development these means underwent from the Early Modern English period up to the present. The research is based on a comparative approach to textual analysis, using two different English translations of Boethius' The Consolation of Philosophy, one published in the early 17th century, the other near the end of the 20th . Both versions are analyzed in terms of the ways in which they express the same semantic content through different syntactic means, a special focus being placed on the sphere of individual clauses. Formal disparities between parallel syntactic units are investigated both from the grammatical and communicative perspective, mapping the effect of the differences in syntactic choices on the level of the functional sentence perspective. The study thus attempts to identify the extent to which the standardization of syntactic structures may be viewed as having exercised an influence over the communicative aspects of the language in the period between the grammatical systematization of the 16th and 17th centuries and the Present-day English standards.

This dissertation examines three generations of the Beeston family and its revolutionary impact on the developing world of seventeenth-century London theatre management. Like other early modern businesses, the Beeston enterprise thrived on commercial innovation, the strategic cultivation of patronage, and a capacity to perpetuate itself dynastically. England’s mid-century political crisis disrupted the family’s commercial supremacy but its management system would endure as the de facto standard structuring successful theatre business long after the Restoration. Following a critical introduction to the early history of theatrical management, the thesis’s four chapters chart the creation and institution of the Beeston management model. Chapter One examines the early career of Christopher Beeston, a minor stageplayer from Shakespeare’s company in the 1590s who set out ambitiously to reshape theatrical management at Drury Lane’s Cockpit playhouse in 1616. Chapter Two analyzes Beeston’s later career, particularly his unique appointment as “Governor” of a new royal company in 1637. New evidence suggests that the office was a reward for service to the aristocratic Herbert family and that traditional preferment was therefore as important as market competition to the creation of the Caroline paradigm of autocratic theatrical “governance.” Chapter Three explores the overlooked career of Elizabeth Beeston who, upon inheriting the Cockpit in 1638, became the first woman in English history to manage a purpose-built London theatre. New evidence concerning her subsequent husband, Sir Lewis Kirke, an adventurer to Canada, ship-money captain, and Royalist military governor, indicates political ideology motivated their joint effort to keep the Beeston playhouse open during the civil wars. Chapter Four addresses the question of why the larger Beeston enterprise eventually collapsed even as the management system it refined continued to support later theatrical entrepreneurs. During the Interregnum, contemporaries anticipated that William and George Beeston, Christopher’s son and grandson, would eventually dominate a renascent London stage; however, managers such as William Davenant and Thomas Betterton ultimately adapted the Beeston system more efficiently to the political environment after 1660. Thereafter, exhausted patronage, lost assets, and the abandonment of family tradition marked the end of the Beestons’ influential association with the London stage.

This dissertation examines three generations of the Beeston family and its revolutionary impact on the developing world of seventeenth-century London theatre management. Like other early modern businesses, the Beeston enterprise thrived on commercial innovation, the strategic cultivation of patronage, and a capacity to perpetuate itself dynastically. England’s mid-century political crisis disrupted the family’s commercial supremacy but its management system would endure as the de facto standard structuring successful theatre business long after the Restoration. Following a critical introduction to the early history of theatrical management, the thesis’s four chapters chart the creation and institution of the Beeston management model. Chapter One examines the early career of Christopher Beeston, a minor stageplayer from Shakespeare’s company in the 1590s who set out ambitiously to reshape theatrical management at Drury Lane’s Cockpit playhouse in 1616. Chapter Two analyzes Beeston’s later career, particularly his unique appointment as “Governor” of a new royal company in 1637. New evidence suggests that the office was a reward for service to the aristocratic Herbert family and that traditional preferment was therefore as important as market competition to the creation of the Caroline paradigm of autocratic theatrical “governance.” Chapter Three explores the overlooked career of Elizabeth Beeston who, upon inheriting the Cockpit in 1638, became the first woman in English history to manage a purpose-built London theatre. New evidence concerning her subsequent husband, Sir Lewis Kirke, an adventurer to Canada, ship-money captain, and Royalist military governor, indicates political ideology motivated their joint effort to keep the Beeston playhouse open during the civil wars. Chapter Four addresses the question of why the larger Beeston enterprise eventually collapsed even as the management system it refined continued to support later theatrical entrepreneurs. During the Interregnum, contemporaries anticipated that William and George Beeston, Christopher’s son and grandson, would eventually dominate a renascent London stage; however, managers such as William Davenant and Thomas Betterton ultimately adapted the Beeston system more efficiently to the political environment after 1660. Thereafter, exhausted patronage, lost assets, and the abandonment of family tradition marked the end of the Beestons’ influential association with the London stage.

Thesis (M.A.)--University of Adelaide, Centre for European Studies and General Linguistics, 2001? / Bibliography: leaves 211-227.

Thesis (Ph.D.) - University of St Andrews, May 2008.

Hamlet's tragedy is constructed as a perspective of matter that is destined for decay, and this "objective," or "object-focused," mode of viewing the material world enhances theatrical and theological understandings of the play's props, figurative language, and characters. Hamlet's "objective mode" evokes early modern materialist philosophies of vanitas and memento mori, and it is communicated in theatre through semiotic means, whereby material items stand for moral ideas according to an established sign-signified relation. Extending an objective reading to Hamlet's characters reveals their function as images, or two-dimensional emblems, in moments of slowing narrative time. In the graveyard scene (5.1), characters and theatrical props cooperate to materialize the objective perspective. As a prop, Ophelia's corpse complicates the objective mode through its semantic complexity. Thus, she stands apart from other characters as one that both serves to construct and to deconstruct the objective mode. Hamlet's tragic outlook, which depends upon an understanding of matter as destined for decay, and of material items as ends in themselves rather than vehicles for spiritual transformation, is an early modern notion concurrent with theological debates surrounding the Eucharist. Drawing upon art-historical, linguistic, feminist, theological, and theatrical approaches, this thesis contributes to concurrent discourse on Hamlet's tragic genre.