Early responses to Renaissance drama文艺复兴戏剧的早期反响

2006-10  

Whitney, Charles  

341  

It is often assumed that we can never know how the earliest audiences responded to the plays and playbooks of Shakespeare, Marlowe, and other Renaissance dramatists. In this study, old compilations of early modern dramatic allusions provide the surprising key to a new understanding of pre-1660 reception. Whether or not it begins with powerful emotion, that reception creatively applies and appropriates the copious resources of drama for diverse purposes, lessons, and interests. Informed also by critical theory and historical research, this understanding reveals the significance of response to Tamburlaine and Falstaff as well as the importance of drama to Edmund Spenser, John Donne, John Milton, and many others. For the first time, it makes possible the study of particular responses of women and of workers. It also contributes to the history of subjectivity, reading, civil society, and aesthetics, and demands a new view of dramatic production.

Charles Whitney is Professor of English at the University of Nevada, Las Vegas.

List of illustrationsAcknowledgmentsIntroductionPART Ⅰ TAMBURLAINE, SIR JOHN, AND THE FORMATION OF EARLY MODERN RECEPTION　1 Tamburlaine intervenes The scandal of sadomasochism: liberating the Protestant aesthetic The scourge of God, here and now Emblems for relentless forces Aftermath: idealization and travesty From Tamburlaine to Hamlet 2 Versions of Sir John The Oldcastle controversy The orature of Sir John Carnival and Lent Between Carnival and modern aestheticsPART Ⅱ AUDIENCES ENTERTAINING PLAYS 3 Playgoers in the theatrum mundi to i6i7 John Davies of Hereford and the authority of the audience The Inns of Court and the culture of playgoing Playgoing, poetry, and love-making: Edmund Spenser and Robert Tofte Simon Forman and the uses of the theatre 4 Common understanders Service workers and the interpretive authority of labor Out of service and in the playhouse: Richard Norwood and Early Response to Dr. Faustus "Vagrant" youth: apprentices, craft servants, and others A note on fishwives Low audiences, pluralistic theatre 5 Playgoing and play-reading gentlewomen The theatre of meditation: Amelia Lanyer and the tragic Cleopat Reprobation as resistance: Joan Drake and Jonson's Ananias Anne Murray Halkett and the theatre of Cavalier life Private shows: Dorothy Osborne and the courtship of Richard I1 6 Jonson and Shakespeare: living monuments and public spheres The uses of Jonson Milton's Shakespeare: theatres of God and manNotesBibliographyIndex

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