| Charles Whitney is Professor of English at the University of Nevada, Las Vegas.
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| List of illustrations Acknowledgments Introduction PART 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 aesthetics PART 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 man Notes Bibliography Index |
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