Readings in Renaissance Women's Drama: Criticism, History, and Performance, 1594-1998

By S. P. Cerasano; Marion Wynne-Davies | Go to book overview

READINGS IN RENAISSANCE WOMEN’S DRAMA

Criticism, history, and performance 1594-1998

Edited by S.P. Cerasano and Marion Wynne-Davies

London and New York

-iii-

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Readings in Renaissance Women's Drama: Criticism, History, and Performance, 1594-1998
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Preface xi
  • Acknowledgements xii
  • Permissions xiii
  • Introduction 1
  • Part I - Early Commentaries 7
  • 1 10
  • 2 13
  • 3 15
  • 4 23
  • Part II - Contexts and Issues 29
  • 1 - Women Playwrights in England 32
  • 2 - The Arts at the English Court of Anna of Denmark 47
  • 3 - ‘my Seeled Chamber and Dark Parlour Room’ 60
  • 4 - Women as Patrons of English Renaissance Drama 69
  • 5 - Women as Spectators, Spectacles, and Paying Customers 81
  • 6 - Women as Theatrical Investors 87
  • 7 - Why May Not a Lady Write a Good Play? 95
  • Part III - Early Modern Women Dramatists 109
  • Introduction 111
  • 1 - ‘we Princes, I Tell You, Are Set on Stages’ 113
  • 2 - Joanna Lumley (1537?-1576/7) 125
  • 3 - Jane Lumley’s Iphigenia at Aulis 129
  • Notes 139
  • 4 - ‘patronesse of the Muses’ 142
  • 5 - Mary Herbert 156
  • Notes 165
  • 6 - Elizabeth Cary (1585-1639) 167
  • 7 - The Spectre of Resistance 182
  • 8 - Resisting Tyrants 194
  • 9 - An Unknown Continent 219
  • Notes 232
  • 10 - ‘like One in a Gay Masque’ 234
  • Notes 245
  • 11 - ‘to Be Your Daughter in Your Pen’ 246
  • 12 - ‘she Gave You the Civility of the House’ 259
  • 13 - ‘my Brain the Stage’ 272
  • Notes 290
  • 14 - ‘a Woman Write a Play!’ 293
  • Notes 303
  • Bibliography of Secondary Sources 310
  • Index 315
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