This book investigates the complex interactions, through experiencing drama, of readers and audiences in the English Renaissance. Around 1500 an absolute majority of population was illiterate. Henry VIII’s religious reformation changed this cultural structure of society. ‘The Act for the Advancement of True Religion’ of 1543, which prohibited the people belonging to the lower classes of society as well as women from reading the Bible, rather suggests that there already existed a number of these folks actively engaged in reading. The Act did not ban the works of Chaucer and Gower and stories of men’s lives – good reading for them. The successive sovereigns’ educational policies also contributed to rising literacy. This trend was speeded up by London’s growing population which invited the rise of commercial playhouses since 1567. Every citizen saw on average about seven performances every year: that is, about three per cent of London’s population saw a performance a day. From 1586 onwards merchants’ appearance in best-seller literature began to increase while stage representation of reading/writing scenes also increased and stimulated audiences towards reading. This was spurred by standardisation of the printing format of playbooks in the early 1580s and play-minded readers went to playbooks, eventually to create a class of playbook readers. Late in the 1590s, at last, playbooks matched with prose writings in ratio to all publications. Parts I and II of this book discuss these topics in numerical terms as much as possible and Part III discusses some monumental characteristics of contemporary readers of Chapman, Ford, Marston and Shakespeare.

This book investigates the complex interactions, through experiencing drama, of readers and audiences in the English Renaissance. Around 1500 an absolute majority of population was illiterate. Henry VIII’s religious reformation changed this cultural structure of society. ‘The Act for the Advancement of True Religion’ of 1543, which prohibited the people belonging to the lower classes of society as well as women from reading the Bible, rather suggests that there already existed a number of these folks actively engaged in reading. The Act did not ban the works of Chaucer and Gower and stories of men’s lives – good reading for them. The successive sovereigns’ educational policies also contributed to rising literacy. This trend was speeded up by London’s growing population which invited the rise of commercial playhouses since 1567. Every citizen saw on average about seven performances every year: that is, about three per cent of London’s population saw a performance a day. From 1586 onwards merchants’ appearance in best-seller literature began to increase while stage representation of reading/writing scenes also increased and stimulated audiences towards reading. This was spurred by standardisation of the printing format of playbooks in the early 1580s and play-minded readers went to playbooks, eventually to create a class of playbook readers. Late in the 1590s, at last, playbooks matched with prose writings in ratio to all publications. Parts I and II of this book discuss these topics in numerical terms as much as possible and Part III discusses some monumental characteristics of contemporary readers of Chapman, Ford, Marston and Shakespeare.

Shakespeare and the Comedy of Enchantment argues that enchantment constitutes a key emotional and intellectual dimension of Shakespeare's comedies. It thus makes a new claim about the rejuvenating value of comedy for individuals and society. Shakespeare's comedies orchestrate ongoing encounters between the rational and the mysterious, between doubt and fascination, with feelings moved by elements of enchantment that also seem a little ridiculous. In such a drama, lines of causality become complex, and even satisfying endings leave certain matters incomplete and contingent—openings for scrutiny and thought. In addressing enchantment, the book takes exception to the modernist vision of a deterministic 'disenchanted' world. As Shakespeare's action advances, comic mysteries accrue—uncanny coincidences; magical sympathies; inexplicable repetitions; psychic influences; and puzzlements about the meaning of events—all of whose numinous effects linger ambiguously after reason has apparently answered the play's questions. Separate chapters explore the devices, tropes, and motifs of enchantment: magical clowns who alter the action through stop-time interludes; structural repetitions that suggest mysteriously converging, even opaquely providential destinies; locales that oppose magical and protean forces to regulatory and quotidian values; desires, thoughts, and utterances that 'manifest' comically monstrous events; characters who return from the dead, facilitated by the desires of the living; play-endings crossed by harmony and dissonance, with moments of wonder that make possible the mysterious action of forgiveness. Wonder and wondering in Shakespeare's and other comedies, it emerges, become the conditions for new possibilities. Chapters refer extensively to early modern history, Renaissance and modern theories of comedy, treatises on magical science, and contemporaneous Italian and Tudor comedy.

This study explores the way Calvinist experientialism provided both a theology and an epistemology in the poetry of five early modern English poets: William Shakespeare, Robert Herrick, John Donne, Fulke Greville, and John Milton. In both official church ecclesiology and informal devotional practice, the Reformation introduced the idea that an individual's experience of devotion did not only entail feeling, but also thought. For early modern English people, bodily experience offered a means of corroborating and verifying devotional truth, making the invisible visible and knowable. This volume maintains that these religious developments gave early modern thinkers and poets a new epistemological framework for imagining and interpreting devotional intention and access. These Reformed models for devotion not only shaped how people experienced their encounters with God; the changing religious landscape of post-Reformation England also held profound implications for how English poets described sexual longing and access to earthly beloveds in the literary production of the period. In placing the works of English poets in conversation with devotional writers such as William Perkins, Samuel Hieron, Joseph Hall, and William Gouge, this book demonstrates how the English Calvinist tradition attributed epistemological potential to a wide range of ordinary experience, including sexual experience.

This book is the first comprehensive examination of commercial drama as a reading genre in early modern England. Taking as its focus pre-Restoration printed drama’s most common format, the single-play quarto playbook, it interrogates what the form and content of these playbooks can tell us about who their earliest readers were, why they might have wanted to read contemporary commercial drama, and how they responded to the printed versions of plays that had initially been performed in the playhouses of early modern London. Focusing on professional plays printed in quarto between 1584 and 1660, the book juxtaposes the implications of material and paratextual evidence with analysis of historical traces of playreading in extant playbooks and manuscript commonplace books. In doing so, it presents more detailed and nuanced conclusions than have previously been enabled by studies focused on works by one author or on a single type of evidence.

Unlike the contrast between the sacred and the taboo, the opposition of "comic" and "tragic" is not a way of categorizing experience that we find in cultures all over the world or even at different periods in Western civilization. Though medieval writers and readers distinguished stories with happy endings from stories with unhappy endings, it was not until the sixteenth and seventeenth centuries--fifteen hundred years after Sophocles, Euripides, Plautus, and Terence had last been performed in the theaters of the Roman Empire--that tragedy and comedy regained their ancient importance as ways of giving dramatic coherence to human events. Ancient Scripts and Modern Experience on the English Stage charts that rediscovery, not in the pages of scholars' books, but on the stages of England's schools, colleges, inns of court, and royal court, and finally in the public theaters of sixteenth-and seventeenth-century London. In bringing to imaginative life the scripts, eyewitness accounts, and financial records of these productions, Bruce Smith turns to the structuralist models that anthropologists have used to explain how human beings as social creatures organize and systematize experience. He sets in place the critical, physical, and social structures in which sixteenth-and seventeenth-century Englishmen watched productions of classical comedy and classical tragedy. Seen in these three contexts, these productions play out a conflict between classical and medieval ways of understanding and experiencing comedy's interplay between satiric and romantic impulses and tragedy's clash between individuals and society. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

A public and highly popular literary form, English Renaissance drama affords a uniquely valuable index of the process of cultural transformation. The Expense of Spirit integrates feminist and historicist critical approaches to explore the dynamics of cultural conflict and change during a crucial period in the formation of modern sexual values. Comparing Elizabethan and Jacobean dramatic representations of love and sexuality with those in contemporary moral tracts and religious writings on women, love, and marriage, Mary Beth Rose argues that such literature not only interpreted sexual sensibilities but also contributed to creating and transforming them.