This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Why are early modern English dramatists preoccupied with unfinished processes of ‘making’ and ‘unmaking’? And what did the terms ‘finished’ or ‘incomplete’ mean for dramatists and their audiences in this period? Making and unmaking in early modern English drama is about the significance of visual things that are ‘under construction’ in works by playwrights including Shakespeare, Robert Greene and John Lyly. Illustrated with examples from across visual and material culture, it opens up new interpretations of the place of aesthetic form in the early modern imagination. Plays are explored as a part of a lively post-Reformation visual culture, alongside a diverse range of contexts and themes, including iconoclasm, painting, sculpture, clothing and jewellery, automata and invisibility. Asking what it meant for Shakespeare and his contemporaries to ‘begin’ or ‘end’ a literary or visual work, this book is essential reading for scholars and students of early modern English drama, literature, visual culture and history.

This volume addresses dealings with the wondrous, magical, holy, sacred, sainted, numinous, uncanny, auratic, and sacral in the plays of Shakespeare and contemporaries, produced in an era often associated with the irresistible rise of a thinned-out secular rationalism. By starting from the literary text and looking outwards to social, cultural, and historical aspects, it comes to grips with the instabilities of ‘enchanted’ and ‘disenchanted’ practices of thinking and knowledge-making in the early modern period. If what marvelously stands apart from conceptions of the world’s ordinary functioning might be said to be ‘enchanted’, is the enchantedness weakened, empowered, or modally altered by its translation to theatre? We have a received historical narrative of disenchantment as a large-scale early modern cultural process, inexorable in character, consisting of the substitution of a rationally understood and controllable world for one containing substantial areas of mystery. Early modern cultural change, however, involves transpositions, recreations, or fresh inventions of the enchanted, and not only its replacement in diminished or denatured form. This collection is centrally concerned with what happens in theatre, as a medium which can give power to experiences of wonder as well as circumscribe and curtail them, addressing plays written for the popular stage that contribute to and reflect significant contemporary reorientations of vision, awareness, and cognitive practice. The volume uses the idea of dis-enchantment/re-enchantment as a central hub to bring multiple perspectives to bear on early modern conceptualizations and theatricalizations of wonder, the sacred, and the supernatural from different vantage points, marking a significant contribution to studies of magic, witchcraft, enchantment, and natural philosophy in Shakespeare and early modern drama.

Portraits in Early Modern English Drama studies the complex web of interconnections that grows out of the presentation of portraits as props in early modern English drama. Emanuel Stelzer considers this theory from the Elizabethan age up to the closing of the theatres. This book examines how the dramatic text and the subjectivities of the dramatis personae are shaped and changed through the process of observation and interpretation of pictures in the dramatic actions and dialogues. Unlike any previous study, it confronts when a portrait is clearly meant not to be a miniature. This also has bearings on the effect of the picture on the audience and in terms of genre expectation. Two important questions are interrogated in the book: What were the price and value of these portraits? and What were the strategies deployed by the playing companies to show women’s portraits in a theatre without actresses? This book will be of interest to different areas of research dealing with the history of drama and literature, material and visual culture studies, art history, gender studies, and performance studies.

Written by an international group of highly regarded scholars and rooted in the field of intermedial approaches to literary studies, this volume explores the complex aesthetic process of "picturing" in early modern English literature. The essays in this volume offer a comprehensive and varied picture of the relationship between visual and verbal in the early modern period, while also contributing to the understanding of the literary context in which Shakespeare wrote. Using different methodological approaches and taking into account a great variety of texts, including Elizabethan sonnet sequences, metaphysical poetry, famous as well as anonymous plays, and court masques, the book opens new perspectives on the literary modes of "picturing" and on the relationship between this creative act and the tense artistic, religious and political background of early modern Europe. The first section explores different modes of looking at works of art and their relation with technological innovations and religious controversies, while the chapters in the second part highlight the multifaceted connections between European visual arts and English literary production. The third section explores the functions performed by portraits on the page and the stage, delving into the complex question of the relationship between visual and verbal representation. Finally, the chapters in the fourth section re-appraise early modern reflections on the relationship between word and image and on their respective power in light of early-seventeenth-century visual culture, with particular reference to the masque genre.

How does our understanding of early modern performance, culture and identity change when we decentre Shakespeare? And how might a more inclusive approach to early modern drama help enable students to discuss a range of issues, including race and gender, in more productive ways? Underpinned by these questions, this collection offers a wide-ranging, authoritative guide to research on drama in Shakespeare's England, mapping the variety of approaches to the context and work of Shakespeare and his contemporaries. By paying attention to repertory, performance in and beyond playhouses, modes of performance, and lost and less-studied plays, the handbook reshapes our critical narratives about early modern drama. Chapters explore early modern drama through a range of cultural contexts and approaches, from material culture and emotion studies to early modern race work and new directions in disability and trans studies, as well as contemporary performance. Running through the collection is a shared focus on contemporary concerns, with contributors exploring how race, religion, environment, gender and sexuality animate 16th- and 17th-century drama and, crucially, the questions we bring to our study, teaching and research of it. The volume includes a ground-breaking assessment of the chronology of early modern drama, a survey of resources and an annotated bibliography to assist researchers as they pursue their own avenues of inquiry. Combining original research with an account of the current state of play, The Arden Handbook of Shakespeare and Early Modern Drama will be an invaluable resource both for experienced scholars and for those beginning work in the field.

Knowledge Building in Early Modern English Music is a rich, interdisciplinary investigation into the role of music and musical culture in the development of metaphysical thought in late sixteenth-, early seventeenth-century England. The book considers how music presented questions about the relationships between the mind, body, passions, and the soul, drawing out examples of domestic music that explicitly address topics of human consciousness, such as dreams, love, and sensing. Early seventeenth-century metaphysical thought is said to pave the way for the Enlightenment Self. Yet studies of the music’s role in natural philosophy has been primarily limited to symbolic functions in philosophical treatises, virtually ignoring music making’s substantial contribution to this watershed period. Contrary to prevailing narratives, the author shows why music making did not only reflect impending change in philosophical thought but contributed to its formation. The book demonstrates how recreational song such as the English madrigal confronted assumptions about reality and representation and the role of dialogue in cultural production, and other ideas linked to changes in how knowledge was built. Focusing on music by John Dowland, Martin Peerson, Thomas Weelkes, and William Byrd, this study revises historiography by reflecting on the experience of music and how music contributed to the way early modern awareness was shaped.

How were understandings of chance, luck, and fortune affected by early capitalist developments such as the global expansion of English trade and colonial exploration? And how could the recognition that fortune wielded a powerful force in the world be squared with Protestant beliefs about theall-controlling hand of divine providence? Was everything pre-determined, or was there room for chance and human agency? Globalizing Fortune addresses these questions by demonstrating how English economic expansion and global transformation produced a new philosophy of fortune oriented arounddiscerning and optimizing unexpected opportunities. The popular theater played an influential role in dramatizing the new prospects and dangers opened up by nascent global economics and fostering a set of ethical practices for engaging with fortunes unpredictable turns. While largely derided as asinful, earthly distraction in the Boethian tradition of the Middle Ages, fortune made a comeback on the English Renaissance stage as a force associated with valiant risks, ennobling adventures, and purposeful action. The early modern stage also reveals how a new philosophy of fortune led toeconomic exploitation and racialized exclusions.Offering in-depth discussions of plays by Shakespeare, Marlowe, Heywood, Dekker, and others, Globalizing Fortune demonstrates how the history of the English commercial theaterlike that of English seaborne expansionwas also a history of fortune. The public theater not only shaped popularunderstandings of fortunes role in a culture undergoing economic transformation, but also addressed this transformation from a unique position because of its own implication in London commerce, its reliance on paying customers, and its vulnerability to the risks and contingencies of liveperformance. Drawing attention to an archive of plays dramatizing maritime travel, trade, and adventure, this book shows how the popular stage shaped evolving understandings of fortune by cultivating new viewing practices and mechanisms of theatrical wonder, as well as modeling proper ways of actingin the face of unknown outcomes and contingency. In short, Globalizing Fortune demonstrates how the public theater offered the first modern understanding of fortune as a globalizing commercial and ethical phenomenon.