By Donna B. Hamilton
This Concise Companion launches scholars into the learn of English Renaissance literature in the course of the important contexts that trained it.
Chapter 1 Economics (pages 11–31): S. P. Cerasano
Chapter 2 faith (pages 32–53): Donna B. Hamilton
Chapter three Royal Marriage and the Royal Succession (pages 54–74): Paul E. J. Hammer
Chapter four Patronage, Licensing, and Censorship (pages 75–93): Richard Dutton
Chapter five Humanism, Rhetoric, schooling (pages 94–113): Peter Mack
Chapter 6 Manuscripts in Early sleek England (pages 114–135): Heather Wolfe
Chapter 7 commute, Exploration, and Empire (pages 136–159): Ralph Bauer
Chapter eight deepest existence and Domesticity (pages 160–179): Lena Cowen Orlin
Chapter nine Treason and uprising (pages 180–199): Andrew Hadfield
Chapter 10 Shakespeare and the Marginalized “Others” (pages 200–216): Carole Levin
Chapter eleven Cosmology and the physique (pages 217–237): Cynthia Marshall
Chapter 12 Life?Writing (pages 238–256): Alan Stewart
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Additional info for A Concise Companion to English Renaissance Literature
For as the Baggage is to an Army, so is the Riches to Vertue. It cannot be spared, nor left behinde, but it hindreth the March; Yea, and the care of it, sometimes, loseth or disturbeth the Victory’’ (Kiernan 1985: 109). For Bacon, as for some philosophers and theologians of his time, money was potentially corrupting. Therefore, Bacon cautioned, ‘‘Riches are for Spending; And Spending for honour and good Actions’’ and ‘‘Ordinary Expence ought to be limited by a Mans Estate; And governed with such regard, 26 Economics as it be within his Compasse; And not subject to Deceit And Abuse of Servants’’ (Kiernan 1985: 87).
P. Cerasano non-theatrical entertainments, which drew crowds to the bear-baiting arenas and archery matches, also attracted crowds to the playhouses. Consequently, even though the admissions fees at the public playhouses remained fairly steady throughout the period (1d. ) to sit in the galleries or to see a new play), and while the playhouses did not increase drastically either in number or in size, the dramatists and the companies for which they wrote managed to make a steady profit because they were able to keep their repertories fluid and their spectators interested in returning.
But other plays and playwrights remain less accessible, in part because not all writers write about religion directly, but invert or transform the religious ideologies that hold philosophical or topical interest for author and audience. Christopher Marlowe’s Dr Faustus may be a play in that category. Performed for the first time in 1594 by Lord Admiral’s Men, the year following Marlowe’s death, Dr Faustus was written sometime between 1589 and 1592 (Kinney 1999: 158; Gill 1990: xv–xix). Its basic elements are indisputable: a protagonist who in his discontent signs his soul over to the devil in order to pursue his desires, and a morality framework in which Good and Evil angels compete for his soul.