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It also situates theatrical contexts and explains how key plays are analyzed by specific contributors.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"Which theatrical topics and historical contexts are addressed in the contents?",{"text":68,"@type":64},"The book includes essays on professional stage context and theatrical institutions, as well as how new plays are generated from older models. It also covers court masques and audience attitudes in relation to public theatre.",{"name":70,"@type":61,"acceptedAnswer":71},"How are Marlowe, Shakespeare, and Jonson treated across the collection?",{"text":72,"@type":64},"They are examined through multiple critical angles, including tragedy and tragicomedy, comedy and inheritance, and how their works shape or reflect audience dynamics. 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No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact:  \nChelsea House  \nAn imprint of Infobase Publishing  \n132 West 31st Street New York NY 10001  \nISBN-10: 0-7910-7675-X  \nISBN-13: 978-0-7910-7675-0  \nFor Library of Congress Cataloging-in-Publication Data, please contact the publisher.  \nISBN: 0-7910-7675-X  \nChelsea House books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755.  \nYou can find Chelsea House on the World Wide Web at [http://www.chelseahouse.com](http://www.chelseahouse.com)  \nContributing Editors: Brett Foster and Camille-Yvette Welsch Cover designed by Keith Trego  \nPrinted in the United States of America Bang EJB 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper.  \nContents  \nEditor’s Note vii  \nIntroduction 1  \nHarold Bloom  \nTheatres and Companies: The Context of the Professional Stage—James Burbage and John Lyly 27  \nPeter Happé  \nNew Tragedies for Old 47  \nMartin Wiggins  \nMarlowe and the Jades ofAsia 65  \nEugene M. Waith  \nDoctor Faustus 81  \nMartha Tuck Rozett  \n‘Italian masques by night’: Machiavellian Policy  \nand Ovidian Play in Edward II 111  \nPatrick Cheney  \nArtificial Comedy and Popular Comedy:  \nShakespeare’s Inheritance 135  \nM. C. Bradbrook  \nMarlowe, Shakespeare, Spenser, and the Fictive Navarre 151  \nPaul J. Voss  \nShakespeare’s and Jonson’s View of Public Theatre Audiences 191 Alvin B. Kernan  \nLicensed Fools: the 1598 Watershed 205  \nRichard Dutton  \nvi Contents  \nThe Elizabethan Dramatists as Literary Critics 229  \nJames P. Bednarz  \nJonson on Shakespeare: Criticism as Self-Creation 247  \nJames P. Bednarz  \nThe Other Side of the War: Marston and Dekker 261  \nMatthew Steggle  \nThe Revenger’s Tragedy (c. 1606): Providence,  \nParody and Black Camp 285  \nJonathan Dollimore  \nBussy D’Ambois (c. 1604): A Hero at Court 297 Jonathan Dollimore  \nParasites and Sub-Parasites: The City as Predator  \nin Jonson and Middleton 303  \nGail Kern Paster  \nPastimes and the Purging of Theater:  \nBartholomew Fair (1614) 327  \nLeah S. Marcus  \nThe Royal Spectacle 341  \nStephen Orgel  \nTragicomedy 355  \nG.K. Hunter  \nGiving the Finger: Puns and Transgression  \nin The Changeling 381  \nAnthony B. Dawson  \nChronology 399  \nContributors 407  \nBibliography 411  \nAcknowledgments 417  \nIndex 419  \nEditor’s Note  \nMy Introduction begins with a general overview of the Jacobean hero-villain in Marlowe’s Barabas, the Jew of Malta and Jonson’s Volpone, before returning to John Webster’s Basola in The Duchess of Malfi .  \nTheatrical contexts are provided by Peter Happé, while Martin Wiggins shows the minting of new plays out of old, and Eugene Waith introduces us to Marlowe and his Tamburlaine plays. Marlowe’s Doctor Faustus and Edward II are analyzed by Martha Tuck Rozett and Patrick Cheney, respectively.  \nMuriel Bradbrook traces Shakespeare’s inheritance from the highly mannered John Lyly and from the roustabouts Peele, Greene, and Nashe.  \nHenry of Navarre, who turned Catholic so as to enter Paris as Henry IV in 1593, makes appearances in Marlowe, Shakespeare, and Spenser, as is chronicled here by Paul Voss.  \nAlvin Kernan perceptively contrasts the attitudes of Shakesp","cbCaih4OJb1dKifT","https://ap.wps.com/l/cbCaih4OJb1dKifT","pdf",1719024,439,"English","# Editor’s Note\n# Introduction\n## Theatres and Companies: The Context of the Professional Stage—James Burbage and John Lyly\n## New Tragedies for Old\n## Marlowe and the Jades ofAsia\n## Doctor Faustus\n## ‘Italian masques by night’: Machiavellian Policy and Ovidian Play in Edward II\n## Artificial Comedy and Popular Comedy: Shakespeare’s Inheritance\n## Marlowe, Shakespeare, Spenser, and the Fictive Navarre\n## Shakespeare’s and Jonson’s View of Public Theatre Audiences\n## Licensed Fools: the 1598 Watershed\n## The Elizabethan Dramatists as Literary Critics\n## Jonson on Shakespeare: Criticism as Self-Creation\n## The Other Side of the War: Marston and Dekker\n## The Revenger’s Tragedy (c. 1606): Providence, Parody and Black Camp\n## Bussy D’Ambois (c. 1604): A Hero at Court\n## Parasites and Sub-Parasites: The City as Predator in Jonson and Middleton\n## Pastimes and the Purging of Theater: Bartholomew Fair (1614)\n## The Royal Spectacle\n## Tragicomedy\n## Giving the Finger: Puns and Transgression in The Changeling\n## Chronology\n## Contributors\n## Bibliography\n## Acknowledgments\n## Index","[{\"question\":\"What does Harold Bloom’s introduction focus on in this volume?\",\"answer\":\"It begins with an overview of the Jacobean hero-villain, linking Marlowe’s Barabas and Jonson’s Volpone, then returning to John Webster’s Basola in The Duchess of Malfi. It also situates theatrical contexts and explains how key plays are analyzed by specific contributors.\"},{\"question\":\"Which theatrical topics and historical contexts are addressed in the contents?\",\"answer\":\"The book includes essays on professional stage context and theatrical institutions, as well as how new plays are generated from older models. It also covers court masques and audience attitudes in relation to public theatre.\"},{\"question\":\"How are Marlowe, Shakespeare, and Jonson treated across the collection?\",\"answer\":\"They are examined through multiple critical angles, including tragedy and tragicomedy, comedy and inheritance, and how their works shape or reflect audience dynamics. Essays also compare their approaches and trace thematic continuities across plays and playwrights.\"}]","Bloom’s Period Studies - Elizabethan Drama - Introduction and Contents | PDF",1789773694,676]