The Summons Of Death On The Medieval And Renaissance English Stage

How power was distributed and exercised is a key issue in understanding attitudes and assumptions in late medieval England. The essays in this volume all deal with those who had the power to make political decisions, whether kings, nobles or gentry, courtiers or clergy. While ultimately power rested on force, it was enshrined in the law and more usually exercised by influence and by the dangling of reward. Most disputes were settled without violence, if often with recourse to prolonged struggles in the courts, but those who offended against established interests could be punished severely, as the cases of Sir John Mortimer and of Bishop Reginald Pecock show. These essays, presented to Gerald Harriss, who has done so much to illuminate the history of the period, show not only how power was exercised but also how men of the time thought about it. Contributors: Rowena E. Archer, Christine Carpenter, Jeremy Catto, Rosemary Horrox, R.W. Hoyle, Maurice Keen, Dominic Luckett, Philippa Maddern, S.J. Payling, Edward Powell, Anthony Smith, Simon Walker, Christopher Woolgar, Edmund Wright.

Drawing on broad research, this study explores the different social and theatrical masking activities in England during the Middle Ages and the early 16th century. The authors present a coherent explanation of the many functions of masking, emphasizing the important links among festive practice, specialized ceremonial, and drama. They elucidate the intellectual, moral and social contexts for masking, and they examine the purposes and rewards for participants in the activity. The authors' insight into the masking games and performances of England's medieval and early Tudor periods illuminates many aspects of the thinking and culture of the times: issues of identity and community; performance and role-play; conceptions of the psyche and of the individual's position in social and spiritual structures. Masks and Masking in Medieval and Early Tudor England presents a broad overview of masking practices, demonstrating how active and prominent an element of medieval and pre-modern culture masking was. It has obvious interest for drama and literature critics of the medieval and early modern periods; but is also useful for historians of culture, theatre and anthropology. Through its analysis of masked play this study engages both with the history of theatre and performance, and with broader cultural and historical questions of social organization, identity and the self, the performance of power, and shifting spiritual understanding.

A reference book which indexes all the characters who appear in English drama from 1500 to 1660.

Death is not only the final moment of life, it also casts a huge shadow on human society at large. People throughout time have had to cope with death as an existential experience, and this also, of course, in the premodern world. The contributors to the present volume examine the material and spiritual conditions of the culture of death, studying specific buildings and spaces, literary works and art objects, theatrical performances, and medical tracts from the early Middle Ages to the late eighteenth century. Death has always evoked fear, terror, and awe, it has puzzled and troubled people, forcing theologians and philosophers to respond and provide answers for questions that seem to evade real explanations. The more we learn about the culture of death, the more we can comprehend the culture of life. As this volume demonstrates, the approaches to death varied widely, also in the Middle Ages and the early modern age. This volume hence adds a significant number of new facets to the critical examination of this ever-present phenomenon of death, exploring poetic responses to the Black Death, types of execution of a female murderess, death as the springboard for major political changes, and death reflected in morality plays and art.

This companion volume seeks to trace the development of ideas relating to death, burial, and the remembrance of the dead in Europe from ca.1300-1700.

Jacobean actors fascinated audiences with their convincingly mimetic performances; often they appeared to assume the identities of the fictional characters they impersonated. A similar dynamic emerges in several tragedies of the period, where dramatic characters are frequently changed--for better or worse--by the roles they adopt within the play illusion. This study discusses how certain plays of Jonson and Middleton reveal the destructive consequences of assuming new personae; how three of Shakespeare's tragedies explore the ambivalent results of characters' experimentation with roles; and how Webster and Ford treat role-playing (including ceremonial behavior) creatively, as a vehicle for expressing and consolidating the dramatic self.