Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-wq484 Total loading time: 0 Render date: 2024-04-27T07:26:34.971Z Has data issue: false hasContentIssue false

Part XIII - Shakespeare’s Fellows

Published online by Cambridge University Press:  17 August 2019

Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
Get access

Keywords

Armin, RobertBurbage, JamesBurbage, RichardCardenioCervantes, Miguel deChetle, HenryCondell, HenryDavies, John, of HerefordDekker, ThomasDroeshout, MartinDudley, Robert, Earl of LeicesterDulwich CollegeEarl of Worcester’s MenForman, SimonGreene, RobertHerbert, William, Earl of PembrokeHeminges, WilliamJonson, BenKemp, WilliamKing’s MenKnell, WilliamKyd, ThomasLodge, ThomasLord Admiral’s MenLord Chamberlain’s MenLyly, JohnMarlowe, ChristopherMarston, JohnMiddleton, ThomasNashe, ThomasPeele, GeorgePhillips, AugustineQueen’s MenTarlton, RichardTourneur, CyrilRowe, NicholasWebster, JohnWilkins, GeorgeWriothesley, Henryballad seller“beautified”Bibleborrowingcony-catching pamphletcovenantenigmaepitaphmythologyoraclepastoralpatronagepen nameprose fictionPuritansQueen’s Menrepentance tractsrogue literatureromanceself-portraitShoreditchsyphilistragicomedytributetricksterUniversity WitsAcheley, ThomasAdmiral’s MenAeneasAlasco, AlbertusAldrich, ThomasAlleyn, EdwardAlleyn, JohnAntonio and MellidaatheismBaines, RichardBeard, ThomasBentley, JohnBishop of WinchesterBlount, EdwardBradley, WilliamBull, EleanorBurbage, RichardCambridge UniversityCanterburyChapman, GeorgeChildren of Paul’sChildren of the ChapelchivalryCorpus Christi College, CambridgeCovell, WilliamCynthia’s RevelsDekker, ThomasDeptfordDudley, Robert, Earl of LeicesterDuke HumphreyDuke of BuckinghamDutch Churchyard in Broad StreetField, RichardFlushingFolgate, NortonFrysar, IngramGager, WilliamGod’s scourgeGosson, StephenGreene, RobertGreenes Groats-worth of WitteGresshop, JohnHalliwell, EdwardHarvey, GabrielHekatompathiaHell’s Broke LooseHog LaneHolinshed, RaphaelInns of CourtJoan la PucelleJonson, BenKing Edward VI School, Stratford-upon-AvonKing’s School, CanterburyKyd, ThomaslibelLucy, WilliamLyly, JohnA Mad World, My MastersMarston, JohnMenaphonMeres, FrancisMiddleton, ThomasNashe, ThomasA New Letter of Notable ContentsNorgate, RobertOvidian poetsOxford UniversityPalladis TamiaParker, MatthewPeele, GeorgePembroke Hall, CambridgePembroke’s MenPerimedes the BlacksmithPlayes Confuted in Five ActionsPoetasterPrivy CouncilPuckering, JohnPuritanismQueen’s MenRheimsRichard, Duke of GloucesterRowlands, SamuelScadburySt. Paul’s churchyardSwift, HugoTalbot, JohnThexton, RobertThorpe, ThomasTrinity College, Cambridgeuniversity dramaWalsingham, ThomasWatson, ThomasWither, GeorgeWriothesley, Henry, Earl of SouthamptonCambridgechronologyLord Chamberlain’s MenLyly, JohnMarprelate writerssourcesHamletHaywood, ThomasKing’s MenMarlowe, ChristopherNashe, ThomasThe Spanish TragedyTassoUniversity WitsclownFuller, ThomasjestsMartin Marprelate controversyTwo Maids of More-clackebiblical dramaChildren of the ChapelChronicle Playsclassical tragedycollaborationcomedycourt dramalost worksOxford UniversityQueen’s Menpastoralsources (Shakespeare’s)University WitsallegoryBlackfriars (playhouse)boys’ companieschildren’s companiescourt comedyeuphuismprivate theatersRenaissance dramaBlackfriarsBlackfriars (playhouse)Cross KeysGlobe (playhouse)Hayes (Kent)King’s MenSouthwarkSt. Giles’s CripplegateSt. Leonard’s Shoreditchthe Theatre (playhouse)actorsBlackfriars (playhouse)First FolioFleet StreetFulhamGlobeGrocers’ CompanyKing’s MenLord Chamberlain’s MenprinterspublishersSt. Mary’s Aldermanburythe StrandAbbot, George (archbishop of Canterbury)actorsAlleyn, Edmund (father of Edward Alleyn)Alleyn, EdwardAlleyn, Joan (wife of Edward Alleyn)Alleyn, John (brother of Edward Alleyn)Apology for ActorsBacon, Sir FrancisThe Battle of Alcazarbear baitingBedlam HospitalBlackfriars (place)Blackfriars (playhouse)1 Blind Beggar of Bednal GreenBrowne, RobertCaesar, Sir JuliusCarey, Sir GeorgeCharles, Prince (later Charles I)Cholmley, JohnClink Libertycoat of armsCoke, Sir EdwardDekker, ThomasDoctor Faustus (character)Donne, Constance (second wife of Edward Alleyn)Donne, JohnDulwich (place)Dulwich CollegeDyers CompanyEdgar (character)Edmondes, Sir ThomasElizabeth IentertainmententrepreneurshipFortunatusFortune (playhouse) (First and Second)1 Fortune’s TennisFuller, ThomasGlobe (playhouse)Golding LaneHenslowe, JohnHenslowe, PhilipHeywood, ThomasHogg, RalphHope (playhouse)Infanta of Spain (Lady Mary)Innkeepers CompanyinvestorsThe Isle of DogsJames I (James VI of Scotland)The Jew of MaltaJones, InigoJonson, BenA Knack to Know a KnaveLady Elizabeth’s MenLangley, FrancisLondonLord Admiral’s MenLord Sheffield’s MenLord Strange’s MenMarlowe, ChristopherMaster of the Bears, Bulls, and Mastiff DogsMaster of the Royal GameMeade, JacobThe Merchant of VeniceMiddlesexMiddleton, ThomasMuly Mahomet (character)Palsgrave’s MenPatient GrissellplaguePorter’s HallPrince Henry’s MenPrince of DenmarkPrivy CouncilPuddle WharfPye InnRose (playhouse)Rosseter, PhilipRoyal CourtRoyal OrdinanceSt. Botolph’s BishopsgateSt. Giles’s CripplegateSt. Paul’s CathedralSt. Saviour’s SouthwarkShylockThe Shomaker’s Holiday1 Sir John OldcastleSouthwarkstage machinerySussexSwan (playhouse)Tamburlaine (character)I, II Tamburlaine the Greatthe Theatre (playhouse)theater financierstheater managersTower of LondonWhitecross StreetWoodward, AgnesWoodward, JoanWright, JamesAmends for LadiesBlackfriars (playhouse)First FolioFletcher, JohnHamletKing’s MenLady Elizabeth’s CompanyQuarto 1A Woman is a WeathercockBurbage, RichardclowndancerdancingfoolGlobe (playhouse)jigKemp, WilliamLord Chamberlain’s MenThe CaptainChapman, GeorgeGlorianaThe Knight of the Burning Pestle“Lutes, Viols, and Voices”masque(s)The WitchThe AlchemistAll’s Well That Ends WellAmiensArmin, JohnArmin, Robertartificial foolAs You Like ItAutolycusBalthasarBlackfriars (playhouse)“Blow, Blow, Thou Winter Wind”Blue JohnBuffone, CarloBurbage, RichardChildren of the King’s Majesty’s Revelsclown“Come Away, Come Away, Death”countertenorCurtain (playhouse)Davies, John, of HerefordDogberryDrugger, AbelEvery Man Out of His Humour“Farewell, Dear Heart”FesteFirst ClownFool“Fools Had Ne’er Less Grace”Hall, JosephHamlet“He That Has and a Little Tiny Wit”“Hey Robin”The History of the Two Maids of More-Clacke“Hold Thy Peace”The Italian Taylor, and His Boy“It Was a Lover and His Lass”Jester“Jog On, Jog On”Jonson, BenKemp, WilliamKing Henry VIIIKing Lear“King Salomon”King’s MenLavatchLord Chamberlain’s MenLord ChandosMacbeth“A Maiden Sitting All Alone”The MalcontentMorley, Thomas“Mortall Downe, Thistle Soft”Much Ado about Nothingnatural foolNest of Ninnies“O Mistress Mine”PassarelloPorterQuips Upon Questions, Foole Upon FooleScourge of FollySir TopasTarlton, RichardThersites“Tom Tyler”TouchstoneTroilus and CressidaTutchTwelfth Night“Under the Greenwood Tree”The Valiant Welshman“Was This Fair Face”“What Shall He Have”“When Daffodils Begin to Peer”“When That I Was and-a Little Tiny Boy”The Winter’s TaleChapman, GeorgeclassicismDekker, ThomashumanismJonson, BenMarston, JohnmasquesatireShakespeare’s armstragedythe unitiesBlackfriars (playhouse)Children of the Queen’s Revelscollaborationthe Globe (playhouse)King’s MencoauthorshipcollaborationKing’s MenMacbethMeasure for Measuresatiresatirictextual criticismTimonTimon of AthenscollaborationInns of CourtintertextualitySmithfieldtragicomedy
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Sources cited

Chambers, E. K. William Shakespeare: A Study of Facts and Problems. 2 vols. Oxford: Clarendon, 1930.Google Scholar
Davies, John. Complete Works. Ed. Grosart, A. B.. 3 vols. Privately circulated. Edinburgh: U of Edinburgh P, 1878.Google Scholar
Fletcher, John. The Tamer Tamed or The Woman’s Prize. Ed. Daileader, Celia R. and Taylor, Gary. Manchester: Manchester UP, 2006.Google Scholar
Honan, Park. Christopher Marlowe, Poet and Spy. Oxford: Oxford UP, 2005.Google Scholar
Honigmann, E. A. J., and Brock, Susan, eds. Playhouse Wills, 1558–1642. Manchester: Manchester UP, 1993.Google Scholar
Kinney, Arthur F. Shakespeare by Stages: An Historical Introduction. Oxford: Blackwell, 2003.CrossRefGoogle Scholar
Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004.Google Scholar
Prior, Roger. “The Life of George Wilkins.” Shakespeare Survey 25 (1972): 137–52.CrossRefGoogle Scholar
Shakespeare, William. The Complete Works. 2nd ed. Ed. Wells, Stanley and Taylor, Gary. Oxford: Clarendon, 2005.Google Scholar
Wells, Stanley. Shakespeare & Co. London: Penguin Books, 2006.Google Scholar
Wickham, Glynne, Berry, Herbert, and Ingram, William, eds. English Professional Theatre, 1530–1660. Cambridge: Cambridge University Press, 2000.Google Scholar

Further reading

Barton, Anne. Ben Jonson, Dramatist. Cambridge: Cambridge University Press, 1984.CrossRefGoogle Scholar
Donaldson, Ian. Ben Jonson: A Life. Oxford: Oxford UP, 2011.Google Scholar
Gurr, Andrew. The Shakespearean Stage, 1574–1642. 3rd ed. Cambridge: Cambridge University Press, 1992.Google Scholar
Hibbard, George. Thomas Nashe: A Critical Introduction. London: Routledge and Kegan Paul, 1962.Google Scholar
Hoenselaars, Ton, ed. The Cambridge Companion to Shakespeare and Contemporary Dramatists. Cambridge: Cambridge University Press, 2012.CrossRefGoogle Scholar
Honigmann, E. A. J., ed. Shakespeare and His Contemporaries: Essays in Comparison. Manchester: Manchester UP, 1986.Google Scholar
Hunter, G. K. John Lyly: The Humanist as Courtier. London: Routledge and Kegan Paul, 1962.Google Scholar
McMillin, Scott, and MacLean, Sally-Beth. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.Google Scholar
Van Es, Bart. Shakespeare in Company. Oxford: Oxford UP, 2013.CrossRefGoogle Scholar
Vickers, Brian. Shakespeare, Co-Author. Oxford: Oxford UP, 2002.Google Scholar
Wiles, David. Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse. Cambridge: Cambridge University Press, 1987.CrossRefGoogle Scholar

Sources cited

Barnfield, Richard. Greenes Funeralls. London: 1594.Google Scholar
Bradbrook, M. C.Beasts and Gods: Greene’s Groats-Worth of Witte and the Social Purpose of Venus and Adonis.” Shakespeare Survey 15 (1962): 6272.Google Scholar
Chettle, Henry. Kind-harts dreame Conteining fiue apparitions. London: 1593. Short Title Catalogue (hereafter STC) (2nd ed.) no. 5123.Google Scholar
Duncan-Jones, Katherine. Ungentle Shakespeare. London: Arden, 2001.Google Scholar
Flea, F. G.Shakespeare and Puritanism.” Anglia 7 (1884): 223–31.Google Scholar
Greene, Robert. Greenes farewell to folly Sent to courtiers and schollers as a president to warne them from the vaine delights that drawes youth on to repentance. London: 1591. STC (2nd ed.) no. 12241.Google Scholar
Greene, Robert. Greenes Groats-vvorth of witte, bought with a million of repentance. London: 1592. STC (2nd ed.) no. 12261.Google Scholar
Greene, Robert. Greenes neuer too late. London: 1590. STC (2nd ed.) no. 12253.Google Scholar
Greene, Robert. Greenes vision written at the instant of his death. London: 1592. STC (2nd ed.) no. 12261.Google Scholar
Greene, Robert. Menaphon Camillas alarum to slumbering Euphues. London: 1589. STC (2nd ed.) no. 12272.Google Scholar
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New York: Norton, 2004.Google Scholar
Hattaway, Michael, ed. The First Part of King Henry VI. Cambridge: Cambridge University Press, 1990.Google Scholar
Honan, Park. Shakespeare: A Life. Oxford: Oxford UP, 1998.CrossRefGoogle Scholar
McMillin, Scott, and MacLean, Sally-Beth. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.Google Scholar
Mentz, Steven R.Wearing Greene: Autolycus, Robert Greene, and the Structure of Romance in The Winter’s Tale.” Institutions of the Text. Ed. Masten, Jeffrey and Wall, Wendy. Renaissance Drama ns 30 (2001): 7392.CrossRefGoogle Scholar
Taylor, Gary. “Shakespeare and Others: The Authorship of 1 Henry VI.” Medieval and Renaissance Drama in England 7 (1995): 145205.Google Scholar
Van Elk, Martine. “Urban Misidentification in The Comedy of Errors and the Cony-Catching Pamphlets.” Studies in English Literature, 1500–1900 43.2 (spring 2003): 323–46.Google Scholar

Further reading

Ackroyd, Peter. Shakespeare: The Biography. London: Chatto and Windus, 2005.Google Scholar
Crupi, Charles W. Robert Greene. Boston: Twayne, 1986.Google Scholar
Erne, Lukas. “Biography and Mythography: Rereading Chettle’s Alleged Apology to Shakespeare.” English Studies 79.5 (September 1998): 430–40.CrossRefGoogle Scholar
Grosart, Alexander B., ed. The Life and Complete Works in Prose and Verse of Robert Greene. 15 vols. London: Huth Library, 1881–86.Google Scholar
Lawrence, Judiana. “Natural Bonds and Artistic Coherence in the Ending of Cymbeline.” Shakespeare Quarterly 35.4 (winter 1984): 440–60.CrossRefGoogle Scholar
Lemonnier-Texier, Delphine, and Laroque, François. “Robert Greene. Notice sur l’Auteur.” Théâtre Élisabéthain. Vol. 1. Ed. Cottegnies, Line, Laroque, François, and Maguin, Jean-Marie. Paris: Gallimard, Bibliothèque de la Pléiade, 2009. 1585–91.Google Scholar
Malone, Edmond. “A Dissertation on the Three Parts of King Henry VI, Tending to Show That These Plays Were Not Originally Written by Shakespeare.” 1787, 1792 (expanded). Reprinted in Third Variorum Shakespeare. Vol. 18. Ed. Boswell, James Jr. London: R. C. and J. Rivington, 1821.Google Scholar
Melnikoff, Kirk, and Gieskes, Edward. Writing Robert Greene: Essays on England’s First Notorious Professional Writer. Aldershot: Ashgate, 2008.Google Scholar
Newcomb, Lori Humphrey. “Greene, Robert, Writer and Playwright.” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004.Google Scholar
Newcomb, Lori Humphrey. “The Romance of Service: The Simple History of Pandosto’s Servant Readers.” Framing Elizabethan Fictions: Contemporary Approaches to Early Modern Narrative Prose. Ed. Relihan, Constance C.. Kent: Kent State UP, 1996. 117–40.Google Scholar
Pinciss, G. M.Shakespeare, Her Majesty’s Players, and Pembroke’s Men.” Shakespeare Survey 27 (1974): 129–36.CrossRefGoogle Scholar
Schoone-Jongen, Terence. Shakespeare’s Companies: William Shakespeare’s Early Career and the Acting Companies, 1577–1594. Aldershot: Ashgate, 2008.Google Scholar

Sources cited

Beard, Thomas. The Theatre of Gods Iudgements. London: Adam Islip, 1597.Google Scholar
Boas, Frederick S. University Drama in the Tudor Age. Oxford: Clarendon, 1914.Google Scholar
Covell, William. Polimanteia. Cambridge: John Legate, 1595.Google Scholar
Dasent, John Roche, ed. Acts of the Privy Council of England: New Series, 32 vols. London: Her Majesty’s Stationery Office, 1890–1907.Google Scholar
Dekker, Thomas. A Knights Conjuring. London: Thomas Creede, 1607.Google Scholar
Eccles, Mark. Christopher Marlowe in London. Cambridge: Harvard UP, 1934.CrossRefGoogle Scholar
Gair, W. Reavley, ed. Antonio and Mellida. Manchester: Manchester UP, 1991.Google Scholar
Gosson, Stephen. Playes Confuted in Five Actions. London: imprinted for Thomas Gosson, 1582.Google Scholar
Greene, Robert. Greenes Groats-worth of Witte. London: imprinted by J. Wolfe for William Wright, 1592.Google Scholar
Greene, Robert. Perimedes the Blacksmith. London: printed by John Wolfe for Edward White, 1588.Google Scholar
Harvey, Gabriel. A New Letter of Notable Contents. London: printed by John Wolfe, 1593.Google Scholar
Hotson, J. Leslie. The Death of Christopher Marlowe. Cambridge: Harvard UP, 1925Google Scholar
Jonson, Ben. Ben Jonson. Ed. Herford, C. H., Simpson, Percy, and Simpson, Evelyn. 11 vols. Oxford: Clarendon, 1925–52.Google Scholar
Marlowe, Christopher. The Complete Works of Christopher Marlowe. 2nd ed. Ed. Bowers, Fredson. 2 vols. Cambridge: Cambridge University Press, 1981.Google Scholar
Meres, Francis. Palladis Tamia. London: Cuthbert Burbie, 1598.Google Scholar
Nashe, Thomas. The Works of Thomas Nashe. 5 vols. Eds. McKerrow, Ronald B. and Wilson, F. P.. Oxford: Basil Blackwell, 1958.Google Scholar
Nelson, Alan, ed. Cambridge. Records of Early English Drama. 2 vols. Toronto: U of Toronto P, 1989.Google Scholar
Rowlands, Samuel. Hell’s Broke Loose. London: printed by W. W., 1605.Google Scholar
Taylor, Gary, and Lavagnino, John, eds. Thomas Middleton: The Collected Works. Oxford: Clarendon, 2007.Google Scholar
Wernham, R. B.Christopher Marlowe at Flushing in 1592.” English Historical Review 91 (1976): 344–45.Google Scholar
Wither, George. Britain’s Remembrancer. London: John Grismond, 1628.Google Scholar

Further reading

Bate, Jonathan. The Genius of Shakespeare. Oxford: Oxford UP, 2008.Google Scholar
Cheney, Patrick, ed. The Cambridge Companion to Christopher Marlowe. Cambridge: Cambridge University Press, 2004.CrossRefGoogle Scholar
Jackson, MacDonald P.Francis Meres and the Cultural Contexts of Shakespeare’s Rival Poet Sonnets.” Review of English Studies ns 56.244 (2005): 224–46.Google Scholar
Kuriyama, Constance Brown. Christopher Marlowe: A Renaissance Life. Ithaca: Cornell UP, 2002.Google Scholar
Levin, Richard. “The Contemporary Perception of Marlowe’s Tamburlaine.” Medieval and Renaissance Drama in England. Vol. 1. Ed. Barroll, J. Leeds. New York: AMS Press, 1984. 5170.Google Scholar
Moulton, Ian Frederick. Before Pornography: Erotic Writing in Early Modern England. Oxford: Oxford UP, 2000.CrossRefGoogle Scholar
Nicholl, Charles. The Reckoning: The Murder of Christopher Marlowe. London: Jonathan Cape, 1992.Google Scholar
Riggs, David. The World of Christopher Marlowe. London: Faber and Faber, 2004.Google Scholar
Shapiro, James. Rival Playwrights: Marlowe, Jonson, Shakespeare. New York: Columbia UP, 1991.Google Scholar
Urry, William. Christopher Marlowe and Canterbury. London: Faber and Faber, 1988.Google Scholar

Sources cited

Barber, C. L. Shakespeare’s Festive Comedy. Princeton: Princeton UP, 1959.Google Scholar
Bradbrook, M. C.No Room at the Top: Spenser’s Pursuit of Fame.” Elizabethan Poetry. Ed. Brown, J. R. and Harris, Bernard. Stratford-Upon-Avon Studies 2. London: Edward Arnold, 1960. 91109.Google Scholar
Bruster, Douglas. “Shakespeare and the Composite Text.” Renaissance Literature and Its Formal Engagement. Ed. Rasmussen, Mark. New York: Palgrave Macmillan, 2002. 4366.CrossRefGoogle Scholar
Duncan-Jones, Katherine. From Upstart Crow to Sweet Swan, 1592–1623. London: Black, 2011.Google Scholar
Duncan-Jones, Katherine. “They Say a Made a Good End – Ben Jonson’s Epitaph for Thomas Nashe.” The Ben Jonson Journal 3 (1996): 119.CrossRefGoogle Scholar
Evans, G. Blakemore, ed. Romeo and Juliet. Cambridge: Cambridge University Press, 1984.Google Scholar
Evans, G. Blakemore, ed. The Sonnets. Cambridge: Cambridge University Press, 2006.Google Scholar
Foakes, R. A., ed. The Comedy of Errors. London: Methuen, 1962.Google Scholar
Forker, Charles R., ed. Richard the Second. London: Thomson, 2002.Google Scholar
Hibbard, G. R. Thomas Nashe: A Critical Introduction. Cambridge: Harvard UP, 1962.Google Scholar
Honan, Park. Shakespeare: A Life. Oxford: Oxford UP, 1998.Google Scholar
McKerrow, R. B., ed. The Works of Thomas Nashe. 5 vols. 1904–05. Rpt. Oxford: Oxford UP, 1958.Google Scholar
Nichols, Charles. A Cup of News: The Life of Thomas Nashe. London: Routledge and Kegan Paul, 1984.Google Scholar
Rhodes, Neil. Elizabethan Grotesque. London: Routledge and Kegan Paul, 1980.Google Scholar
Rhodes, Neil. “Nashe, Rhetoric, and Satire.” Jacobean Poetry and Prose. Ed. Bloom, Clive. Basingstoke: Macmillan, 1988. 2543.CrossRefGoogle Scholar
Tobin, J. J. M.Antony, Brutus, and Christ’s Tears over Jerusalem.” Notes and Queries ns 45 (September 1998): 324–31.Google Scholar
Tobin, J. J. M.Dr. Pinch and Gabriel Harvey.” Notes and Queries ns 50 (March 2003): 2325.Google Scholar
Tobin, J. J. M.Have With You to Athens’ Wood.” Notes and Queries ns 50 (March 2003): 3235.CrossRefGoogle Scholar
Tobin, J. J. M.Nashe and Shakespeare: Some Further Borrowings.” Notes and Queries ns 39 (September 1992): 309–20.Google Scholar
Tobin, J. J. M.Nashe and the Texture of Romeo and Juliet.” Aligarh Journal of English Studies 5 (1980): 162–74.Google Scholar
Tobin, J. J. M.Shakespeare, Bacon, Milton, Marvell – and Thomas Nashe.” Essays in Shakespeare in Honour of A. A. Ansari. Ed. Sharma, T. R.. Meerut: Shalabh Book House, 1986. 2945.Google Scholar
Tobin, J. J. M.Texture as Well as Structure: More Sources for The Riverside Shakespeare.” In the Company of Shakespeare: Essays on English Renaissance Literature in Honor of G. Blakemore Evans. Ed. Moisan, Thomas and Bruster, Douglas. London: Associated UP, 2002. 97110.Google Scholar
Wells, Stanley, ed. The Comedy of Errors. London: Penguin, 1981.Google Scholar

Further reading

Crewe, Jonathan V. Unredeemed Rhetoric: Thomas Nashe and the Scandal of Authorship. Baltimore: Johns Hopkins UP, 1982.Google Scholar
Guy-Bray, Stephen. “How to Turn Prose into Literature: The Case of Thomas Nashe.” Early Modern Prose Fiction: The Cultural Politics of Reading. Ed. Liebler, Naomi Conn. New York: Routledge, 2007. 3345.Google Scholar
Hilliard, Stephen. The Singularity of Thomas Nashe. Lincoln: U of Nebraska P, 1986.Google Scholar
Hutson, Lorna. Thomas Nashe in Context. Oxford: Clarendon, 1989.Google Scholar
McLuhan, Marshall. The Classical Trivium: The Place of Thomas Nashe in the Learning of his Time. Ed. Gordon, W. Terrence. Corte Madera: Gingko, 2006.Google Scholar
Miola, Robert S.Shakespeare and His Sources: Observations on the Critical History of Julius Caesar.” Shakespeare Survey 40 (1987): 6976.Google Scholar

Sources cited

Bate, Jonathan. “The Performance of Revenge: Titus Andronicus and The Spanish Tragedy.” The Show Within: Dramatic and Other Insets. English Renaissance Drama (1550–1642). Ed. Laroque, François. 2 vols. Montpellier: Université Paul-Valéry, 1992. 2: 267–84.Google Scholar
Craig, Hugh, and Kinney, Arthur F., eds. Shakespeare, Computers and the Mystery of Authorship. Cambridge: Cambridge University Press, 2009.Google Scholar
Edwards, Philip. Thomas Kyd and Early Elizabethan Tragedy. London: Longman, 1966.CrossRefGoogle Scholar
Erne, Lukas. Beyond “The Spanish Tragedy”: A Study of the Works of Thomas Kyd. Manchester: Manchester UP, 2001.Google Scholar
Freeman, Arthur. “Marlowe, Kyd and The Dutch Church Libel.” English Literary Renaissance 3 (1973): 4452.Google Scholar
Freeman, Arthur. Thomas Kyd: Facts and Fiction. Oxford: Clarendon, 1967.Google Scholar
Fuzier, Jean. “Carrière et Popularité de la ‘Tragedie Espagnole’ en Angleterre.” Dramaturgie et Société: Rapports entre l’oeuvre théâtrale, son interprétation et son public aux XVIe et XVIIe siècles. Ed. Jacquot, Jean. 2 vols. Paris: Éditions du Centre National de la Recherche Scientifique, 1968. 2: 589606.Google Scholar
Shapiro, James. “‘Tragedies Naturally Performed’: Kyd’s Representation of Violence. The Spanish Tragedy (c.1587).” Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama. Ed. Kastan, David S. and Stallybrass, Peter. London: Routledge, 1991. 99113.Google Scholar
Smith, Emma, ed. Thomas Kyd, The Spanish Tragedy. London: Penguin, 1998.Google Scholar
Smith, Molly Easo. “The Theater and the Scaffold: Death as Spectacle in The Spanish Tragedy.” Studies in English Literature, 1500–1900 32 (1992): 217–32.Google Scholar
Wells, Stanley. Shakespeare & Co.: Christopher Marlowe, Thomas Dekker, Ben Jonson, Thomas Middleton, John Fletcher and the Other Players in His Story. London: Penguin, 2006.Google Scholar

Further reading

Ardolino, Frank. Apocalypse and Armada in Kyd’s “Spanish Tragedy.” Sixteenth Century Journal. Kirksville: Northeast Missouri State University, 1995.Google Scholar
Díaz-Fernández, José Ramón. “Thomas Kyd: A Bibliography, 1966–1992.” Bulletin of Bibliography 52.1 (1995): 113.Google Scholar
Edwards, Philip. “Shakespeare and Kyd.” Shakespeare, Man of the Theater: Proceedings of the Second Congress of the International Shakespeare Association, 1981. Ed. Muir, Kenneth, Halio, Jay L., and Palmer, D. J.. Newark: U of Delaware P, 1983. 148–54.Google Scholar
Hattaway, Michael. Elizabethan Popular Theatre: Plays in Performance. London: Routledge, 1982.Google Scholar
Hill, Eugene. “Senecan and Vergilian Perspectives in The Spanish Tragedy.” English Literary Renaissance 15 (1985): 143–65.CrossRefGoogle Scholar
Hunter, G. K.Ironies of Justice in The Spanish Tragedy.” Renaissance Drama 8 (1965): 89104.CrossRefGoogle Scholar
Kyd, Thomas. The Works of Thomas Kyd. Ed. Boas, Frederick Samuel. Oxford: Clarendon, 1901. Rpt. with supplement, 1955.Google Scholar
Levin, Henry. “‘Vindicta Mihi!’: Meaning, Morality and Motivation in The Spanish Tragedy.” Studies in English Literature, 1500–1900 4 (1964): 307–24.Google Scholar
Siemon, James. “Sporting Kyd.” English Literary Renaissance 24 (1994): 553–83.CrossRefGoogle Scholar

Sources cited

Champion, Larry S. “The Noise of Threatening Drum”: Dramatic Strategy and Political Ideology in Shakespeare and the English Chronicle Plays. Newark: U of Delaware P, 1990.Google Scholar
The Famous Victories of Henry the fifth; Containing the Honourable Battell of Agin-court. London: 1598.Google Scholar
Fuller, Thomas. The History of the Worthies of England. 3 vols. Ed. Nuttall, P. Austin. London: Thomas Tegg, 1840.Google Scholar
Halasz, Alexandra. “‘So beloved that men use his picture for their signs’; Richard Tarlton and the Uses of Sixteenth-Century Celebrity.” Shakespeare Studies 23 (1995): 1938.Google Scholar
Hornback, Robert. The English Clown Tradition from the Middle Ages to Shakespeare. Cambridge: D. S. Brewer, 2009.Google Scholar
Nungezer, Edwin. A Dictionary of Actors and of Other Persons Associated with the Public Representation of Plays in England before 1642. New York: AMS Press, 1929. Rpt. 1971.Google Scholar
Tarlton, Richard. Tarlton’s jests. London: 1613.Google Scholar
Tarltons newes out of purgatorie. London: 1590.Google Scholar
Thomson, Peter. “Tarlton, Richard (d.1558).” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004. http://www.oxforddnb.com./view/article/26971. Accessed 10 June 2011.Google Scholar
Weimann, Robert. Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Theatre. Ed. Higbee, Helen and West, William. Cambridge: Cambridge University Press, 2000.CrossRefGoogle Scholar
Wiles, David. Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse. Cambridge: Cambridge University Press, 1987.CrossRefGoogle Scholar

Further reading

Armin, Robert. Foole upon Foole, or Six sortes of sottes. London: 1600.Google Scholar
Armin, Robert. The History of the two Maids of More-clacke. London: 1609.Google Scholar
Astington, John H.The Succession of Sots, or Fools and Their Fathers.” Medieval and Renaissance Drama in England 20 (2007): 225–35.Google Scholar
Halasz, Alexandra. The Marketplace of Print: Pamphlets and the Public Sphere in Early Modern England. Cambridge: Cambridge University Press, 1997.CrossRefGoogle Scholar
Kemp, William. Kemps nine daies wonder Performed in a daunce from London to Norwich. London: 1600.Google Scholar
McMillan, Scott, and MacLean, Sally-Beth. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.Google Scholar
Ostovich, Helen, Syme, Holger Schott, and Griffin, Andrew. Locating the Queen’s Men, 1583–1603: Material Practices and Conditions of Playing. Burlington: Ashgate, 2009.Google Scholar
Weimann, Robert. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Baltimore: Johns Hopkins UP, 1978.CrossRefGoogle Scholar
Weimann, Robert, and Bruster, Douglas. Shakespeare and the Power of Performance: Stage and Page in the Elizabethan Theatre. Cambridge: Cambridge University Press, 2008.Google Scholar

Sources cited

Barbour, Reid. “Peele, George.” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004. http://www.oxforddnb.com. Accessed 11 January 2014.Google Scholar
Edelman, Charles, ed. The Stukeley Plays. The Revels Plays Companion Library. Manchester: Manchester UP, 2005.Google Scholar
Forker, Charles R.Time Compression in Two Sixteenth-Century Dramas on the Reign of King John and the Emergence of the Chronicle Play Genre.” Shakespeare Jahrbuch 148 (2012): 143–58.Google Scholar
Forker, Charles R. ed. The Troublesome Reign of John, King of England. The Revels Plays. Manchester: Manchester UP, 2011.Google Scholar
Forker, Charles R.The Troublesome Reign, Richard II, and the Date of King John: A Study in Intertextuality.” Shakespeare Survey 63 (2010): 127–48.Google Scholar
Jackson, MacDonald P.Stage Directions and Speech Headings in Act I of Titus Andronicus Q (1594): Shakespeare or Peele?Studies in Bibliography 49 (1996): 134–48.Google Scholar
Smallwood, R. L., ed. King John. New Penguin Shakespeare. Harmondsworth: Penguin, 1974.Google Scholar
Taylor, Gary. “Shakespeare and Others: The Authorship of Henry the Sixth, Part One.” Medieval and Renaissance Drama in England 7 (1995): 145205.Google Scholar
Taylor, Gary, and Lavagnino, John, gen. eds. Thomas Middleton: The Collected Works. Oxford: Clarendon, 2007.Google Scholar
Vickers, Brian. Shakespeare, Co-Author: A Historical Study of Five Plays. Oxford: Oxford UP, 2002.Google Scholar
Vickers, Brian. “The Troublesome Reign, George Peele, and the Date of King John.” Words That Count: Essays on Early Modern Authorship in Honor of MacDonald P. Jackson. Ed. Boyd, Brian. Newark: U of Delaware P, 2004. 78116.Google Scholar
Wells, Stanley, and Taylor, Gary, with Jowett, John and Montgomery, William. William Shakespeare: A Textual Companion. Oxford: Oxford UP, 1987.Google Scholar
Whitworth, Charles, ed. The Old Wife’s Tale. 2nd ed. New Mermaids. London: Black, 1996.Google Scholar
Wilson, F. P. The English Drama, 1485–1585. Oxford: Oxford UP, 1969.Google Scholar

Further reading

Bevington, David, ed. George Peele. The University Wits. Aldershot: Ashgate, 2011.Google Scholar
Braunmuller, A. R. George Peele. Boston: Twayne, 1983.Google Scholar
Kinney, Arthur F.John Lyly and the University Wits: George Peele, Robert Greene, Thomas Lodge and Thomas Nashe.” The Cambridge Companion to Shakespeare and Contemporary Dramatists. Ed. Hoenselaars, Ton. Cambridge: Cambridge University Press, 2012. 118.Google Scholar
Kozikowski, Stanley J.George Peele.” Dictionary of Literary Biography. Part 62: Elizabethan Dramatists. Ed. Bowers, Fredson. Detroit: Gale Research, 1987. 242–53.Google Scholar
Prouty, C. T., ed. The Life and Works of George Peele. 3 vols. New Haven: Yale UP, 1952–70.Google Scholar
Wells, Stanley. Shakespeare & Co.: Christopher Marlowe, Thomas Dekker, Ben Jonson, Thomas Middleton, John Fletcher, and the Other Players in His Story. London: Penguin, 2006.Google Scholar
Whitworth, Charles. “George Peele.” Dictionary of Literary Biography. Part 167: Sixteenth-Century British Nondramatic Writers, 3rd Series. Ed. Richardson, David A.. Detroit: Gale Research, 1996. 165–70.Google Scholar
Whitworth, Charles. “Peele, George.” The Spenser Encyclopedia. Ed. Hamilton, A. C.. Toronto: U of Toronto P, 1990. 536–37.Google Scholar
Wiggins, Martin. “A Choice of Impossible Things: Dating the Revival of The Battle of Alcazar.” Shakespeare et ses contemporains. Ed. Dorval, Patricia. Paris: Société Française Shakespeare, 2002. 185202.Google Scholar

Sources cited

Bevington, David, ed. Endymion. Manchester: Manchester UP, 1996.Google Scholar
Bond, R. W., ed. The Complete Works of John Lyly. 3 vols. Oxford: Clarendon, 1902.Google Scholar
Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Oxford UP, 1923.Google Scholar
Feuillerat, Albert. Le Bureau des menus plaisirs, Office of the Revels, et la mise en scène à la cour d’Elisabeth. Louvain: A. Uystpruyst, 1910.Google Scholar
Feuillerat, Albert. John Lyly: Contribution à l’histoire de la Renaissance en Angleterre. New York: Russell and Russell, 1910.Google Scholar
Halpin, N. J. Oberon’s Vision in the “Midsummer Night’s Dream”: Illustrated by a Comparison with Lylie’s “Endymion.” London: The Shakespeare Society, 1843.Google Scholar
Hillebrand, Harold N. The Child Actors: A Study in Elizabethan Stage History. Urbana: U of Illinois P, 1926.Google Scholar
Hunter, G. K. John Lyly, the Humanist as Courtier. London: Routledge and Kegan Paul, 1962.Google Scholar
Hunter, G. K., and Bevington, David, eds. Campaspe and Sappho and Phao. Manchester: Manchester UP, 1991.Google Scholar
Hunter, G. K., and Bevington, David, Gallathea and Midas. Manchester: Manchester UP, 2000.Google Scholar
Pincombe, Michael. The Plays of John Lyly: Eros and Eliza. Manchester: Manchester UP, 1996.Google Scholar
Saccio, Peter. The Court Comedies of John Lyly: A Study in Allegorical Dramaturgy. Princeton: Princeton UP, 1969.Google Scholar
Scragg, Leah, ed. Euphues, The Anatomy of Wit and Euphues and His England. Manchester: Manchester UP, 2003.Google Scholar
Scragg, Leah, Love’s Metamorphosis. Manchester: Manchester UP, 2008.Google Scholar
Scragg, Leah, Mother Bombie. Manchester: Manchester UP, 2011.Google Scholar
Scragg, Leah, The Woman in the Moon. Manchester: Manchester UP, 2007.Google Scholar

Further reading

Shapiro, Michael. Children of the Revels: The Boy Companies of Shakespeare’s Time and Their Plays. New York: Columbia UP, 1977.Google Scholar
Smith, Irvin. Shakespeare’s Blackfriars Playhouse: Its History and Its Design. New York: New York UP, 1964.Google Scholar
Wallace, Charles William. The Evolution of the English Drama up to Shakespeare. Schriften der Deutschen Shakespeare-Gesellschaft 4. Berlin: Georg Reimer, 1912.Google Scholar

Sources cited

Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon, 1923.Google Scholar
Eccles, Mark. “Elizabethan Actors, I: A–D.” Notes and Queries 236 (1991): 4344.Google Scholar
Edmond, Mary. “Yeomen, Citizens, Gentlemen and Players: The Burbages and Their Connections.” Elizabethan Theater: Essays in Honor of S. Schoenbaum. Ed. Parker, R. B. and Zitner, S. P.. Newark: U of Delaware P, 1996. 3049.Google Scholar
Egan, Gabriel. “The Theatre in Shoreditch, 1576–1599.” The Oxford Handbook of Early Modern Theatre. Ed. Dutton, Richard. Oxford: Oxford UP, 2009. 168–85.Google Scholar
Honigmann, Ernst, and Brock, Susan. Playhouse Wills, 1558–1642: An Edition of Wills by Shakespeare and His Contemporaries in the London Theatre.Manchester: Manchester UP, 1993.Google Scholar
Ingram, William. The Business of Playing: The Beginnings of the Adult Professional Theater in Elizabethan London. Ithaca: Cornell UP, 1992.Google Scholar
Kathman, David. “The Life and Times of George Birche, Tudor Royal Interluder.” Research Opportunities in Medieval and Renaissance Drama 49 (2010): 127.Google Scholar
Kathman, David. “Reconsidering the Seven Deadly Sins.” Early Theatre 7.1 (2004): 1344.CrossRefGoogle Scholar
Nungezer, Edwin. A Dictionary of Actors. New Haven: Yale UP, 1929.Google Scholar
Wallace, Charles William. The First London Theatre: Materials for a History. New York: Benjamin Blom, 1969.Google Scholar

Further reading

Berry, Herbert. “Playhouses, 1560–1660.” English Professional Theatre, 1530–1660. Ed. Wickham, Glynne, Berry, Herbert, and Ingram, William. Cambridge: Cambridge University Press, 2000. 285674.Google Scholar
Gurr, Andrew. The Shakespeare Company, 1594–1642. Cambridge: Cambridge University Press, 2004.Google Scholar
Riddell, James A.Some Actors in Ben Jonson’s Plays.” Shakespeare Studies 5 (1969): 285–98.Google Scholar
Stopes, Charlotte Carmichael. Burbage and Shakespeare’s Stage. London: De La More, 1913.Google Scholar

Sources cited

Barnard, E. A. B. New Links with Shakespeare. Cambridge: Cambridge University Press, 1930.Google Scholar
Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon, 1923.Google Scholar
Chambers, E. K. William Shakespeare: A Study of the Facts and Problems. 2 vols. Oxford: Clarendon, 1930.Google Scholar
Eccles, Mark. “Elizabethan Actors I: A–D.” Notes and Queries 236 (1991): 4445.Google Scholar
Eccles, Mark. “Elizabethan Actors II: E–J.” Notes and Queries 236 (1991): 457–59.Google Scholar
Honigmann, Ernst, and Brock, Susan. Playhouse Wills, 1558–1642: An Edition of Wills by Shakespeare and His Contemporaries in the London Theatre. Manchester: Manchester UP, 1993.Google Scholar
Honneyman, David. “The Family Origins of Henry Condell.” Notes and Queries 230 (1985): 467–68.Google Scholar
Kathman, David. “Grocers, Goldsmiths, and Drapers: Freemen and Apprentices in the Elizabethan Theater.” Shakespeare Quarterly 55 (2004): 149, esp. 612.Google Scholar
Kathman, David. “Henry Condell and His London Relatives.” Shakespeare Quarterly 63 (2012): 112–19.CrossRefGoogle Scholar
Kathman, David. “Reconsidering the Seven Deadly Sins.” Early Theatre 7.1 (2004): 1344.Google Scholar
Nungezer, Edwin. A Dictionary of Actors. New Haven: Yale UP, 1929.Google Scholar

Further reading

Blayney, Peter W. M. The First Folio of Shakespeare. Washington: Folger Library Publications, 1991.Google Scholar
Connell, Charles. They Gave Us Shakespeare. Stocksfield: Oriel, 1982.Google Scholar
Edmond, Mary. “Yeomen, Citizens, Gentlemen, and Players: The Burbages and Their Connections.” Elizabethan Theater: Essays in Honor of S. Schoenbaum. Ed. Parker, R. B. and Zitner, S. P.. Newark: U of Delaware P, 1996. 3049.Google Scholar
Egan, Gabriel. “John Heminges’s Tap-House at the Globe.” Theatre Notebook 55 (2001): 7277.Google Scholar
Holderness, Graham. “Shakespeare Remembered.” Critical Survey 22.2 (2011): 3961.Google Scholar
Walker, Charles Clement. John Heminge and Henry Condell, Friends and Fellow-Actors of Shakespeare, and What the World Owes to Them. London: privately printed, 1896.Google Scholar

Sources cited

Bentley, G. E. The Jacobean and Caroline Stage. 7 vols. Oxford: Clarendon, 1941–68.Google Scholar
Cerasano, S. P.Competition for the King’s Men? Alleyn’s Blackfriars Venture.” Medieval and Renaissance Drama in England 4 (1989): 173–86.Google Scholar
Cerasano, S. P.Edward Alleyn.” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004. http://www.oxforddnb.com. Accessed 28 January 2012.Google Scholar
Cerasano, S. P.The Master of the Bears in Art and Enterprise.” Medieval and Renaissance Drama in England 5 (1991): 195209.Google Scholar
Cerasano, S. P.Philip Henslowe.” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004. http://www.oxforddnb.com. Accessed 28 January 2012.Google Scholar
Fleay, Frederick G. A Biographical Chronicle of the English Drama, 1599–1622. 2 vols. London: Reeves and Turner, 1891.Google Scholar
Foakes, R. A. Henslowe’s Diary. 2nd ed. Cambridge: Cambridge University Press, 2002.Google Scholar
Nathan, Norman. “Is Shylock Philip Henslowe?Notes and Queries 193 (1948): 163–75.Google Scholar
Nungezer, Edwin. A Dictionary of Actors. New Haven: Yale UP, 1929.Google Scholar

Further reading

The original Henslowe-Alleyn manuscripts can be viewed at http://www.henslowe-alleyn.org.uk.

Bowsher, Julian, and Miller, Pat. The Rose and the Globe – Playhouses of Shakespeare’s Bankside, Southwark. London: Museum of London Archaeology, 2009.Google Scholar
Cerasano, S. P.Edward Alleyn, the New Model Actor, and the Rise of the Celebrity in the 1590s.” Medieval and Renaissance Drama in England 18 (2005): 4758.Google Scholar
Cerasano, S.P.Edward Alleyn’s ‘Retirement.’Shakespeare Studies 10 (1998): 99109.Google Scholar
Cerasano, S.P.The Geography of Henslowe’s Diary.” Shakespeare Quarterly 56.3 (2005): 328–53.Google Scholar
Cerasano, S.P.The Patronage Network of Philip Henslowe and Edward Alleyn.” Medieval and Renaissance Drama in England 13 (2001): 8292.Google Scholar
Cerasano, S.P.Philip Henslowe and the Elizabethan Court.” Shakespeare Studies 60 (2007): 4957.Google Scholar
Cerasano, S.P.Philip Henslowe, Simon Forman, and the Theatrical Community of the 1590s.” Shakespeare Quarterly 44.2 (1993): 145–58.Google Scholar
Cerasano, S.P.Tamburlaine and Edward Alleyn’s Ring.” Shakespeare Survey 47 (1994): 171–79.CrossRefGoogle Scholar
Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon, 1923.Google Scholar
Greg, W. W. Henslowe Papers. London: A. H. Bullen, 1907.Google Scholar

Sources cited

Field, Nathan. The Remonstrance of Nathan Field, One of Shakespeare’s Company of Actors: Addressed to a preacher in Southwark, who had been arraigning against the players at the Globe theatre in the year 1616. Ed. Halliwell-Phillips, J. O.. London: printed for private circulation, 1865.Google Scholar
Jonson, Ben. Ben Jonson. Ed. Herford, C. H., Simpson, Percy, and Simpson, Evelyn. 11 vols. Oxford: Clarendon, 1925–52.Google Scholar
Marston, John. The Plays of John Marston. Ed. Wood, H. Harvey. 3 vols. Edinburgh, 1934–39.Google Scholar
Shakespeare, William. The tragicall Historie of Hamlet Prince of Denmark [Hamlet Q1]. London: 1603.Google Scholar
Williams, M. E.Field, Nathan (bap. 1587, d. 1619/20).” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004.Google Scholar

Further reading

Brinkley, Roberta Florence. Nathan Field, the Actor-Playwright. New Haven: Yale UP, 1924.Google Scholar
Gurr, Andrew. The Shakespeare Company, 1594–1642. Cambridge: Cambridge University Press, 2004.Google Scholar
Knutson, Roslyn L.The Falconer to the Little Eyases: A New Date and Commercial Agenda for the ‘Little Eyases’ Passage in Hamlet.” Shakespeare Quarterly 46.1 (1995): 131.Google Scholar
Peery, William. The Plays of Nathan Field. Austin: U of Texas P, 1950.Google Scholar
Schoenbaum, S.Wits Triumvirate: A Caroline Comedy Recovered.” Studies in English Literature 4.2 (spring 1964): 227–37.Google Scholar
Southern, Antonia. Player, Playwright and Preacher’s Kid: The Story of Nathan Field, 1587–1620. Twickenham: Athena, 2009.Google Scholar

Sources cited

Baskerville, Charles Read. The Elizabethan Jig and Related Song Drama. 1929. Rpt. New York: Dover, 1965.Google Scholar
Butler, Martin. “Kemp, William (d. in or after 1610?).” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004. Online edition, 2011. http://www.oxforddnb.com/view/article/15334. Accessed 13 June 2011.Google Scholar
Duncan-Jones, Katherine. “Shakespeare’s Dancing Fool.” Times Literary Supplement 13 August 2010.Google Scholar
Forrest, John. The History of Morris Dancing, 1458–1750. Toronto: U of Toronto P, 1999.Google Scholar
Hornback, Robert. The English Clown Tradition from the Middle Ages to Shakespeare. Cambridge: D. S. Brewer, 2009.Google Scholar
Johnson, Nora. The Actor as Playwright in Early Modern Drama. Cambridge: Cambridge University Press, 2003.Google Scholar
Kemp, William. Kemps nine daies wonder Performed in a daunce from London to Norwich. London: 1600.Google Scholar
Nungezer, Edwin. A Dictionary of Actors and of other Persons Associated with the Public Representation of Plays in England before 1642. New York: AMS Press, 1929. Rpt. 1971.Google Scholar
Thomson, Peter. “Clowns, Fools and Knaves: Stages in the Evolution of Acting.” Origins to 1660. Ed. Milling, Jane and Thomson, Peter. Cambridge: Cambridge University Press, 2004. Cambridge Histories Online. Cambridge: Cambridge University Press. http://universitypublishingonline.org/cambridge/histories/. Accessed 13 June 2011. DOI:10.1017/CHOL9780521650403.017.Google Scholar
Thomson, Peter. On Actors and Acting. Exeter: U of Exeter P, 2000.Google Scholar
West, William. “When Is the Jig Up – And What Is It Up To?Locating the Queen’s Men, 1583–1603: Material Practices and Conditions of Playing. Ed. Ostovich, Helen, Syme, Holger Schott, and Griffin, Andrew. Burlington: Ashgate, 2009. 201–16.Google Scholar
Wiles, David. Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse. Cambridge: Cambridge University Press, 1987.Google Scholar

Further reading

Clegg, Roger, and Thomson, Peter. “‘He’s for a jig or a tale of bawdry–’: Notes on the English Dramatic Jig.” Studies in Theatre and Performance 29:1 (February 2009): 6783.CrossRefGoogle Scholar
Helgerson, Richard. Forms of Nationhood: The Elizabethan Writing of England. Chicago: U of Chicago P, 1992.Google Scholar
Lamb, Mary Ellen. The Popular Culture of Shakespeare, Spenser, and Jonson. London: Routledge, 2006.Google Scholar
MacLean, Sally Beth. “Tracking Leicester’s Men: The Patronage of a Performance Troupe.” Theatrical Patronage in Early Modern England. Ed. White, Paul Whitfield and Westfall, Suzanne. Cambridge: Cambridge University Press, 2002. 246–71.Google Scholar
Smith, Bruce. The Acoustic World of Early Modern England: Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar
Weimann, Robert. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Schwartz, Robert. Baltimore: Johns Hopkins UP, 1978.Google Scholar

Sources cited

Bowers, Fredson, gen. ed. The Dramatic Works in the Beaumont and Fletcher Canon. 9 vols. Cambridge: Cambridge University Press, 1966–94.Google Scholar
Chickering, Howell. “Hearing Ariel’s Songs.” The Journal of Medieval and Renaissance Studies 24 (1994): 131–72.Google Scholar
Cutts, John P. La Musique de scène de la troupe de Shakespeare. 2nd ed. Paris: Éditions du Centre National de la Recherche Scientifique, 1959.Google Scholar
Duckles, Vincent. “Music for the Lyrics in Early Seventeenth-Century English Drama: A Bibliography of the Primary Sources.” Music in English Renaissance Drama. Ed. Long, John H.. Lexington: U of Kentucky P, 1968. 117–60.Google Scholar
Fox-Good, Jacquelyn. “Other Voices: The Sweet, Dangerous Air(s) of Shakespeare’s Tempest.” Shakespeare Studies 24 (1996): 241–74.Google Scholar
Gooch, Bryan, and Thatcher, David, eds. A Shakespeare Music Catalogue. 5 vols. Oxford: Clarendon, 1991.Google Scholar
Henze, Catherine A.How Music Matters: Some Songs of Robert Johnson in the Plays of Beaumont and Fletcher.” Comparative Drama 34 (2000): 132.CrossRefGoogle Scholar
Henze, Catherine A.Invisible Collaboration: The Impact of Johnson’s Original Music on Renaissance Dramas.” Text and Presentation 22 (2001): 6981.Google Scholar
Henze, Catherine A.Women’s Use of Music to Motivate Erotic Desire in the Drama of Beaumont and Fletcher.” Journal of Musicological Research 20 (2001): 97134.Google Scholar
Jorgens, Elise Bickford, ed. English Song, 1600–1675: Facsimiles of Twenty-Six Manuscripts and an Edition of the Texts. 12 vols. New York: Garland, 1986–89.Google Scholar
Spink, Ian, ed. Robert Johnson: Ayres, Songs and Dialogues. London: Stainer and Bell, 1961.Google Scholar
Sundermann, Albert, ed. Robert Johnson: Complete Works for Solo Lute. London: Oxford UP, 1972.Google Scholar

Further reading

Ashbee, Andrew. “Robert Johnson.” A Biographical Dictionary of English Court Musicians, 1485–1714. Ed. Ashbee, Andrew and Lasocki, David. 2 vols. Aldershot: Ashgate, 1998. 2: 630–32.Google Scholar
Chan, Mary. Music in the Theatre of Ben Jonson. Oxford: Oxford UP, 1980.Google Scholar
Holman, Peter. “New Sources of Music by Robert Johnson.” Lute Society Journal 20 (1978): 4352.Google Scholar
Jeffrey, Brian. “The Lute Music of Robert Johnson.” Early Music 2 (1974): 105–07, 109.Google Scholar
Jeffrey, Brian. Shakespeare and Music. London: Arden Shakespeare, 2006.Google Scholar
Lindley, David. “Music, Masque, and Meaning in The Tempest.” The Court Masque. Ed. Lindley, David. Manchester: Manchester UP, 1984. 4759.Google Scholar
Seng, Peter J. The Vocal Songs in the Plays of Shakespeare. Cambridge: Harvard UP, 1967.CrossRefGoogle Scholar
Spink, Ian. English Song: Dowland to Purcell. London: B. T. Batsford, 1974.Google Scholar
Spring, Matthew. The Lute in Britain: A History of the Instrument and Its Music. Oxford: Oxford UP, 2001.Google Scholar

Sources cited

Armin, Robert. Foole Upon Foole, or, Sixe sortes of Sottes. London: 1600.Google Scholar
Armin, Robert. The Historie of the Two Maids of More-Clacke. With the life and simple manner of John in the Hospitall. London: 1609.Google Scholar
Armin, Robert. A Nest of Ninnies. London: 1608.Google Scholar
Armin, Robert. Quips Upon Questions, or, A Clownes conceite on occasion offered. London: 1600.Google Scholar
Davies, John. Scourge of Folly. London: 1611.Google Scholar
Donno, Elizabeth, ed. Twelfth Night. New Cambridge Shakespeare. Cambridge: Cambridge University Press, 2003.Google Scholar
Dusinberre, Juliet. “Topical Forest: Kemp and Mar-text in Arden.” Editing Shakespeare: Essays in Honour of Richard Proudfoot. Ed. Thompson, Ann and McMullan, Gordon. London: Arden Shakespeare, 2003. 239–51.Google Scholar
Elam, Keir, ed. Twelfth Night. London: Arden Shakespeare, 2008.Google Scholar
Hall, Joseph. Virgidemiarum. London: 1597.Google Scholar
Hornback, Robert. The English Clown from the Middle Ages to Shakespeare. Suffolk: D. S. Brewer, 2009.Google Scholar
Johnson, Nora. The Actor as Playwright in Early Modern Drama. Cambridge: Cambridge University Press, 2003.Google Scholar
Jonson, Ben. The Alchemist. London: 1612.Google Scholar
Liddie, Alexander. An Old-Spelling, Critical Edition of “The History of the Two Maids of More-Clacke.” New York: Garland, 1979.Google Scholar
Long, John. Shakespeare’s Use of Music: A Study of the Music and Its Performance in the Original Production of Seven Comedies. Gainesville: U of Florida P, 1955.Google Scholar
Ringler, William. “Shakespeare and His Actors: Some Remarks on King Lear.” Proceedings of the Comparative Literature Symposium 12 (1981): 183–94.Google Scholar
Smith, Bruce, ed. William Shakespeare, Twelfth Night or What You Will: Texts and Contexts. Boston: Bedford/St. Martin’s, 2001.Google Scholar
Sutcliffe, Christopher. “Kemp and Armin: The Management of Change.” Theatre Notebook 50 (1996): 122–34.Google Scholar
Tarlton, Richard. Tarlton’s Jests. London: 1613.Google Scholar
Wiles, David. Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse. Cambridge: Cambridge University Press, 1987.Google Scholar

Further reading

Felver, Charles. Robert Armin, Shakespeare’s Fool. Kent: Kent State UP, 1961.Google Scholar
Gurr, Andrew. The Shakespeare Company, 1594–1642. Cambridge: Cambridge University Press, 2004.Google Scholar
Hotson, Leslie. Shakespeare’s Motley. London: Hart-Davis, 1952.Google Scholar
Lindley, David. Shakespeare and Music. London: Thomson Learning, 2006.Google Scholar
Lippincott, H. F., ed. Robert Armin’s “Foole Upon Foole” (1600): A Critical Old-Spelling Edition. Salzburg: Institut für Englische Sprache und Literatur, Universität Salzburg, 1972.Google Scholar
Seng, Peter. The Vocal Songs in the Plays of Shakespeare. Cambridge: Harvard UP, 1967.Google Scholar

Sources cited

Bate, Jonathan. Soul of the Age. London: Penguin Books, 2009.Google Scholar
Duncan-Jones, Katherine. Shakespeare: An Ungentle Life. London: Arden Shakespeare, 2010.Google Scholar
Dutton, Richard. Ben Jonson, “Volpone” and the Gunpowder Plot. Cambridge: Cambridge University Press, 2008.Google Scholar
Gurr, Andrew. “Who Is Lovewit? What Is He?Ben Jonson and Theatre: Performance, Practice and Theory. Ed. Cave, Richard, Schafer, Elizabeth, and Woolland, Brian. London: Routledge, 1999. 519.Google Scholar
Jardine, Mick. “Jonson as Shakespeare’s Other.” Ben Jonson and Theatre: Performance, Practice and Theory. Ed. Cave, Richard, Schafer, Elizabeth, and Woolland, Brian. London: Routledge, 1999. 104–15.Google Scholar
Jonson, Ben. The Devil Is an Ass. Ed. Happé, Peter. Manchester: Manchester UP, 1996.Google Scholar
Jonson, Ben. Epicoene, or The Silent Woman. Ed. Holdsworth, R. V.. London: Black, 1979.Google Scholar
Jonson, Ben. Every Man Out of His Humour. Ed. Ostovitch, Helen. Manchester: Manchester UP, 2001.Google Scholar
Jonson, Ben. Five Plays. Ed. Wilkes, G. A.. Oxford: Oxford UP, 1988.Google Scholar
Jonson, Ben. The Oxford Authors: Ben Jonson. Ed. Donaldson, Ian. Oxford: Oxford UP, 1985.Google Scholar
Post, David. “Seventeenth Century Poetry 1.” The Cambridge History of English Poetry. Ed. O’Neill, Michael. Cambridge: Cambridge University Press, 2010.Google Scholar
Riggs, David. Ben Jonson: A Life. Cambridge: Harvard UP, 1989.Google Scholar
Schoenbaum, Samuel. Shakespeare’s Lives. Oxford: Clarendon, 1970.Google Scholar

Further reading

Barton, Anne. Ben Jonson, Dramatist. Cambridge: Cambridge University Press, 1984.Google Scholar
Cave, Richard Allen. Ben Jonson. Basingstoke: Macmillan, 1991.Google Scholar
Donaldson, Ian. Jonson’s Magic Houses: Essays in Interpretation. Oxford: Clarendon, 1997.Google Scholar
Jensen, Ejner J. Ben Jonson’s Comedies on the Modern Stage. Ann Arbor: UMI Research Press, 1985.Google Scholar
Kay, W. David. Ben Jonson: A Literary Life. Basingstoke: Macmillan, 1995.Google Scholar
McEvoy, Sean. Ben Jonson, Renaissance Dramatist. Edinburgh: Edinburgh UP, 2008.CrossRefGoogle Scholar
Sanders, Julie, ed. Ben Jonson in Context. Cambridge: Cambridge University Press, 2010.Google Scholar
Sanders, Julie. Ben Jonson’s Theatrical Republics. Basingstoke: Macmillan, 1998.Google Scholar
Womack, Peter. Ben Jonson. Oxford: Basil Blackwell, 1986.Google Scholar

Sources cited

Aubrey, John. “Brief Lives,” Chiefly of Contemporaries, Set Down by John Aubrey, between the Years 1669 & 1696. Ed. Clark, Andrew. 2 vols. Oxford: Clarendon Press, 1898.Google Scholar
Bentley, Gerald Eades. The Jacobean and Caroline Stage: Plays and Playwrights. 7 vols. Oxford: Clarendon, 1956.Google Scholar
Bickley, Francis, ed. Historical Manuscripts Commission Report on the Manuscripts of the Late Regninald Rawdon Hastings, Esq. of The Manor House, Ashby-de-la-Zouche. 4 vols. London: His Majesty’s Stationery Office, 1928–47.Google Scholar
Cockayne, Aston. A chain of golden poems embellished with wit, mirth, and eloquence: together with two most excellent comedies, (viz.) The obstinate lady, and Trappolin suppos’d a prince / written by Sr Aston Cokayn. London: 1658.Google Scholar
Comedies and Tragedies Written by Francis Beaumont and Iohn Fletcher. London: 1647.Google Scholar
Dyce, Alexander, ed. The Works of Beaumont and Fletcher; the text formed from a new collation of the early editions. With notes and a biographical memoir. 11 vols. London: Edward Moxon, 1843–46.Google Scholar
Finkelpearl, Philip J. Court and Country Politics in the Plays of Beaumont and Fletcher. Princeton: Princeton UP, 1990.Google Scholar
Fletcher, John. The faithfull shepheardesse. London: 1609.Google Scholar
Fletcher, John. The faithfull shepheardesse. London: 1629.Google Scholar
Hoy, Cyrus. “Massinger as Collaborator: The Plays with Fletcher and Others.” Philip Massinger: A Critical Reassessment. Ed. Howard, Douglas. Cambridge: Cambridge University Press, 1985. 5182.Google Scholar
McMullan, Gordon, ed. King Henry VIII. London: Arden Shakespeare, 2000.Google Scholar
McMullan, Gordon, ed. The Politics of Unease in the Plays of John Fletcher. Amherst: U of Massachusetts P, 1994.Google Scholar
Nichols, John, ed. The History of The Worthies of England Endeavoured by Thomas Fuller, D. D. First Printed in 1662. 2 vols. London: Printed for F. C. and J. Rivington etc., 1811.Google Scholar
Potter, Lois, ed. The Two Noble Kinsmen. London: Arden Shakespeare, 1997.Google Scholar

Further reading

Bowers, Fredson, ed. The Dramatic Works in the Beaumont and Fletcher Canon. 10 vols. Cambridge: Cambridge University Press, 1966–94.Google Scholar
Hammond, Brean, ed. Double Falsehood. London: Arden Shakespeare, 2010.Google Scholar
Hope, Jonathan. The Authorship of Shakespeare’s Plays. Cambridge: Cambridge University Press, 1994.Google Scholar
Hoy, Cyrus. “The Shares of Fletcher and His Collaborators in the Beaumont and Fletcher Canon.” Studies in Bibliography 8 (1956): 129–46; 9 (1957): 143–62; 11 (1958): 85–106; 12 (1959): 91–116; 13 (1960): 77–108; 14 (1961): 45–67; 15 (1962): 71–90.Google Scholar
Kukowski, Stephan. “The Hand of John Fletcher in Double Falsehood.” Shakespeare Survey 43 (1991): 8189.Google Scholar
Masten, Jeffrey. Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama. Cambridge: Cambridge University Press, 1997.Google Scholar
McMullan, Gordon, ed. The Tamer Tamed. London: Nick Hern Books in association with The Royal Shakespeare Company, 2003.Google Scholar
Mincoff, Marco. “Shakespeare, Fletcher and Baroque Tragedy.” Shakespeare Survey 20 (1967): 115.Google Scholar
Muir, Kenneth. “Shakespeare’s Hand in The Two Noble Kinsmen.” Shakespeare Survey 11 (1958): 5059.Google Scholar
Sinfield, Alan. “Cultural Materialism and Intertextuality: The Limits of Queer Reading in A Midsummer Night’s Dream and The Two Noble Kinsmen.” Shakespeare Survey 56 (2003): 6778.Google Scholar

Sources cited

Barker, Richard Hindry. Thomas Middleton. New York: Columbia UP; London: Oxford UP, 1958.Google Scholar
Erne, Lukas. “Aye, Aye.” Times Literary Supplement 4 June 2010: 11.Google Scholar
Holdsworth, R. V.Middleton’s Authorship of A Yorkshire Tragedy.” Review of English Studies 45 (1994): 125.Google Scholar
Jackson, MacDonald P. Studies in Attribution: Middleton and Shakespeare. Salzburg: Institut für Englische Sprache und Literatur, Universität Salzburg, 1979.Google Scholar
Jowett, John. “Introduction.” Shakespeare, William and Middleton, Thomas, The Life of Timon of Athens. Ed. Jowett, John. Oxford: Oxford UP, 2004. 1153.Google Scholar
Jowett, John, and Taylor, Gary. Shakespeare Reshaped, 1606–23. Oxford: Clarendon, 1993.Google Scholar
Lake, David. The Canon of Thomas Middleton’s Plays. Cambridge: Cambridge University Press, 1975.Google Scholar
Maguire, Laurie, and Smith, Emma. “Letters to the Editor.” Times Literary Supplement 8 June 2012.Google Scholar
Maguire, Laurie, and Smith, Emma. “Many Hands – A New Shakespeare Collaboration?” Times Literary Supplement 19 April 2012.Google Scholar
Taylor, Gary, and Lavagnino, John, eds. The Collected Works of Thomas Middleton. Oxford: Clarendon, 2007.Google Scholar
Vickers, Brian. “Disintegrated: Did Thomas Middleton Really Adapt Macbeth?” Times Literary Supplement 28 May 2010: 1415.Google Scholar
Vickers, Brian. “Letters to the Editor.” Times Literary Supplement 15 June 2012.Google Scholar
Vickers, Brian. Shakespeare Co-Author: A Historical Study of Five Collaborative Plays. Oxford: Oxford UP, 2002.Google Scholar
Vickers, Brian, and Dahl, Marcus. “All’s Well That Ends Well: An Attribution Refuted.” Times Literary Supplement 9 May 2012.Google Scholar
Wells, Stanley. Shakespeare and Co.: Christopher Marlowe, Thomas Dekker, Ben Jonson, Thomas Middleton, John Fletcher and the Other Players in His Story. London: Allen Lane, 2006.Google Scholar

Further reading

Dollimore, Jonathan. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries. Brighton: Harvester, 1984.Google Scholar
Friedenreich, Kenneth, ed. “Accompaninge the Players”: Essays Celebrating Thomas Middleton, 1580–1980. New York: AMS Press, 1983.Google Scholar
Gossett, Suzanne, ed. Thomas Middleton in Context. Cambridge: Cambridge University Press, 2011.Google Scholar
Heinemann, Margot. Puritanism and Theatre: Thomas Middleton and Opposition Drama under the Early Stuarts. 2nd ed. Cambridge: Cambridge University Press, 1982.Google Scholar
Leinwand, Theodore. The City Staged: Jacobean City Comedy, 1603–1613. Madison: U of Wisconsin P, 1986.Google Scholar
McLuskie, Kathleen E., and Bevington, David, eds. Plays on Women. Manchester: Manchester UP, 1999.Google Scholar
Schoenbaum, S. Middleton’s Tragedies: A Critical Study. New York: Columbia UP, 1955.Google Scholar
Stallybrass, Peter. “Reading the Body and the Jacobean Theater of Consumption: The Revenger’s Tragedy (1606).” Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama. Ed. Kastan, David Scott and Stallybrass, Peter. London: Routledge, 1991.Google Scholar
Thomson, Leslie. “‘Enter Above’: The Staging of Women Beware Women.” Studies in English Literature 26 (1986): 331–43.Google Scholar

Sources cited

Bradbrook, M. C. John Webster, Citizen and Dramatist. London: Weidenfeld and Nicolson, 1980.Google Scholar
Edmond, Mary. “In Search of John Webster.” Times Literary Supplement 24 December 1976.Google Scholar
Eliot, T. S.Four Elizabethan Dramatists.” Selected Essays. New ed. London: Harcourt, Brace, and Company, 1950. 9199.Google Scholar
Foakes, R. A., ed. Henslowe’s Diary. 2nd ed. Cambridge: Cambridge University Press, 2002.Google Scholar
Forker, Charles R. Skull beneath the Skin: The Achievement of John Webster. Carbondale: Southern Illinois UP, 1986.Google Scholar
Marcus, Leah S., ed. Webster, John. The Duchess of Malfi. Arden Early Modern Drama. London: Methuen, 2009.Google Scholar
Russell Brown, John, ed. Webster, John. The White Devil. The Revels Plays. London: Methuen, 1960.Google Scholar
Shepherd, Simon. Amazons and Warrior Women: Varieties of Feminism in Seventeenth-Century Drama. New York: St. Martin’s, 1981.Google Scholar
Webster, John. The Works of John Webster. Ed. Gunby, David, Carnegie, David, Hammond, Antony, and Jackson, Macdonald P.. 3 vols. Cambridge: Cambridge University Press, 1995–2007.Google Scholar

Further reading

Callaghan, Dympna, ed. The Duchess of Malfi: Contemporary Critical Essays. London: Macmillan, 2000.Google Scholar
Cave, Richard Allen. “The White Devil” and “The Duchess of Malfi”: Text and Performance. London: Macmillan, 1988.Google Scholar
Dent, R. W. John Webster’s Borrowing. Berkeley: U of California P, 1960.Google Scholar
Dollimore, John. Radical Tragedy: Religion, Ideology, and Power in the Drama of Shakespeare and His Contemporaries. 3rd ed. Basingstoke: Palgrave Macmillan, 2004.Google Scholar
Luckyj, Christina. A Winter’s Snake: Dramatic Form in the Tragedies of John Webster. Athens: U of Georgia P, 1989.Google Scholar
McLuskie, Kathleen, and Uglow, Jennifer, eds. The Duchess of Malfi. Plays in Performance. Bristol: Bristol Classical, 1989.Google Scholar
Morris, Brian. John Webster. Mermaid Critical Commentaries. London: Ernest Benn, 1970.Google Scholar
Rabkin, Norman, ed. Twentieth Century Interpretations of “The Duchess of Malfi”: A Collection of Critical Essays. Englewood Cliffs: Prentice Hall, 1968.Google Scholar
Russell Brown, John, ed. Webster, John. The Duchess of Malfi. 2nd ed. Revels Plays. Manchester: Manchester UP, 2009.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×