English Renaissance theatre

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often tried to be very effectual, having been lately and are still enjoined; and whereas Public Sports do not well agree with Public Calamities, nor Public Stage-plays with the Seasons of Humiliation, this being an Exercise of sad and pious Solemnity, and the other being Spectacles of Pleasure, too commonly expressing lascivious Mirth and Levity: It is therefore thought fit, and Ordained, by the Lords and Commons in this Parliament assembled, That, while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease, and be forborn, instead of which are recommended to the People of this Land the profitable and seasonable considerations of Repentance, Reconciliation, and Peace with God, which probably may produce outward Peace and Prosperity, and bring again Times of Joy and Gladness to these Nations.

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were bookkeepers that acted as the narrators of these plays and they would introduce the actors and the different roles they played. At some points, the bookkeeper would not state the narrative of the scene, so the audience could find out for themselves. In Elizabethan and Jacobean plays, the plays often exceeded the number of characters/roles and did not have enough actors to fulfil them, thus the idea of doubling roles came to be. Doubling roles is used to reinforce a plays theme by having the actor act out the different roles simultaneously. The reason for this was for the acting companies to control salary costs, or to be able to perform under conditions where resources such as other actor companies lending actors were not present.

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themselves were expensive, so usually players wore contemporary clothing regardless of the time period of the play. The most expensive pieces were given to higher class characters because costuming was used to identify social status on stage. The fabrics within a playhouse would indicate the wealth of the company itself. The fabrics used the most were: velvet, satin, silk, cloth-of-gold, lace and ermine. For less significant characters, actors would use their own clothes.

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the centre. Usually polygonal in plan to give an overall rounded effect, although the Red Bull and the first Fortune were square. The three levels of inward-facing galleries overlooked the open centre, into which jutted the stage: essentially a platform surrounded on three sides by the audience. The rear side was restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a

2536:). A variety of strolling players, and even early London-based troupes existed before 1572. The situations were often fluid, and much of this history is obscure; this timeline necessarily implies more precision than exists in some cases. The labels down the left indicate the most common names for the companies. The bar segments indicate the specific patron. In the case of children's companies (a distinct legal situation) some founders are noted. 973: 33: 571: 6336: 452: 989:

that certain classes could only wear clothing fitting of their status in society. There was a discrimination of status within the classes. Higher classes flaunted their wealth and power through the appearance of clothing, however, courtesans and actors were the only exceptions – as clothing represented their 'working capital', as it were, but they were only permitted to dress so

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The actors were all male; in fact, most were boys. For plays written that had male and female parts, the female parts were played by the youngest boy players. Stronger female roles in tragedies were acted by older boy players because they had more experience. As a boy player, many skills had to be implemented such as voice and athleticism (fencing was one).

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bright in colour and visually entrancing. Colours symbolized social hierarchy, and costumes were made to reflect that. For example, if a character was royalty, their costume would include purple. The colours, as well as the different fabrics of the costumes, allowed the audience to know the status of each character when they first appeared on stage.

448:, taught theatrical skills. Students would typically analyse Latin and Greek texts, write their own compositions, memorise them, and then perform them in front of their instructor and their peers. Records show that in addition to this weekly performance, students would perform plays on holidays, and in both Latin and English. 552:, were attended by students studying for bachelor's degrees and master's degrees, followed by doctorates in Law, Medicine, and Theology. In the 1400s, dramas were often restricted to mummer plays with someone who read out all the parts in Latin. With the rediscovery and redistribution of classical materials during the 1029:

Playwrights were normally paid in increments during the writing process, and if their play was accepted, they would also receive the proceeds from one day's performance. However, they had no ownership of the plays they wrote. Once a play was sold to a company, the company owned it, and the playwright

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Archaeological excavations on the foundations of the Rose and the Globe in the late 20th century showed that all the London theatres had individual differences, but their common function necessitated a similar general plan. The public theatres were three stories high and built around an open space at

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In the Elizabethan era, research has been conclusive about how many actors and troupes there were in the 16th century, but little research delves into the roles of the actors on the English renaissance stage. The first point is that during the Elizabethan era, women were not allowed to act on stage.

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in women's costume. Some companies were composed entirely of boy players. Performances in the public theatres (like the Globe) took place in the afternoon with no artificial lighting, but when, in the course of a play, the light began to fade, candles were lit. In the enclosed private theatres (like

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in 1629 near the site of the defunct Whitefriars, the London audience had six theatres to choose from: three surviving large open-air public theatres—the Globe, the Fortune, and the Red Bull—and three smaller enclosed private theatres: the Blackfriars, the Cockpit, and the Salisbury Court. Audiences

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Along with the economics of the profession, the character of the drama changed towards the end of the period. Under Elizabeth, the drama was a unified expression as far as social class was concerned: the Court watched the same plays the commoners saw in the public playhouses. With the development of

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to supply three plays a year, but found himself unable to meet the workload. Shakespeare produced fewer than 40 solo plays in a career that spanned more than two decades: he was financially successful because he was an actor and, most importantly, a shareholder in the company for which he acted and

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Actors also left clothes in their will for following actors to use. Masters would also leave clothes for servants in their will, but servants weren't allowed to wear fancy clothing, instead, they sold the clothes back to theatre companies. In the Tudor and Elizabethan eras, there were laws stating

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Whereas the distressed Estate of Ireland, steeped in her own Blood, and the distracted Estate of England, threatened with a Cloud of Blood by a Civil War, call for all possible Means to appease and avert the Wrath of God, appearing in these Judgements; among which, Fasting and Prayer, having been

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who printed and sold them. By the turn of the 21st century, the climate of scholarly opinion shifted somewhat on this belief: some contemporary researchers argue that publishing plays was a risky and marginal business—though this conclusion has been disputed by others. Some of the most successful

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One of the main uses of costume during the Elizabethan era was to make up for the lack of scenery, set, and props on stage. It created a visual effect for the audience, and it was an integral part of the overall performance. Since the main visual appeal on stage were the costumes, they were often

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Elizabethan actors never played the same show on successive days and added a new play to their repertoire every other week. These actors were getting paid within these troupes so for their job, they would constantly learn new plays as they toured different cities in England. In these plays, there

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Ticket prices in general varied during this time period. The cost of admission was based on where in the theatre a person wished to be situated, or based on what a person could afford. If people wanted a better view of the stage or to be more separate from the crowd, they would pay more for their

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Playwrights dealt with the natural limitation on their productivity by combining into teams of two, three, four, and even five to generate play texts. The majority of plays written in this era were collaborations, and the solo artists who generally eschewed collaborative efforts, like Jonson and

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Costumes were collected in inventory. More often than not, costumes wouldn't be made individually to fit the actor. Instead, they would be selected out of the stock that theatre companies would keep. A theatre company reused costumes when possible and would rarely get new costumes made. Costumes

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were actors, the majority do not seem to have been performers, and no major author who came on to the scene after 1600 is known to have supplemented his income by acting. Their lives were subject to the same levels of danger and earlier mortality as all who lived during the early modern period:

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The growing population of London, the growing wealth of its people, and their fondness for spectacle produced a dramatic literature of remarkable variety, quality and extent. About 3,000 plays were written for the Elizabethan stage, and although most of them have been lost, at least 543 remain.

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There were two acting styles implemented: formal and natural. Formal acting is objective and traditional, while natural acting attempts to create an illusion for the audience by remaining in character and imitating the fictional circumstances. The formal actor symbolises while the natural actor

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movement was hostile toward theatre, as they felt that "entertainment" was sinful. Politically, playwrights and actors were clients of the monarchy and aristocracy, and most supported the Royalist cause. The Puritan faction, long powerful in London, gained control of the city early in the

1037:'s Diary show that in the years around 1600 Henslowe paid as little as £6 or £7 per play. This was probably at the low end of the range, though even the best writers could not demand too much more. A playwright, working alone, could generally produce two plays a year at most. In the 1630s 823:. The pit was the place where the poorest audience members could view the show. Around the 1600s a new area was introduced into the theaters, a 'gullet'. A gullet was an invisible corridor that the actors used to go to the wings of the stage where people usually changed clothes quickly. 964:

interprets. The natural actor impersonates while the formal actor represents the role. Natural and formal are opposites of each other, where natural acting is subjective. Overall, the use of these acting styles and the doubled roles dramatic device made Elizabethan plays very popular.

834:, which came into regular use on a long-term basis in 1599. The Blackfriars was small in comparison to the earlier theatres and roofed rather than open to the sky. It resembled a modern theatre in ways that its predecessors did not. Other small enclosed theatres followed, notably the 716:

The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama. Once they were in operation, drama could become a fixed and permanent, rather than transitory, phenomenon. Their construction was prompted when the

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Around 1580, when both the Theater and the Curtain were full on summer days, the total theater capacity of London was about 5000 spectators. With the building of new theater facilities and the formation of new companies, London's total theater capacity exceeded 10,000 after 1610.

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The playhouses were generally built with timber and plaster. Individual theatre descriptions give additional information about their construction, such as flint stones being used to build the Swan. Theatres were also constructed to be able to hold a large number of people.

556:, Latin and Greek plays began to be restaged. These plays were often accompanied by feasts. Queen Elizabeth I viewed dramas during her visits to Oxford and Cambridge. A well-known play cycle which was written and performed in the universities was the 1375:

Only a minority of the plays of English Renaissance theatre were ever printed. Of Heywood's 220 plays, only about 20 were published in book form. A little over 600 plays were published in the period as a whole, most commonly in individual

1074:, roughly 50 are collaborations. In a single year (1598) Dekker worked on 16 collaborations for impresario Philip Henslowe, and earned £30, or a little under 12 shillings per week—roughly twice as much as the average artisan's income of 1 475:. These schools performed plays and other court entertainments for the Queen. Between the 1560s and 1570s these schools had begun to perform for general audiences as well. Playing companies of boy actors were derived from choir schools. 3329: 6571: 1070:

Shakespeare, were the exceptions to the rule. Dividing the work, of course, meant dividing the income; but the arrangement seems to have functioned well enough to have made it worthwhile. Of the 70-plus known works in the canon of

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was far more representative: between 19 February and 23 June the company played six days a week, minus Good Friday and two other days. They performed 23 different plays, some only once, and their most popular play of the season,

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ran for nine straight performances in August 1624 before it was closed by the authorities; but this was due to the political content of the play and was a unique, unprecedented and unrepeatable phenomenon. The 1592 season of

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first banned plays in 1572 as a measure against the plague, and then formally expelled all players from the city in 1575. This prompted the construction of permanent playhouses outside the jurisdiction of London, in the

880:, since City authorities tended to be wary of the adult playing companies, but plays were performed by touring companies all over England. English companies even toured and performed English plays abroad, especially in 750:(the owner of the unsuccessful Red Lion playhouse of 1567) and the Newington Butts playhouse was set up, probably by Jerome Savage, some time between 1575 and 1577. The Theatre was rapidly followed by the nearby 1089:

in five weeks); Henslowe's Diary indicates that a team of four or five writers could produce a play in as little as two weeks. Admittedly, though, the Diary also shows that teams of Henslowe's house dramatists—

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and their contemporaries were still being performed on a regular basis, mostly at the public theatres, while the newest works of the newest playwrights were abundant as well, mainly at the private theatres.

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would famously claim to have had "an entire hand, or at least a main finger" in the authorship of some 220 plays. A solo artist usually needed months to write a play (though Jonson is said to have done

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The Act purports the ban to be temporary ("... while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease and be forborn") but does not assign a time limit to it.

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the Blackfriars) artificial lighting was used throughout. Plays contained little to no scenery as the scenery was described by the actors or indicated by costume through the course of the play.

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influence, banned the staging of plays in the London theatres though it did not, contrary to what is commonly stated, order the closure, let alone the destruction, of the theatres themselves:

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plays, were a late and limited development.) Through much of the modern era, it was thought that play texts were popular items among Renaissance readers that provided healthy profits for the

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In Elizabethan entertainment, troupes were created and they were considered the actor companies. They travelled around England as drama was the most entertaining art at the time.

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game that was an important part of the social and economic life of the era. Those who were purely playwrights fared far less well: the biographies of early figures like

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were allowed by the authorities, while full-length plays were banned. The theatre buildings were not closed but rather were used for purposes other than staging plays.

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McInnis, D., Steggle, M. (2014). "Introduction: Nothing Will Come of Nothing? Or, What can we Learn from Plays that Don’t Exist?". In: McInnis, D., Steggle, M. (eds.)

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Upper class spectators would pay for seats in the galleries, using cushions for comfort. In the Globe Theatre, nobles could sit directly by the side on the stage.

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entrance. Due to inflation that occurred during this time period, admission increased in some theaters from a penny to a sixpence or even higher.

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system: unlike modern productions that can run for months or years on end, the troupes of this era rarely acted the same play two days in a row.

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the private theatres, drama became more oriented towards the tastes and values of an upper-class audience. By the later part of the reign of

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of the monarchy in 1660. The theatres began performing many of the plays of the previous era, though often in adapted forms. New genres of

4631: 2488: 2469: 1120: 397:, few new plays were being written for the public theatres, which sustained themselves on the accumulated works of the previous decades. 226: 2504: 6634: 5701: 5638: 5633: 5151: 1137: 424:. Though rhetorical instruction was intended as preparation for careers in civil service such as law, the rhetorical canons of memory ( 2470: 1139: 257: 7622: 6894: 6038: 4626: 3946:

Christiansen, Nancy L. (1997). "Rhetoric as Character-Fashioning: The Implications of Delivery's 'Places' in the British Renaissance

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The people who wrote these plays were primarily self-made men from modest backgrounds. Some of them were educated at either

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Martin Wiggins, in association with Catherine Richardson, British Drama 1533–1642: A Catalogue (Oxford: Oxford UP, 2012-).

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The Blackfriars site was used as a theatre in the 1576-84 period; but it became a regular venue for drama only later.

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One distinctive feature of the companies was that only men or boys performed. Female parts were played by adolescent

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was killed in an apparent tavern brawl, while Ben Jonson killed an actor in a duel. Several were probably soldiers.

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near the established entertainment district of St. George's Fields in rural Surrey. The Theatre was constructed in

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Upon graduation, many university students, especially those going into law, would reside and participate in the

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The performance of plays remained banned for most of the next eighteen years, becoming allowed again after the

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during the Christmas season of 1561—and the ban on theatrical plays enacted by the English Parliament in 1642.

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Kregor, Karl H. (1993). "Doubled Roles in English Renaissance Drama: Problems, Possibilities and Marlowe's

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Cunningham, Karen J. (2007). "'So Many Books, So Many Rolls of Ancient Time': The Inns of Court and

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Short yellow lines indicate 27 years—the average age these authors began their playwrighting careers

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is an earlier example of a playwright contracted to write for the children's companies; Lyly wrote

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Calore, Michela (2003). "Elizabethan Plots: A Shared Code of Theatrical and Fictional Language".

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soon evolved, giving English theatre of the later seventeenth century its distinctive character.

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The Business of Playing: The Beginnings of The Adult Professional Theater in Elizabethan London

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contains some early editions of theatrical works published in English between 1607 and 1812.

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The Rose and the Globe: Playhouses of Shakespeare's Bankside, Southwark: Excavations 1988–91

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A few aristocratic women engaged in closet drama or dramatic translations. Chambers lists

709:, opened in 1567 but it was a short-lived failure. The first successful theatres, such as 8: 7375: 7264: 7194: 7106: 6951: 6499: 6436: 6408: 6358: 6287: 6269: 6068: 5910: 5874: 5807: 5764: 5723: 5292: 5231: 5164: 5054: 4863: 4670: 3782: 2825: 2401: 2337: 2257: 2233: 2208: 1964: 1844: 1498: 1483: 1250: 1183: 1167: 1023: 1014: 929: 856: 852: 835: 831: 553: 327: 323: 4519: 4497:

The Purpose of Playing: Shakespeare and the Cultural Politics of the Elizabethan Theatre

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Firth, C.H.; Rait, R.S., eds. (1911). "September 1642: Order for Stage-plays to cease".

3989: 1338:, ca. 1608–13) could exert influences. After about 1610, the new hybrid subgenre of the 219: 7285: 7215: 7201: 7138: 7085: 7071: 7057: 7050: 6841: 6506: 6281: 6239: 6121: 5859: 5757: 5562: 5157: 5068: 4809: 4764: 4348: 4341: 4141: 4133: 4117: 3993: 3985: 3969: 3904: 3888: 2849: 2642: 2637: 2525: 2450: 2372: 2327: 2322: 2287: 2198: 2193: 1849: 1502: 1490:), some English Renaissance theatre continued. For example, short comical plays called 1363: 1351: 1204: 1172: 919: 759: 755: 727: 706: 646: 209: 130: 41: 2676:

A complete roster of what the Elizabethans called "public" theatres would include the

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was a very popular genre. Marlowe's tragedies were exceptionally successful, such as

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Farmer, Alan B.; Lesser, Zachary (2005). "The Popularity of Playbooks Revisited".

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was the theatre of England from 1558 to 1642. Its most prominent playwrights were

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Costumes of the Elizabethan era; sketch by William Hickman Smith Aubrey, c. 1867

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The profession of dramatist was challenging and far from lucrative. Entries in

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A site discussing the influence of Ancient Rome on English Renaissance Theatre

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in the theatres they used. Ben Jonson achieved success as a purveyor of Court

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Commercial theaters were largely located just outside the boundaries of the

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This timeline charts the existence of major English playing companies from

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A small number of plays from the era survived not in printed texts but in

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Richard Southern archive at the University of Bristol Theatre Collection

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Elizabethan public playhouse acting: Its development and complex style

6795: 6443: 6350: 6043: 5895: 5831: 5419: 5278: 4804: 4784: 4477: 4259: 3952: 1824: 1446: 1377: 1268: 1051: 972: 817:, or as a position from which an actor could harangue a crowd, as in 481: 476: 2457: 6834: 6592: 1319: 1288:, which deals satirically with life in London after the fashion of 1030:

had no control over casting, performance, revision or publication.

686:

were also performed here, although written for commercial theater.

640: 570: 421: 32: 2748:(1923), reflects an earlier interpretation of the identity of the 7145: 6464: 5800: 5793: 5625: 5433: 5426: 3960:(3). International Society for the History of Rhetoric: 297–334. 3683:

Actors and Acting in Shakespeare's Time: The Art of Stage Playing

3201: 1450: 1433: 1274: 1262: 1225: 1209: 1085: 885: 881: 802: 635: 426: 416: 3555:

Early Modern Literature in History. Palgrave Macmillan, London.

3225: 6555: 5405: 3082: 1343: 1256: 1047: 695: 657: 451: 346:

encompasses the period between 1562—following a performance of

2702:

Other "private" theaters of the era included the theatre near

2468: 1284:

were common, too. A subgenre developed in this period was the

1254:. The four tragedies considered to be Shakespeare's greatest ( 1118: 1112: 414:, like those on the continent, placed special emphasis on the 4034:

Solon and Thespis: Law and Theater in the English Renaissance

1491: 1159: 1066:, are marked by financial uncertainty, struggle and poverty. 363:

In a strict sense "Elizabethan" only refers to the period of

4644:: Remembering the Prominent Renaissance London Playhouses". 3502: 3500: 3405: 3125: 3123: 3121: 467:

Choir schools connected with the Elizabethan court included

6600:

The Entertainment of the Kings of Great Britain and Denmark

4055:

Dawson, Anthony B. (2002). "International Shakespeare". In

4007:

The Privileged Playgoers of Shakespeare's London, 1576-1642

3577: 3189: 638:. Plays written and performed in the Inns of Court include 622:. Like the university, the Inns of Court elected their own 3140: 3138: 3106: 2899: 2684:(1613), neither of them major venues for drama in the era. 4576:

Wickham, Glynne; Berry, Herbert; Ingram, William (2000).

4470:

The Elizabethan Player: Contemporary Stage Representation

3524: 3497: 3297: 3118: 2947: 1415: 1202:. History plays also dealt with more recent events, like 6572:

A Private Entertainment of the King and Queen on May-Day

4376:

Acting Companies and their Plays in Shakespeare's London

3637: 3436: 3434: 3432: 3273: 3237: 532:

practices of miracles and morality plays as well as the

3613: 3417: 3375: 3363: 3261: 3179: 3177: 3150: 3135: 3094: 2983: 2875: 847:

of the 1630s benefited from a half-century of vigorous

3249: 3012: 3010: 2959: 2935: 2923: 2911: 2887: 7580:† = Not published in the Beaumont and Fletcher folios 3649: 3485: 3473: 3463: 3461: 3429: 3309: 3213: 3058: 3046: 2995: 795:

Panorama of the interior of the Globe Theatre, London

3565: 3357:

Secrets of Acting Shakespeare: The Original Approach

3174: 3162: 2863: 1380:

editions. (Larger collected editions, like those of

436:), gesture and voice, as well as exercises from the 3625: 3007: 4575: 4340: 4278: 4063:. Cambridge Companions to Shakespeare. Cambridge: 3839: 3589: 3458: 3446: 3285: 3207: 3070: 3034: 2971: 1470:, "September 1642: Order for Stage-plays to cease" 4622:A Lecture on Elizabethan Theatre by Thomas Larque 4256:Elizabethan Popular Theatre: Plays in Performance 4156:Acts and Ordinances of the Interregnum, 1642-1660 3022: 2458:Timeline of English Renaissance playing companies 1468:Acts and Ordinances of the Interregnum, 1642–1660 7589: 4438:Costumes and Scripts in the Elizabethan Theatres 3512: 400: 36:A 1596 sketch of a rehearsal in progress on the 4061:The Cambridge Companion to Shakespeare on Stage 3953:Rhetorica: A Journal of the History of Rhetoric 3751:. In Cox, John D.; Kastan, David Scott (eds.). 455:Nathan Field, who began his acting career as a 6726:News from the New World Discovered in the Moon 4710: 3327: 1361:Plays on biblical themes were common, Peele's 1166:, which depicted English or European history. 730:of Halliwell/Holywell in Shoreditch and later 700: 7024:The Masque of the Inner Temple and Gray's Inn 6895: 6761:Time Vindicated to Himself and to His Honours 6366: 5216: 4848: 4696: 3811: 3195: 626:. Other activities included participation in 295: 7386:Four Plays, or Moral Representations, in One 4093: 3945: 3643: 2905: 2881: 2540: 2464:English Renaissance playing company timeline 1397:publishers of the English Renaissance, like 6163: 4343:Travelling Players in Shakespeare's England 1318:Though marginalised, the older genres like 1170:'s plays about the lives of kings, such as 1113:Timeline of English Renaissance playwrights 6902: 6888: 6768:Neptune's Triumph for the Return of Albion 6373: 6359: 5223: 5209: 4855: 4841: 4703: 4689: 4027: 3129: 302: 288: 4663:(ISSN 0976-9536), 17 (April 2019): 31–38. 4648:(ISSN 0976-9536), 11 (April 2013): 24–32. 4548: 4458: 4435: 4152: 3715: 3680: 3655: 3491: 3479: 3440: 3411: 3330:"Theatre Culture Of Early Modern England" 3279: 3156: 3144: 3112: 3100: 2989: 2965: 2953: 2941: 2929: 2917: 2893: 1367:being one of the few surviving examples. 1199:Famous Chronicle of King Edward the First 1105:, and the others, even including a young 830:A different model was developed with the 777: 705:The first permanent English theatre, the 4886:Tamburlaine the Great, Parts One and Two 4494: 4303: 4253: 4221: 3919: 3619: 3607: 3583: 3571: 3530: 3423: 3381: 3369: 3255: 3243: 971: 569: 450: 31: 27:Theatre of England between 1562 and 1642 6635:The Speeches at Prince Henry's Barriers 5230: 4862: 4578:English professional theatre, 1530-1660 3746: 3631: 2659: 1525:William Alexander, 1st Earl of Stirling 1346:throughout the reigns of the first two 14: 7608:English early modern theatre companies 7590: 6677:Mercury Vindicated from the Alchemists 6380: 4517: 4404: 4373: 4338: 4276: 4054: 3864: 3834: 3506: 3467: 3452: 3354: 3315: 3303: 3291: 3219: 3183: 3168: 1512: 1416:The end of English Renaissance theatre 1212:in 1576. A better known play, Peele's 6883: 6354: 5975:Complete Works of William Shakespeare 5204: 4836: 4684: 3812:Bowsher, Julian; Miller, Pat (2010). 3610:, pp. 108–109, 374–375, 456–457. 2534:closing of the theatres by Parliament 2526:Acte for the punishment of Vacabondes 1342:enjoyed an efflorescence, as did the 1078:. per day. At the end of his career, 899:The acting companies functioned on a 7436:with Massinger, Chapman & Jonson 6628:The Entertainment at Britain's Burse 4521:Early London Theatres: In the Fields 4467: 4183: 4004: 3777: 3753:A New History of Early English Drama 3595: 3553:Lost Plays in Shakespeare’s England. 3518: 3267: 3231: 3088: 3076: 3064: 3052: 3040: 3028: 3016: 3001: 2977: 2869: 2344: 1595:Elizabeth Cary, Viscountess Falkland 1278:) were composed during this period. 497:for Paul’s Boys. Another example is 6803:The King's Entertainment at Welbeck 6782:The Fortunate Isles and Their Union 6649:Love Freed from Ignorance and Folly 6335: 4932:The Passionate Shepherd to His Love 3716:Bellinger, Martha Fletcher (1927). 1600:Robert Cecil, 1st Earl of Salisbury 1240:. The audiences particularly liked 24: 7446:with Massinger, Ford & Webster 6663:A Challenge at Tilt, at a Marriage 6150:Shakespeare's influence on Tolkien 2792:Mary Herbert, Countess of Pembroke 1050:, and was talented at playing the 405: 25: 7639: 6789:Love's Triumph Through Callipolis 4600: 4557:University of Southern California 4227:A Shakespeare Companion 1564–1964 4189:The Shakespearean Stage 1574–1642 3842:Shakespeare: The World as a Stage 3784:University Drama in the Tudor Age 2710:(1575) and the occasionally used 1182:, belong to this category, as do 842:(1617). With the building of the 544:. The universities, particularly 71:16th-century Renaissance humanism 7623:History of literature in England 7017:The Knight of the Burning Pestle 6775:The Masque of Owls at Kenilworth 6733:The Entertainment at Blackfriars 6334: 6325: 6324: 5678: 5101:The Life of Edward II of England 3208:Wickham, Berry & Ingram 2000 1370: 1062:, and later ones like Brome and 784: 565: 462: 227:Dutch Renaissance and Golden Age 5147:Shakespeare authorship question 4524:. Antiquary's library. London: 4161:His Majesty's Stationery Office 3661: 3545: 3536: 3387: 3348: 3321: 2838: 2805: 2780: 2755: 2736: 2717: 2696: 2687: 2670: 1464:His Majesty's Stationery Office 1441:, and on 2 September 1642, the 1013:, but many were not. Although 894: 510: 352:, the first English play using 6155:Works titled after Shakespeare 4655:: The Three Groups of English 4038:University of Notre Dame Press 3749:"The Publication of Playbooks" 996: 540:. The Feast of Fools includes 13: 1: 7558:(Shakespeare & Fletcher?) 7333:with Beaumont & Massinger 6712:Pleasure Reconciled to Virtue 6315:Shakespeare and other authors 4549:Triesault, Jon Lloyd (1970). 4459:Maclennan, Ian Burns (1994). 4306:The Shakespearean Stage Space 3747:Blayney, Peter W. M. (1997). 2857: 2461: 2250: 1208:which dramatizes the sack of 1116: 941:, must have been tremendous. 401:Sites of dramatic performance 337: 231:Folklore of the Low Countries 7527:Beaumont and Fletcher folios 6869:Sons of Ben (literary group) 6579:The Entertainment at Althorp 6472:Epicœne, or The Silent Woman 6197:Shakespeare Birthplace Trust 5115:Lessons in Love and Violence 4667:The Francis Longe Collection 3818:Museum of London Archaeology 3719:A Short History of the Drama 3234:, pp. 123–131, 142–146. 2832:Sir John van Olden Barnavelt 1478:Even after 1642, during the 863: 7: 7517:English Renaissance theatre 7223:Rule a Wife and Have a Wife 6864:English Renaissance theatre 6621:The Hue and Cry After Cupid 6430:Every Man out of His Humour 6003:English Renaissance theatre 5846:The Second Maiden's Tragedy 5825:The Merry Devil of Edmonton 5357:The Two Gentlemen of Verona 5161:(attributed play, rejected) 5132:English Renaissance theatre 4607:Early Modern Drama database 4518:Ordish, T. Fairman (1899). 4501:University of Chicago Press 4468:Mann, David Albert (1991). 4442:University of Alberta Press 4421:University of Alabama Press 4191:(4th ed.). Cambridge: 4032:". In Kezar, Dennis (ed.). 4005:Cook, Ann Jennalie (2014). 3681:Astington, John H. (2010). 3091:, pp. 89–108, 252–285. 2631: 1422:London theatre closure 1642 1162:of the period included the 1041:signed a contract with the 967: 925:The First Part of Hieronimo 701:Establishment of playhouses 369:English Renaissance theatre 344:English Renaissance theatre 316:English Renaissance theatre 141:English Renaissance theatre 10: 7644: 7357:with Massinger & Field 6810:Love's Welcome at Bolsover 6171:Folger Shakespeare Library 5717:The Phoenix and the Turtle 5307:The Merry Wives of Windsor 4712:History of Western theatre 4582:Cambridge University Press 4474:Routledge Library Editions 4310:Cambridge University Press 4254:Hattaway, Michael (2008). 4193:Cambridge University Press 4106:Folger Shakespeare Library 4073:10.1017/CCOL0521792959.010 4065:Cambridge University Press 4011:Princeton University Press 3877:Cambridge University Press 3687:Cambridge University Press 3673: 3401:Folger Shakespeare Library 2438:The Lord Chamberlain's Men 2427:The Children of the Chapel 2348: 1920:John Pickering (dramatist) 1425: 1419: 1405:, rarely published plays. 1312:A Chaste Maid in Cheapside 851:development; the plays of 693: 514: 86:16th century in literature 76:Reformation-era propaganda 7578: 7545: 7507: 7460: 7324: 7272:The Custom of the Country 7232: 7116: 7033: 7008: 6995: 6919: 6851: 6819: 6747:The Gypsies Metamorphosed 6670:The Irish Masque at Court 6554: 6393: 6309: 6220: 6190:Royal Shakespeare Theatre 6185:Royal Shakespeare Company 6092: 5949: 5920: 5749: 5740: 5687: 5676: 5608: 5580: 5471: 5381: 5314:A Midsummer Night's Dream 5258:All's Well That Ends Well 5247: 5238: 5173: 5124: 5078: 5009: 4948: 4923: 4870: 4718: 4612:Shakespeare and the Globe 4304:Ichikawa, Mariko (2012). 4059:; Stanton, Sarah (eds.). 3927:. Vol. 3. New York: 3885:10.1017/S0040557403000127 3757:Columbia University Press 3196:Bowsher & Miller 2010 2541:Other significant figures 2081: 1154: 689: 656:. An example of a famous 653:The Misfortunes of Arthur 371:may be said to encompass 7480:(Middleton & Rowley) 7451:The Fair Maid of the Inn 7362:The Honest Man's Fortune 7251:The Little French Lawyer 7125:The Faithful Shepherdess 6642:Oberon, the Faery Prince 5328:Pericles, Prince of Tyre 4495:Montrose, Louis (1996). 4436:MacIntyre, Jean (1992). 4374:Keenan, Siobhan (2014). 4339:Keenan, Siobhan (2002). 4318:10.1017/CBO9781139097192 4287:Cornell University Press 4277:Ingram, William (1992). 4201:10.1017/CBO9780511819520 3990:10.1525/rh.1997.15.3.297 3966:10.1525/rh.1997.15.3.297 3644:Farmer & Lesser 2005 3355:Tucker, Patrick (2002). 2664: 1325:The Faithful Shepherdess 1220:battle of Alcácer Quibir 746:with his brother-in-law 471:, the Chapel Royal, and 7555:The History of Cardenio 7441:Rollo, Duke of Normandy 7188:The Humorous Lieutenant 6719:For the Honour of Wales 6684:The Golden Age Restored 6586:The Masque of Blackness 6486:Catiline His Conspiracy 6423:Every Man in His Humour 5336:The Taming of the Shrew 4879:Dido, Queen of Carthage 4642:All the World's a Stage 4616:Encyclopædia Britannica 4412:Theatre History Studies 4169:2027/inu.30000046036137 4036:. Notre Dame, Indiana: 3929:Oxford University Press 3797:2027/mdp.39015030766243 3732:2027/mdp.39015008227087 3695:10.1017/CBO970511761379 3561:10.1057/9781137403971_1 3359:. Routledge. p. 8. 3328:Melissa Thomas (2009). 2549:, investor and litigant 2293:Salisbury Court Theatre 2278:Newington Butts Theatre 1439:First English Civil War 1390:Beaumont and Fletcher's 1302:The Shoemaker's Holiday 1218:(c. 1591), depicts the 1043:Salisbury Court Theatre 844:Salisbury Court Theatre 660:put on by the Inns was 382:from 1603 to 1625, and 7477:Wit at Several Weapons 6565:The Coronation Triumph 6528:Rollo Duke of Normandy 6018:Lord Chamberlain's Men 5929:The Passionate Pilgrim 5702:comparison to Petrarch 5321:Much Ado About Nothing 5300:The Merchant of Venice 5041:A Dead Man in Deptford 3724:Henry Holt and Company 2771:Children of the Chapel 2763:King's Revels Children 2649:The Subject of Tragedy 2422:The Children of Paul's 2358:King's Revels Children 1473: 1328:, 1608), and even the 977: 778:Playhouse architecture 575: 536:and the election of a 459: 420:: grammar, logic, and 81:16th century in poetry 49: 7404:The Two Noble Kinsmen 7338:Thierry and Theodoret 6912:Beaumont and Fletcher 6698:The Vision of Delight 6691:Christmas, His Masque 6208:Shakespeare Institute 6177:Shakespeare Quarterly 5696:Shakespeare's sonnets 5364:The Two Noble Kinsmen 5108:The Massacre at Paris 4914:The Massacre at Paris 4653:If we ever meet again 4636:University of Bristol 4388:10.5040/9781472575692 4380:Bloomsbury Publishing 4357:10.1057/9780230597549 4159:. Laws, etc. London: 4114:10.1353/shq.2005.0043 4097:Shakespeare Quarterly 3925:The Elizabethan Stage 3656:Firth & Rait 1911 2746:The Elizabethan Stage 2412:Queen Henrietta's Men 2407:Queen Elizabeth's Men 2035:William Warner (poet) 1575:William Browne (poet) 1455: 1447:Parliamentarian party 1215:The Battle of Alcazar 975: 723:Corporation of London 573: 454: 44:, a typical circular 35: 7603:16th-century theatre 7598:17th-century theatre 7431:The Maid in the Mill 7369:The Queen of Corinth 7279:The Lovers' Progress 7209:The Wild Goose Chase 6754:The Masque of Augurs 6614:The Masque of Queens 6607:The Masque of Beauty 6064:Spelling of his name 5904:Vortigern and Rowena 5882:Thomas Lord Cromwell 5462:Troilus and Cressida 5392:Antony and Cleopatra 5286:Love's Labour's Lost 5272:The Comedy of Errors 5034:Tamburlaine Must Die 4067:. pp. 174–193. 4040:. pp. 197–217. 2844:See for example the 2788:Elizabeth, Lady Cary 2660:Notes and references 2625:Master of the Revels 2597:Master of the Revels 2563:Master of the Revels 2397:Prince Charles's Men 2368:Lady Elizabeth's Men 1488:English Commonwealth 814:Antony and Cleopatra 677:The Comedy of Errors 667:The Triumph of Peace 7628:William Shakespeare 7567:(possibly based on 7376:The Knight of Malta 7265:The Double Marriage 7195:The Island Princess 7107:The Noble Gentleman 6952:William Shakespeare 6500:The Devil Is an Ass 6409:The Case is Altered 6288:Richard Shakespeare 6270:Gilbert Shakespeare 6202:Shakespeare's Globe 6107:Authorship question 6102:Attribution studies 6069:Stratford-upon-Avon 5911:A Yorkshire Tragedy 5889:Thomas of Woodstock 5875:The Spanish Tragedy 5816:Love's Labour's Won 5808:The London Prodigal 5765:The Birth of Merlin 5724:The Rape of Lucrece 5710:A Lover's Complaint 5590:Quarto publications 5293:Measure for Measure 5232:William Shakespeare 5165:The School of Night 5055:Shakespeare in Love 5027:The School of Night 4864:Christopher Marlowe 4745:English Renaissance 4671:Library of Congress 4563:on 28 February 2018 3667:CITEREFChambers1923 3586:, pp. 374–375. 3509:, pp. 109–110. 3414:, pp. 207–213. 3306:, pp. 174–193. 3270:, pp. 176–178. 2826:Believe as You List 2704:St Paul's Cathedral 2380:(later Derby's Men) 2338:Whitefriars Theatre 2258:Blackfriars Theatre 2234:William Shakespeare 1965:William Shakespeare 1845:Christopher Marlowe 1513:List of playwrights 1251:The Spanish Tragedy 1184:Christopher Marlowe 1024:Christopher Marlowe 1015:William Shakespeare 930:The Spanish Tragedy 832:Blackfriars Theatre 554:English Renaissance 469:St. George’s Chapel 389:from 1625 to 1642. 375:from 1562 to 1603, 373:Elizabethan theatre 367:reign (1558–1603). 328:Christopher Marlowe 324:William Shakespeare 320:Elizabethan theatre 48:open-roof playhouse 18:Elizabethan theatre 7618:History of theatre 7286:The Spanish Curate 7216:A Wife for a Month 7086:A King and No King 7079:The Maid's Tragedy 6507:The Staple of News 6282:Edmund Shakespeare 6240:Hamnet Shakespeare 6137:Screen adaptations 5860:Sir John Oldcastle 5758:Arden of Faversham 5069:The Marlowe Papers 4750:Spanish Golden Age 4739:Commedia dell'arte 4661:Yearly Shakespeare 4646:Yearly Shakespeare 4349:Palgrave Macmillan 3779:Boas, Frederick S. 3336:on 7 December 2020 2767:Children of Paul's 2708:Children of Paul's 2643:History of theatre 2638:Accession Day tilt 2378:Lord Strange's Men 2288:Red Lion (theatre) 2199:Augustine Phillips 2194:Andrew Pennycuicke 2089:William Alabaster. 1850:Shackerley Marmion 1755:Walter Hawkesworth 1590:William Cartwright 1503:Restoration comedy 1364:David and Bethsabe 1205:A Larum for London 978: 916:Lord Strange's Men 713:, opened in 1576. 647:Gismund of Salerne 576: 460: 131:Metaphysical poets 50: 7585: 7584: 7537:Humphrey Robinson 7503: 7502: 7485:The Laws of Candy 7421:Wit Without Money 7307:The Elder Brother 7174:The Loyal Subject 7132:The Woman's Prize 7100:The Scornful Lady 7093:Love's Pilgrimage 6877: 6876: 6859:Ben Jonson folios 6828:On My First Sonne 6740:Pan's Anniversary 6547: 6542:Mortimer His Fall 6521:The Magnetic Lady 6348: 6347: 6252:Elizabeth Barnard 6216: 6215: 5945: 5944: 5674: 5673: 5372:The Winter's Tale 5198: 5197: 4830: 4829: 4591:978-0-521-23012-4 4451:978-0-88864-226-4 4366:978-0-333-96820-8 4296:978-0-8014-2671-1 4047:978-0-268-03313-2 3827:978-1-901992-85-4 3533:, pp. 35–37. 3115:, pp. 69–71. 3067:, pp. 14–18. 3055:, pp. 14–15. 3004:, pp. 67–68. 2956:, pp. 48–50. 2906:Christiansen 1997 2882:Christiansen 1997 2872:, pp. 12–18. 2796:Jane, Lady Lumley 2729:was performed in 2537: 2417:The Admiral's Men 2363:King's Revels Men 2351:Playing companies 2345:Playing companies 2273:Inn-yard theatres 2149:Stephen Hammerton 2119:William Cavendish 1995:Sir John Suckling 1980:Sir Philip Sidney 1520:William Alabaster 1480:English Civil War 1428:Antitheatricality 1335:Four Plays in One 1151: 927:, based on Kyd's 616:Sir Francis Bacon 608:Sir Philip Sidney 365:Queen Elizabeth's 312: 311: 16:(Redirected from 7635: 7564:Double Falsehood 7532:Humphrey Moseley 7414:The Night Walker 7391:with Shakespeare 7006: 7005: 6962:Thomas Middleton 6939:Philip Massinger 6925:Francis Beaumont 6904: 6897: 6890: 6881: 6880: 6545: 6535:The Sad Shepherd 6493:Bartholomew Fair 6451:Sejanus His Fall 6437:Cynthia's Revels 6416:The Isle of Dogs 6375: 6368: 6361: 6352: 6351: 6338: 6337: 6328: 6327: 6276:Joan Shakespeare 6258:John Shakespeare 6161: 6160: 6142:Shakespeare and 5853:Sejanus His Fall 5820: 5780:Double Falsehood 5747: 5746: 5731:Venus and Adonis 5682: 5455:Titus Andronicus 5441:Romeo and Juliet 5245: 5244: 5225: 5218: 5211: 5202: 5201: 5189:Marlowe portrait 5182:Marlowe Memorial 5152:Marlovian theory 4939:Hero and Leander 4893:The Jew of Malta 4857: 4850: 4843: 4834: 4833: 4705: 4698: 4691: 4682: 4681: 4595: 4572: 4570: 4568: 4559:. Archived from 4545: 4514: 4491: 4464: 4455: 4432: 4401: 4370: 4346: 4335: 4300: 4284: 4273: 4250: 4218: 4180: 4149: 4090: 4051: 4024: 4001: 3942: 3916: 3861: 3845: 3831: 3808: 3774: 3743: 3712: 3668: 3665: 3659: 3653: 3647: 3641: 3635: 3629: 3623: 3617: 3611: 3605: 3599: 3593: 3587: 3581: 3575: 3569: 3563: 3549: 3543: 3540: 3534: 3528: 3522: 3516: 3510: 3504: 3495: 3489: 3483: 3477: 3471: 3465: 3456: 3450: 3444: 3438: 3427: 3421: 3415: 3409: 3403: 3397: 2.2/337–391 3391: 3385: 3379: 3373: 3367: 3361: 3360: 3352: 3346: 3345: 3343: 3341: 3332:. Archived from 3325: 3319: 3313: 3307: 3301: 3295: 3289: 3283: 3277: 3271: 3265: 3259: 3253: 3247: 3246:, pp. 1–12. 3241: 3235: 3229: 3223: 3217: 3211: 3205: 3199: 3193: 3187: 3181: 3172: 3166: 3160: 3154: 3148: 3142: 3133: 3127: 3116: 3110: 3104: 3098: 3092: 3086: 3080: 3074: 3068: 3062: 3056: 3050: 3044: 3038: 3032: 3026: 3020: 3014: 3005: 2999: 2993: 2987: 2981: 2975: 2969: 2963: 2957: 2951: 2945: 2939: 2933: 2927: 2921: 2915: 2909: 2903: 2897: 2891: 2885: 2879: 2873: 2867: 2852: 2846:Red Bull Theatre 2842: 2836: 2820:John of Bordeaux 2809: 2803: 2784: 2778: 2761:For example the 2759: 2753: 2740: 2734: 2726:Romeo and Juliet 2721: 2715: 2712:Cockpit-in-Court 2700: 2694: 2691: 2685: 2680:(1598), and the 2674: 2654:Catherine Belsey 2569:Cuthbert Burbage 2547:Susan Baskervile 2519: 2429:(Queen's Revels) 2402:Queen Anne's Men 2283:Red Bull Theatre 2268:Cockpit-in-Court 2219:Richard Robinson 2104:William Barksted 2075:Robert Yarington 2070:Nathaniel Woodes 2045:George Whetstone 1955:Thomas Sackville 1875:Thomas Middleton 1865:Philip Massinger 1795:Thomas Killigrew 1750:William Haughton 1720:Henry Glapthorne 1715:George Gascoigne 1690:Phineas Fletcher 1670:Richard Edwardes 1645:Robert Davenport 1640:William Davenant 1585:Lodowick Carlell 1550:William Berkeley 1545:Francis Beaumont 1482:and the ensuing 1471: 1445:, pushed by the 1399:William Ponsonby 1307:Thomas Middleton 1237:The Jew of Malta 1149: 1099:Richard Hathwaye 1064:Philip Massinger 905:Thomas Middleton 808:Romeo and Juliet 788: 770:(1600), and the 620:George Gascoigne 588:Francis Beaumont 574:Gorboduc TP 1565 504:Cynthia’s Revels 430:) and delivery ( 304: 297: 290: 220:Bohorič alphabet 52: 51: 21: 7643: 7642: 7638: 7637: 7636: 7634: 7633: 7632: 7588: 7587: 7586: 7581: 7574: 7541: 7510:and publication 7509: 7499: 7469:The Nice Valour 7456: 7326: 7320: 7234: 7228: 7153:Monsieur Thomas 7112: 7051:Cupid's Revenge 7044:The Woman Hater 7035: 7029: 7001: 6999: 6997: 6991: 6915: 6908: 6878: 6873: 6847: 6815: 6705:Lovers Made Men 6550: 6402:A Tale of a Tub 6389: 6379: 6349: 6344: 6305: 6254:(granddaughter) 6212: 6159: 6088: 6054:Religious views 6032:Curtain Theatre 5953: 5941: 5916: 5867:Sir Thomas More 5813: 5787:Edmund Ironside 5736: 5683: 5670: 5644:Ghost character 5604: 5576: 5467: 5448:Timon of Athens 5377: 5234: 5229: 5199: 5194: 5169: 5158:Lust's Dominion 5120: 5074: 5005: 4981:Nicholas Skeres 4961:Philip Henslowe 4944: 4919: 4866: 4861: 4831: 4826: 4714: 4709: 4651:Roy, Pinaki. " 4603: 4598: 4592: 4566: 4564: 4534:2027/hvd.hnnr4j 4511: 4488: 4452: 4398: 4367: 4347:. Basingstoke: 4328: 4297: 4270: 4211: 4083: 4048: 4021: 3939: 3858: 3848:HarperPerennial 3828: 3789:Clarendon Press 3771: 3705: 3676: 3671: 3666: 3662: 3654: 3650: 3642: 3638: 3630: 3626: 3618: 3614: 3606: 3602: 3594: 3590: 3582: 3578: 3570: 3566: 3550: 3546: 3541: 3537: 3529: 3525: 3517: 3513: 3505: 3498: 3490: 3486: 3478: 3474: 3466: 3459: 3451: 3447: 3439: 3430: 3422: 3418: 3410: 3406: 3392: 3388: 3380: 3376: 3368: 3364: 3353: 3349: 3339: 3337: 3326: 3322: 3314: 3310: 3302: 3298: 3290: 3286: 3278: 3274: 3266: 3262: 3254: 3250: 3242: 3238: 3230: 3226: 3218: 3214: 3206: 3202: 3194: 3190: 3182: 3175: 3167: 3163: 3155: 3151: 3143: 3136: 3130:Cunningham 2007 3128: 3119: 3111: 3107: 3099: 3095: 3087: 3083: 3075: 3071: 3063: 3059: 3051: 3047: 3039: 3035: 3027: 3023: 3015: 3008: 3000: 2996: 2988: 2984: 2976: 2972: 2964: 2960: 2952: 2948: 2940: 2936: 2928: 2924: 2916: 2912: 2904: 2900: 2892: 2888: 2880: 2876: 2868: 2864: 2860: 2855: 2843: 2839: 2814:Sir Thomas More 2810: 2806: 2800:Elizabeth Tudor 2785: 2781: 2777:act 2, scene 2. 2760: 2756: 2743:E. K. Chambers' 2741: 2737: 2722: 2718: 2701: 2697: 2692: 2688: 2678:Boar's Head Inn 2675: 2671: 2667: 2662: 2634: 2609:Francis Langley 2587:Philip Henslowe 2553:William Beeston 2543: 2517: 2516: 2514: 2460: 2455: 2451:Worcester's Men 2373:Leicester's Men 2353: 2347: 2342: 2263:Cockpit Theatre 2253: 2248: 2144:Richard Gunnell 2134:Alexander Gough 2114:Richard Burbage 2084: 2079: 2005:Richard Tarlton 1985:Wentworth Smith 1970:Edward Sharpham 1960:William Sampson 1840:Gervase Markham 1835:Francis Marbury 1790:Henry Killigrew 1775:Thomas Ingelend 1700:Abraham Fraunce 1665:Michael Drayton 1515: 1472: 1462: 1443:Long Parliament 1430: 1424: 1418: 1373: 1295:. Examples are 1157: 1147: 1146: 1144: 1115: 1035:Philip Henslowe 999: 970: 935:Richard Burbage 910:A Game at Chess 897: 866: 838:(1608) and the 798: 797: 796: 794: 789: 780: 752:Curtain Theatre 736:Newington Butts 703: 698: 692: 624:Lord of Misrule 612:Sir Thomas More 604:Abraham Fraunce 568: 559:Parnassus Plays 538:Lord of Misrule 519: 513: 465: 412:grammar schools 408: 406:Grammar schools 403: 340: 308: 279: 278: 277: 242: 234: 233: 224: 184: 176: 175: 174: 162: 145: 136: 126: 99: 91: 90: 66: 58:-era literature 28: 23: 22: 15: 12: 11: 5: 7641: 7631: 7630: 7625: 7620: 7615: 7610: 7605: 7600: 7583: 7582: 7579: 7576: 7575: 7573: 7572: 7559: 7549: 7547: 7543: 7542: 7540: 7539: 7534: 7529: 7524: 7519: 7513: 7511: 7505: 7504: 7501: 7500: 7498: 7497: 7493:The Coronation 7489: 7481: 7473: 7464: 7462: 7458: 7457: 7455: 7454: 7447: 7444: 7437: 7434: 7427: 7424: 7417: 7410: 7407: 7400: 7392: 7389: 7382: 7379: 7372: 7365: 7358: 7355: 7348: 7341: 7334: 7330: 7328: 7322: 7321: 7319: 7318: 7310: 7303: 7300:The Sea Voyage 7296: 7293:The Prophetess 7289: 7282: 7275: 7268: 7261: 7254: 7247: 7238: 7236: 7230: 7229: 7227: 7226: 7219: 7212: 7205: 7198: 7191: 7184: 7177: 7170: 7163: 7156: 7149: 7142: 7135: 7128: 7120: 7118: 7114: 7113: 7111: 7110: 7103: 7096: 7089: 7082: 7075: 7068: 7061: 7054: 7047: 7039: 7037: 7031: 7030: 7028: 7027: 7020: 7012: 7010: 7003: 6993: 6992: 6990: 6989: 6984: 6982:George Chapman 6979: 6974: 6969: 6967:William Rowley 6964: 6959: 6954: 6949: 6943: 6942: 6935: 6928: 6920: 6917: 6916: 6907: 6906: 6899: 6892: 6884: 6875: 6874: 6872: 6871: 6866: 6861: 6855: 6853: 6849: 6848: 6846: 6845: 6838: 6831: 6823: 6821: 6817: 6816: 6814: 6813: 6806: 6799: 6792: 6785: 6778: 6771: 6764: 6757: 6750: 6743: 6736: 6729: 6722: 6715: 6708: 6701: 6694: 6687: 6680: 6673: 6666: 6659: 6652: 6645: 6638: 6631: 6624: 6617: 6610: 6603: 6596: 6589: 6582: 6575: 6568: 6560: 6558: 6552: 6551: 6549: 6548: 6538: 6531: 6524: 6517: 6510: 6503: 6496: 6489: 6482: 6475: 6468: 6461: 6454: 6447: 6440: 6433: 6426: 6419: 6412: 6405: 6397: 6395: 6391: 6390: 6378: 6377: 6370: 6363: 6355: 6346: 6345: 6343: 6342: 6332: 6321: 6320: 6317: 6310: 6307: 6306: 6304: 6303: 6297: 6291: 6285: 6279: 6273: 6267: 6261: 6255: 6249: 6243: 6237: 6231: 6224: 6222: 6218: 6217: 6214: 6213: 6211: 6210: 6205: 6199: 6194: 6193: 6192: 6182: 6181: 6180: 6167: 6165: 6158: 6157: 6152: 6147: 6139: 6134: 6129: 6124: 6119: 6114: 6109: 6104: 6098: 6096: 6090: 6089: 6087: 6086: 6081: 6076: 6071: 6066: 6061: 6056: 6051: 6046: 6041: 6036: 6035: 6034: 6029: 6015: 6010: 6005: 6000: 5995: 5993:Collaborations 5990: 5985: 5984: 5983: 5978: 5966: 5960: 5958: 5947: 5946: 5943: 5942: 5940: 5939: 5932: 5924: 5922: 5918: 5917: 5915: 5914: 5907: 5900: 5892: 5885: 5878: 5871: 5863: 5856: 5849: 5842: 5835: 5828: 5821: 5811: 5804: 5797: 5790: 5783: 5776: 5768: 5761: 5753: 5751: 5744: 5738: 5737: 5735: 5734: 5727: 5720: 5713: 5706: 5705: 5704: 5691: 5689: 5685: 5684: 5677: 5675: 5672: 5671: 5669: 5668: 5663: 5658: 5653: 5648: 5647: 5646: 5641: 5636: 5628: 5623: 5618: 5612: 5610: 5606: 5605: 5603: 5602: 5597: 5592: 5586: 5584: 5582:Early editions 5578: 5577: 5575: 5574: 5566: 5559: 5558: 5557: 5550: 5543: 5528: 5521: 5520: 5519: 5512: 5500: 5493: 5485: 5477: 5475: 5469: 5468: 5466: 5465: 5458: 5451: 5444: 5437: 5430: 5423: 5416: 5409: 5402: 5395: 5387: 5385: 5379: 5378: 5376: 5375: 5368: 5360: 5353: 5346: 5339: 5332: 5324: 5317: 5310: 5303: 5296: 5289: 5282: 5275: 5268: 5265:As You Like It 5261: 5253: 5251: 5242: 5236: 5235: 5228: 5227: 5220: 5213: 5205: 5196: 5195: 5193: 5192: 5185: 5177: 5175: 5171: 5170: 5168: 5167: 5162: 5154: 5149: 5144: 5139: 5134: 5128: 5126: 5122: 5121: 5119: 5118: 5111: 5104: 5097: 5090: 5087:Doctor Faustus 5082: 5080: 5076: 5075: 5073: 5072: 5065: 5058: 5051: 5048:It Was Marlowe 5044: 5037: 5030: 5023: 5015: 5013: 5007: 5006: 5004: 5003: 4998: 4993: 4991:George Chapman 4988: 4983: 4978: 4973: 4968: 4966:Thomas Heywood 4963: 4958: 4952: 4950: 4946: 4945: 4943: 4942: 4935: 4927: 4925: 4921: 4920: 4918: 4917: 4910: 4903: 4900:Doctor Faustus 4896: 4889: 4882: 4874: 4872: 4868: 4867: 4860: 4859: 4852: 4845: 4837: 4828: 4827: 4825: 4824: 4823: 4822: 4812: 4807: 4802: 4797: 4792: 4787: 4782: 4777: 4772: 4767: 4762: 4757: 4752: 4747: 4742: 4735: 4730: 4725: 4719: 4716: 4715: 4708: 4707: 4700: 4693: 4685: 4679: 4678: 4674: 4664: 4659:Playwrights". 4649: 4640:Roy, Pinaki. " 4638: 4629: 4624: 4619: 4609: 4602: 4601:External links 4599: 4597: 4596: 4590: 4573: 4546: 4515: 4509: 4492: 4486: 4465: 4456: 4450: 4433: 4402: 4396: 4371: 4365: 4336: 4332:Cambridge Core 4326: 4301: 4295: 4274: 4268: 4251: 4223:Halliday, F.E. 4219: 4215:Cambridge Core 4209: 4181: 4150: 4091: 4087:Cambridge Core 4081: 4057:Wells, Stanley 4052: 4046: 4025: 4019: 4002: 3943: 3937: 3921:Chambers, E.K. 3917: 3913:Cambridge Core 3868:Theatre Survey 3862: 3857:978-0007197903 3856: 3850:. p. 78. 3832: 3826: 3809: 3775: 3769: 3744: 3713: 3709:Cambridge Core 3703: 3677: 3675: 3672: 3670: 3669: 3660: 3648: 3636: 3624: 3622:, p. 375. 3612: 3600: 3588: 3576: 3564: 3544: 3535: 3523: 3511: 3496: 3492:MacIntyre 1992 3484: 3480:Triesault 1970 3472: 3457: 3445: 3441:Maclennan 1994 3428: 3426:, p. 100. 3416: 3412:Bellinger 1927 3404: 3386: 3384:, p. 396. 3374: 3372:, p. 374. 3362: 3347: 3320: 3318:, p. 176. 3308: 3296: 3284: 3282:, p. 322. 3280:MacIntyre 1992 3272: 3260: 3248: 3236: 3224: 3222:, p. 170. 3212: 3210:, p. 320. 3200: 3188: 3173: 3161: 3157:Astington 2010 3149: 3145:Astington 2010 3134: 3132:, p. 200. 3117: 3113:Astington 2010 3105: 3101:Astington 2010 3093: 3081: 3069: 3057: 3045: 3033: 3021: 3019:, p. 346. 3006: 2994: 2990:Astington 2010 2982: 2970: 2966:Astington 2010 2958: 2954:Astington 2010 2946: 2942:Astington 2010 2934: 2930:Astington 2010 2922: 2918:Astington 2010 2910: 2908:, p. 298. 2898: 2894:Astington 2010 2886: 2874: 2861: 2859: 2856: 2854: 2853: 2837: 2804: 2779: 2754: 2735: 2716: 2695: 2686: 2668: 2666: 2663: 2661: 2658: 2657: 2656: 2645: 2640: 2633: 2630: 2629: 2628: 2618: 2612: 2611:, entrepreneur 2606: 2600: 2590: 2589:, entrepreneur 2584: 2578: 2577:, entrepreneur 2572: 2571:, entrepreneur 2566: 2556: 2550: 2542: 2539: 2467: 2459: 2456: 2454: 2453: 2448: 2445: 2440: 2435: 2433:The King's Men 2430: 2424: 2419: 2414: 2409: 2404: 2399: 2394: 2392:Pembroke's Men 2389: 2384: 2381: 2375: 2370: 2365: 2360: 2354: 2349:Main article: 2346: 2343: 2341: 2340: 2335: 2330: 2325: 2320: 2315: 2310: 2305: 2300: 2295: 2290: 2285: 2280: 2275: 2270: 2265: 2260: 2254: 2252: 2249: 2247: 2246: 2241: 2236: 2231: 2229:William Rowley 2226: 2221: 2216: 2211: 2206: 2204:Thomas Pollard 2201: 2196: 2191: 2189:William Ostler 2186: 2181: 2176: 2171: 2166: 2164:Thomas Heywood 2161: 2156: 2151: 2146: 2141: 2136: 2131: 2126: 2121: 2116: 2111: 2106: 2101: 2096: 2091: 2085: 2083: 2080: 2078: 2077: 2072: 2067: 2062: 2057: 2052: 2050:George Wilkins 2047: 2042: 2037: 2032: 2027: 2022: 2020:Francis Verney 2017: 2015:Cyril Tourneur 2012: 2007: 2002: 1997: 1992: 1987: 1982: 1977: 1972: 1967: 1962: 1957: 1952: 1947: 1942: 1940:William Rowley 1937: 1932: 1930:Thomas Preston 1927: 1922: 1917: 1912: 1907: 1902: 1897: 1892: 1887: 1882: 1880:Anthony Munday 1877: 1872: 1867: 1862: 1857: 1852: 1847: 1842: 1837: 1832: 1827: 1822: 1817: 1812: 1807: 1802: 1797: 1792: 1787: 1782: 1777: 1772: 1767: 1765:Thomas Heywood 1762: 1757: 1752: 1747: 1745:Matthew Gwinne 1742: 1740:Fulke Greville 1737: 1732: 1730:Arthur Golding 1727: 1722: 1717: 1712: 1707: 1705:Ulpian Fulwell 1702: 1697: 1692: 1687: 1682: 1677: 1672: 1667: 1662: 1657: 1652: 1647: 1642: 1637: 1632: 1630:Robert Daborne 1627: 1622: 1617: 1612: 1607: 1605:George Chapman 1602: 1597: 1592: 1587: 1582: 1580:Thomas Campion 1577: 1572: 1567: 1562: 1557: 1555:Samuel Brandon 1552: 1547: 1542: 1537: 1535:Barnabe Barnes 1532: 1527: 1522: 1516: 1514: 1511: 1460: 1420:Main article: 1417: 1414: 1372: 1369: 1242:revenge dramas 1156: 1153: 1117: 1114: 1111: 1091:Anthony Munday 1080:Thomas Heywood 998: 995: 969: 966: 896: 893: 878:City of London 865: 862: 791: 790: 783: 782: 781: 779: 776: 702: 699: 694:Main article: 691: 688: 600:Thomas Campion 567: 564: 534:Feast of Fools 522:Academic drama 517:Academic drama 515:Main article: 512: 509: 464: 461: 442:, such as the 407: 404: 402: 399: 339: 336: 310: 309: 307: 306: 299: 292: 284: 281: 280: 276: 275: 270: 265: 260: 255: 250: 244: 243: 240: 239: 236: 235: 223: 222: 217: 212: 207: 202: 197: 192: 186: 185: 182: 181: 178: 177: 173: 168: 163: 161: 156: 151: 146: 144: 143: 134: 133: 127: 125: 124: 119: 114: 108: 107: 106: 100: 97: 96: 93: 92: 89: 88: 83: 78: 73: 67: 64: 63: 60: 59: 26: 9: 6: 4: 3: 2: 7640: 7629: 7626: 7624: 7621: 7619: 7616: 7614: 7613:English drama 7611: 7609: 7606: 7604: 7601: 7599: 7596: 7595: 7593: 7577: 7570: 7566: 7565: 7560: 7557: 7556: 7551: 7550: 7548: 7544: 7538: 7535: 7533: 7530: 7528: 7525: 7523: 7520: 7518: 7515: 7514: 7512: 7506: 7495: 7494: 7490: 7487: 7486: 7482: 7479: 7478: 7474: 7471: 7470: 7466: 7465: 7463: 7459: 7453: 7452: 7448: 7445: 7443: 7442: 7438: 7435: 7433: 7432: 7428: 7425: 7423: 7422: 7418: 7416: 7415: 7411: 7408: 7406: 7405: 7401: 7399: 7398: 7393: 7390: 7388: 7387: 7383: 7380: 7378: 7377: 7373: 7371: 7370: 7366: 7364: 7363: 7359: 7356: 7354: 7353: 7349: 7347: 7346: 7345:Beggars' Bush 7342: 7340: 7339: 7335: 7332: 7331: 7329: 7323: 7317: 7316: 7311: 7309: 7308: 7304: 7302: 7301: 7297: 7295: 7294: 7290: 7288: 7287: 7283: 7281: 7280: 7276: 7274: 7273: 7269: 7267: 7266: 7262: 7260: 7259: 7258:The False One 7255: 7253: 7252: 7248: 7246: 7245: 7240: 7239: 7237: 7231: 7225: 7224: 7220: 7218: 7217: 7213: 7211: 7210: 7206: 7204: 7203: 7199: 7197: 7196: 7192: 7190: 7189: 7185: 7183: 7182: 7181:Women Pleased 7178: 7176: 7175: 7171: 7169: 7168: 7164: 7162: 7161: 7160:The Mad Lover 7157: 7155: 7154: 7150: 7148: 7147: 7143: 7141: 7140: 7136: 7134: 7133: 7129: 7127: 7126: 7122: 7121: 7119: 7115: 7109: 7108: 7104: 7102: 7101: 7097: 7095: 7094: 7090: 7088: 7087: 7083: 7081: 7080: 7076: 7074: 7073: 7069: 7067: 7066: 7062: 7060: 7059: 7055: 7053: 7052: 7048: 7046: 7045: 7041: 7040: 7038: 7032: 7026: 7025: 7021: 7019: 7018: 7014: 7013: 7011: 7007: 7004: 6994: 6988: 6985: 6983: 6980: 6978: 6975: 6973: 6970: 6968: 6965: 6963: 6960: 6958: 6957:James Shirley 6955: 6953: 6950: 6948: 6945: 6944: 6941: 6940: 6936: 6934: 6933: 6932:John Fletcher 6929: 6927: 6926: 6922: 6921: 6918: 6913: 6905: 6900: 6898: 6893: 6891: 6886: 6885: 6882: 6870: 6867: 6865: 6862: 6860: 6857: 6856: 6854: 6850: 6843: 6839: 6836: 6832: 6829: 6825: 6824: 6822: 6818: 6812: 6811: 6807: 6805: 6804: 6800: 6798: 6797: 6793: 6791: 6790: 6786: 6784: 6783: 6779: 6777: 6776: 6772: 6770: 6769: 6765: 6763: 6762: 6758: 6756: 6755: 6751: 6749: 6748: 6744: 6742: 6741: 6737: 6735: 6734: 6730: 6728: 6727: 6723: 6721: 6720: 6716: 6714: 6713: 6709: 6707: 6706: 6702: 6700: 6699: 6695: 6693: 6692: 6688: 6686: 6685: 6681: 6679: 6678: 6674: 6672: 6671: 6667: 6665: 6664: 6660: 6658: 6657: 6656:Love Restored 6653: 6651: 6650: 6646: 6644: 6643: 6639: 6637: 6636: 6632: 6630: 6629: 6625: 6623: 6622: 6618: 6616: 6615: 6611: 6609: 6608: 6604: 6602: 6601: 6597: 6595: 6594: 6590: 6588: 6587: 6583: 6581: 6580: 6576: 6574: 6573: 6569: 6567: 6566: 6562: 6561: 6559: 6557: 6553: 6544: 6543: 6539: 6537: 6536: 6532: 6530: 6529: 6525: 6523: 6522: 6518: 6516: 6515: 6511: 6509: 6508: 6504: 6502: 6501: 6497: 6495: 6494: 6490: 6488: 6487: 6483: 6481: 6480: 6479:The Alchemist 6476: 6474: 6473: 6469: 6467: 6466: 6462: 6460: 6459: 6455: 6453: 6452: 6448: 6446: 6445: 6441: 6439: 6438: 6434: 6432: 6431: 6427: 6425: 6424: 6420: 6418: 6417: 6413: 6411: 6410: 6406: 6404: 6403: 6399: 6398: 6396: 6392: 6387: 6383: 6376: 6371: 6369: 6364: 6362: 6357: 6356: 6353: 6341: 6333: 6331: 6323: 6322: 6318: 6316: 6312: 6311: 6308: 6301: 6300:Thomas Quiney 6298: 6295: 6292: 6290:(grandfather) 6289: 6286: 6283: 6280: 6277: 6274: 6271: 6268: 6265: 6262: 6259: 6256: 6253: 6250: 6247: 6246:Judith Quiney 6244: 6241: 6238: 6235: 6232: 6229: 6228:Anne Hathaway 6226: 6225: 6223: 6219: 6209: 6206: 6203: 6200: 6198: 6195: 6191: 6188: 6187: 6186: 6183: 6179: 6178: 6174: 6173: 6172: 6169: 6168: 6166: 6162: 6156: 6153: 6151: 6148: 6146: 6145: 6140: 6138: 6135: 6133: 6130: 6128: 6125: 6123: 6120: 6118: 6115: 6113: 6110: 6108: 6105: 6103: 6100: 6099: 6097: 6095: 6091: 6085: 6082: 6080: 6077: 6075: 6072: 6070: 6067: 6065: 6062: 6060: 6057: 6055: 6052: 6050: 6047: 6045: 6042: 6040: 6037: 6033: 6030: 6028: 6025: 6024: 6023: 6019: 6016: 6014: 6011: 6009: 6008:Globe Theatre 6006: 6004: 6001: 5999: 5996: 5994: 5991: 5989: 5986: 5982: 5979: 5977: 5976: 5972: 5971: 5970: 5967: 5965: 5962: 5961: 5959: 5957: 5952: 5948: 5938: 5937: 5933: 5931: 5930: 5926: 5925: 5923: 5919: 5913: 5912: 5908: 5906: 5905: 5901: 5898: 5897: 5893: 5891: 5890: 5886: 5884: 5883: 5879: 5877: 5876: 5872: 5869: 5868: 5864: 5862: 5861: 5857: 5855: 5854: 5850: 5848: 5847: 5843: 5841: 5840: 5836: 5834: 5833: 5829: 5827: 5826: 5822: 5818: 5817: 5812: 5810: 5809: 5805: 5803: 5802: 5798: 5796: 5795: 5791: 5789: 5788: 5784: 5782: 5781: 5777: 5774: 5773: 5769: 5767: 5766: 5762: 5760: 5759: 5755: 5754: 5752: 5748: 5745: 5743: 5739: 5733: 5732: 5728: 5726: 5725: 5721: 5719: 5718: 5714: 5712: 5711: 5707: 5703: 5700: 5699: 5698: 5697: 5693: 5692: 5690: 5686: 5681: 5667: 5664: 5662: 5659: 5657: 5654: 5652: 5649: 5645: 5642: 5640: 5637: 5635: 5632: 5631: 5629: 5627: 5624: 5622: 5621:Late romances 5619: 5617: 5616:Problem plays 5614: 5613: 5611: 5607: 5601: 5598: 5596: 5593: 5591: 5588: 5587: 5585: 5583: 5579: 5572: 5571: 5567: 5565: 5564: 5560: 5556: 5555: 5551: 5549: 5548: 5544: 5541: 5540: 5536: 5535: 5534: 5533: 5529: 5527: 5526: 5522: 5518: 5517: 5513: 5511: 5510: 5506: 5505: 5504: 5501: 5499: 5498: 5494: 5491: 5490: 5486: 5484: 5483: 5479: 5478: 5476: 5474: 5470: 5464: 5463: 5459: 5457: 5456: 5452: 5450: 5449: 5445: 5443: 5442: 5438: 5436: 5435: 5431: 5429: 5428: 5424: 5422: 5421: 5417: 5415: 5414: 5413:Julius Caesar 5410: 5408: 5407: 5403: 5401: 5400: 5396: 5394: 5393: 5389: 5388: 5386: 5384: 5380: 5374: 5373: 5369: 5366: 5365: 5361: 5359: 5358: 5354: 5352: 5351: 5350:Twelfth Night 5347: 5345: 5344: 5340: 5338: 5337: 5333: 5330: 5329: 5325: 5323: 5322: 5318: 5316: 5315: 5311: 5309: 5308: 5304: 5302: 5301: 5297: 5295: 5294: 5290: 5288: 5287: 5283: 5281: 5280: 5276: 5274: 5273: 5269: 5267: 5266: 5262: 5260: 5259: 5255: 5254: 5252: 5250: 5246: 5243: 5241: 5237: 5233: 5226: 5221: 5219: 5214: 5212: 5207: 5206: 5203: 5191: 5190: 5186: 5184: 5183: 5179: 5178: 5176: 5172: 5166: 5163: 5160: 5159: 5155: 5153: 5150: 5148: 5145: 5143: 5142:Admiral's Men 5140: 5138: 5135: 5133: 5130: 5129: 5127: 5125:Miscellaneous 5123: 5117: 5116: 5112: 5110: 5109: 5105: 5103: 5102: 5098: 5096: 5095: 5091: 5089: 5088: 5084: 5083: 5081: 5077: 5071: 5070: 5066: 5064: 5063: 5059: 5057: 5056: 5052: 5050: 5049: 5045: 5043: 5042: 5038: 5036: 5035: 5031: 5029: 5028: 5024: 5022: 5021: 5017: 5016: 5014: 5012: 5008: 5002: 4999: 4997: 4996:Edward Alleyn 4994: 4992: 4989: 4987: 4984: 4982: 4979: 4977: 4974: 4972: 4971:Ingram Frizer 4969: 4967: 4964: 4962: 4959: 4957: 4954: 4953: 4951: 4947: 4941: 4940: 4936: 4934: 4933: 4929: 4928: 4926: 4922: 4916: 4915: 4911: 4909: 4908: 4904: 4902: 4901: 4897: 4895: 4894: 4890: 4888: 4887: 4883: 4881: 4880: 4876: 4875: 4873: 4869: 4865: 4858: 4853: 4851: 4846: 4844: 4839: 4838: 4835: 4821: 4818: 4817: 4816: 4813: 4811: 4808: 4806: 4803: 4801: 4798: 4796: 4793: 4791: 4788: 4786: 4783: 4781: 4778: 4776: 4773: 4771: 4768: 4766: 4763: 4761: 4758: 4756: 4753: 4751: 4748: 4746: 4743: 4741: 4740: 4736: 4734: 4731: 4729: 4726: 4724: 4721: 4720: 4717: 4713: 4706: 4701: 4699: 4694: 4692: 4687: 4686: 4683: 4677: 4675: 4672: 4668: 4665: 4662: 4658: 4654: 4650: 4647: 4643: 4639: 4637: 4633: 4630: 4628: 4625: 4623: 4620: 4617: 4613: 4610: 4608: 4605: 4604: 4593: 4587: 4583: 4580:. Cambridge: 4579: 4574: 4562: 4558: 4555:(MA thesis). 4554: 4553: 4547: 4543: 4539: 4535: 4531: 4527: 4523: 4522: 4516: 4512: 4510:9780226534831 4506: 4502: 4498: 4493: 4489: 4487:9781138235656 4483: 4479: 4475: 4471: 4466: 4463:(PhD thesis). 4462: 4457: 4453: 4447: 4443: 4439: 4434: 4430: 4426: 4422: 4418: 4414: 4413: 4408: 4403: 4399: 4397:9781408146637 4393: 4389: 4385: 4381: 4377: 4372: 4368: 4362: 4358: 4354: 4350: 4345: 4344: 4337: 4333: 4329: 4327:9781139097192 4323: 4319: 4315: 4311: 4308:. Cambridge: 4307: 4302: 4298: 4292: 4288: 4283: 4282: 4275: 4271: 4269:9780415489010 4265: 4261: 4257: 4252: 4248: 4244: 4240: 4236: 4232: 4229:. Baltimore: 4228: 4224: 4220: 4216: 4212: 4210:9780511819520 4206: 4202: 4198: 4194: 4190: 4186: 4182: 4178: 4174: 4170: 4166: 4162: 4158: 4157: 4151: 4147: 4143: 4139: 4135: 4131: 4127: 4123: 4119: 4115: 4111: 4107: 4103: 4099: 4098: 4092: 4088: 4084: 4082:9780511999574 4078: 4074: 4070: 4066: 4062: 4058: 4053: 4049: 4043: 4039: 4035: 4031: 4026: 4022: 4020:9780691614953 4016: 4012: 4009:. Princeton: 4008: 4003: 3999: 3995: 3991: 3987: 3983: 3979: 3975: 3971: 3967: 3963: 3959: 3955: 3954: 3949: 3944: 3940: 3938:9780199567508 3934: 3930: 3926: 3922: 3918: 3914: 3910: 3906: 3902: 3898: 3894: 3890: 3886: 3882: 3878: 3874: 3870: 3869: 3863: 3859: 3853: 3849: 3844: 3843: 3837: 3833: 3829: 3823: 3819: 3815: 3810: 3806: 3802: 3798: 3794: 3790: 3786: 3785: 3780: 3776: 3772: 3770:9780231102438 3766: 3762: 3758: 3754: 3750: 3745: 3741: 3737: 3733: 3729: 3725: 3721: 3720: 3714: 3710: 3706: 3704:9780511761379 3700: 3696: 3692: 3688: 3685:. Cambridge: 3684: 3679: 3678: 3664: 3657: 3652: 3645: 3640: 3633: 3628: 3621: 3620:Halliday 1964 3616: 3609: 3608:Halliday 1964 3604: 3598:, p. 72. 3597: 3592: 3585: 3584:Halliday 1964 3580: 3573: 3572:Chambers 1923 3568: 3562: 3558: 3554: 3548: 3539: 3532: 3531:Montrose 1996 3527: 3520: 3515: 3508: 3503: 3501: 3493: 3488: 3481: 3476: 3469: 3464: 3462: 3454: 3449: 3442: 3437: 3435: 3433: 3425: 3424:Ichikawa 2012 3420: 3413: 3408: 3402: 3398: 3396: 3390: 3383: 3382:Chambers 1923 3378: 3371: 3370:Halliday 1964 3366: 3358: 3351: 3335: 3331: 3324: 3317: 3312: 3305: 3300: 3293: 3288: 3281: 3276: 3269: 3264: 3258:, p. 40. 3257: 3256:Hattaway 2008 3252: 3245: 3244:Ichikawa 2012 3240: 3233: 3228: 3221: 3216: 3209: 3204: 3198:, p. 19. 3197: 3192: 3186:, p. 30. 3185: 3180: 3178: 3171:, p. 28. 3170: 3165: 3159:, p. 74. 3158: 3153: 3147:, p. 70. 3146: 3141: 3139: 3131: 3126: 3124: 3122: 3114: 3109: 3103:, p. 69. 3102: 3097: 3090: 3085: 3079:, p. 25. 3078: 3073: 3066: 3061: 3054: 3049: 3043:, p. 13. 3042: 3037: 3030: 3025: 3018: 3013: 3011: 3003: 2998: 2992:, p. 54. 2991: 2986: 2980:, p. 45. 2979: 2974: 2968:, p. 51. 2967: 2962: 2955: 2950: 2944:, p. 49. 2943: 2938: 2932:, p. 43. 2931: 2926: 2920:, p. 42. 2919: 2914: 2907: 2902: 2896:, p. 45. 2895: 2890: 2883: 2878: 2871: 2866: 2862: 2851: 2847: 2841: 2835: 2833: 2828: 2827: 2822: 2821: 2816: 2815: 2808: 2801: 2797: 2793: 2789: 2783: 2776: 2772: 2768: 2764: 2758: 2751: 2747: 2744: 2739: 2732: 2728: 2727: 2723:For example, 2720: 2713: 2709: 2705: 2699: 2690: 2683: 2679: 2673: 2669: 2655: 2651: 2650: 2646: 2644: 2641: 2639: 2636: 2635: 2626: 2622: 2621:Edmund Tilney 2619: 2616: 2613: 2610: 2607: 2604: 2603:Edward Knight 2601: 2598: 2594: 2593:Henry Herbert 2591: 2588: 2585: 2582: 2579: 2576: 2575:James Burbage 2573: 2570: 2567: 2564: 2560: 2557: 2554: 2551: 2548: 2545: 2544: 2538: 2535: 2531: 2527: 2523: 2466: 2465: 2452: 2449: 2447:Warwick's Men 2446: 2444: 2441: 2439: 2436: 2434: 2431: 2428: 2425: 2423: 2420: 2418: 2415: 2413: 2410: 2408: 2405: 2403: 2400: 2398: 2395: 2393: 2390: 2388: 2385: 2383:Oxford's Boys 2382: 2379: 2376: 2374: 2371: 2369: 2366: 2364: 2361: 2359: 2356: 2355: 2352: 2339: 2336: 2334: 2331: 2329: 2326: 2324: 2321: 2319: 2316: 2314: 2311: 2309: 2306: 2304: 2301: 2299: 2296: 2294: 2291: 2289: 2286: 2284: 2281: 2279: 2276: 2274: 2271: 2269: 2266: 2264: 2261: 2259: 2256: 2255: 2245: 2244:Robert Wilson 2242: 2240: 2237: 2235: 2232: 2230: 2227: 2225: 2224:Samuel Rowley 2222: 2220: 2217: 2215: 2212: 2210: 2207: 2205: 2202: 2200: 2197: 2195: 2192: 2190: 2187: 2185: 2182: 2180: 2177: 2175: 2172: 2170: 2167: 2165: 2162: 2160: 2159:John Heminges 2157: 2155: 2152: 2150: 2147: 2145: 2142: 2140: 2139:Thomas Greene 2137: 2135: 2132: 2130: 2127: 2125: 2124:Henry Condell 2122: 2120: 2117: 2115: 2112: 2110: 2109:Richard Brome 2107: 2105: 2102: 2100: 2097: 2095: 2094:Edward Alleyn 2092: 2090: 2087: 2086: 2076: 2073: 2071: 2068: 2066: 2065:Robert Wilson 2063: 2061: 2060:Arthur Wilson 2058: 2056: 2055:Robert Wilmot 2053: 2051: 2048: 2046: 2043: 2041: 2038: 2036: 2033: 2031: 2030:George Wapull 2028: 2026: 2025:William Wager 2023: 2021: 2018: 2016: 2013: 2011: 2010:Thomas Tomkis 2008: 2006: 2003: 2001: 2000:Robert Tailor 1998: 1996: 1993: 1991: 1990:John Stephens 1988: 1986: 1983: 1981: 1978: 1976: 1975:James Shirley 1973: 1971: 1968: 1966: 1963: 1961: 1958: 1956: 1953: 1951: 1950:Joseph Rutter 1948: 1946: 1945:George Ruggle 1943: 1941: 1938: 1936: 1935:Samuel Rowley 1933: 1931: 1928: 1926: 1923: 1921: 1918: 1916: 1913: 1911: 1910:William Percy 1908: 1906: 1903: 1901: 1900:Thomas Norton 1898: 1896: 1895:Thomas Nelson 1893: 1891: 1888: 1886: 1885:Thomas Nabbes 1883: 1881: 1878: 1876: 1873: 1871: 1868: 1866: 1863: 1861: 1858: 1856: 1853: 1851: 1848: 1846: 1843: 1841: 1838: 1836: 1833: 1831: 1828: 1826: 1823: 1821: 1820:Thomas Lupton 1818: 1816: 1813: 1811: 1808: 1806: 1805:Sir Henry Lee 1803: 1801: 1798: 1796: 1793: 1791: 1788: 1786: 1783: 1781: 1778: 1776: 1773: 1771: 1770:Thomas Hughes 1768: 1766: 1763: 1761: 1758: 1756: 1753: 1751: 1748: 1746: 1743: 1741: 1738: 1736: 1735:Robert Greene 1733: 1731: 1728: 1726: 1723: 1721: 1718: 1716: 1713: 1711: 1710:William Gager 1708: 1706: 1703: 1701: 1698: 1696: 1693: 1691: 1688: 1686: 1685:John Fletcher 1683: 1681: 1678: 1676: 1675:George Ferebe 1673: 1671: 1668: 1666: 1663: 1661: 1660:Thomas Dekker 1658: 1656: 1653: 1651: 1650:John Davidson 1648: 1646: 1643: 1641: 1638: 1636: 1635:Samuel Daniel 1633: 1631: 1628: 1626: 1625:Anthony Chute 1623: 1621: 1618: 1616: 1615:Henry Chettle 1613: 1611: 1608: 1606: 1603: 1601: 1598: 1596: 1593: 1591: 1588: 1586: 1583: 1581: 1578: 1576: 1573: 1571: 1570:Samuel Brooke 1568: 1566: 1565:Richard Brome 1563: 1561: 1560:Antony Brewer 1558: 1556: 1553: 1551: 1548: 1546: 1543: 1541: 1540:Lording Barry 1538: 1536: 1533: 1531: 1528: 1526: 1523: 1521: 1518: 1517: 1510: 1508: 1504: 1500: 1495: 1493: 1489: 1485: 1481: 1476: 1469: 1465: 1459: 1454: 1452: 1448: 1444: 1440: 1435: 1429: 1423: 1413: 1411: 1406: 1404: 1403:Edward Blount 1400: 1395: 1391: 1387: 1383: 1382:Shakespeare's 1379: 1371:Printed texts 1368: 1366: 1365: 1359: 1357: 1353: 1349: 1345: 1341: 1337: 1336: 1331: 1330:morality play 1327: 1326: 1321: 1316: 1314: 1313: 1308: 1304: 1303: 1298: 1297:Thomas Dekker 1294: 1291: 1287: 1283: 1279: 1277: 1276: 1271: 1270: 1265: 1264: 1259: 1258: 1253: 1252: 1247: 1243: 1239: 1238: 1233: 1232: 1227: 1223: 1221: 1217: 1216: 1211: 1207: 1206: 1201: 1200: 1195: 1191: 1190: 1185: 1181: 1180: 1175: 1174: 1169: 1165: 1161: 1152: 1110: 1108: 1104: 1103:Henry Chettle 1100: 1096: 1095:Robert Wilson 1092: 1088: 1087: 1081: 1077: 1073: 1072:Thomas Dekker 1067: 1065: 1061: 1060:Robert Greene 1057: 1053: 1049: 1044: 1040: 1039:Richard Brome 1036: 1031: 1027: 1025: 1020: 1016: 1012: 1008: 1003: 994: 992: 991:while working 986: 982: 974: 965: 961: 957: 954: 950: 947: 942: 940: 939:Edward Alleyn 936: 932: 931: 926: 921: 917: 912: 911: 906: 902: 892: 889: 887: 883: 879: 874: 870: 861: 858: 854: 850: 849:dramaturgical 845: 841: 837: 833: 828: 824: 822: 821: 820:Julius Caesar 816: 815: 810: 809: 804: 793: 787: 775: 773: 769: 765: 761: 757: 753: 749: 745: 744:James Burbage 741: 737: 733: 729: 724: 720: 714: 712: 708: 697: 687: 685: 684: 683:Twelfth Night 679: 678: 673: 669: 668: 663: 662:James Shirley 659: 655: 654: 649: 648: 643: 642: 637: 633: 629: 625: 621: 617: 613: 609: 605: 601: 597: 593: 589: 585: 581: 580:Inns of Court 572: 566:Inns of Court 563: 561: 560: 555: 551: 547: 543: 539: 535: 531: 527: 526:late medieval 523: 518: 508: 506: 505: 500: 496: 495: 490: 489: 484: 483: 478: 474: 470: 463:Choir schools 458: 453: 449: 447: 446: 441: 440: 439:progymnasmata 435: 434: 429: 428: 423: 419: 418: 413: 398: 396: 390: 388: 386: 381: 379: 374: 370: 366: 361: 359: 355: 351: 350: 345: 335: 333: 329: 325: 321: 317: 305: 300: 298: 293: 291: 286: 285: 283: 282: 274: 271: 269: 266: 264: 261: 259: 256: 254: 251: 249: 246: 245: 238: 237: 232: 229: 228: 221: 218: 216: 213: 211: 208: 206: 203: 201: 198: 196: 193: 191: 188: 187: 180: 179: 172: 169: 167: 164: 160: 157: 155: 152: 150: 147: 142: 139: 138: 137: 132: 129: 128: 123: 120: 118: 115: 113: 110: 109: 105: 102: 101: 95: 94: 87: 84: 82: 79: 77: 74: 72: 69: 68: 62: 61: 57: 54: 53: 47: 43: 39: 34: 30: 19: 7568: 7562: 7553: 7516: 7491: 7483: 7475: 7467: 7449: 7439: 7429: 7419: 7412: 7409:with Shirley 7402: 7395: 7384: 7374: 7367: 7360: 7350: 7343: 7336: 7315:A Very Woman 7313: 7305: 7298: 7291: 7284: 7277: 7270: 7263: 7256: 7249: 7242: 7233:Fletcher and 7221: 7214: 7207: 7200: 7193: 7186: 7179: 7172: 7165: 7158: 7151: 7144: 7137: 7130: 7123: 7105: 7098: 7091: 7084: 7077: 7070: 7063: 7056: 7049: 7042: 7036:and Fletcher 7022: 7015: 7002:conjectural) 7000:attributions 6987:John Webster 6947:Nathan Field 6937: 6930: 6923: 6863: 6842:To Penshurst 6808: 6801: 6794: 6787: 6780: 6773: 6766: 6759: 6752: 6745: 6738: 6731: 6724: 6717: 6710: 6703: 6696: 6689: 6682: 6675: 6668: 6661: 6654: 6647: 6640: 6633: 6626: 6619: 6612: 6605: 6598: 6591: 6584: 6577: 6570: 6563: 6540: 6533: 6526: 6519: 6512: 6505: 6498: 6491: 6484: 6477: 6470: 6463: 6458:Eastward Hoe 6456: 6449: 6442: 6435: 6428: 6421: 6414: 6407: 6400: 6302:(son-in-law) 6296:(son-in-law) 6234:Susanna Hall 6175: 6164:Institutions 6143: 6002: 5988:Coat of arms 5981:Translations 5973: 5969:Bibliography 5936:To the Queen 5934: 5927: 5909: 5902: 5894: 5887: 5880: 5873: 5865: 5858: 5851: 5844: 5837: 5830: 5823: 5814: 5806: 5799: 5792: 5785: 5778: 5770: 5763: 5756: 5729: 5722: 5715: 5708: 5694: 5656:Performances 5600:Second Folio 5568: 5561: 5552: 5545: 5537: 5530: 5523: 5514: 5507: 5502: 5495: 5487: 5480: 5460: 5453: 5446: 5439: 5432: 5425: 5418: 5411: 5404: 5397: 5390: 5370: 5362: 5355: 5348: 5341: 5334: 5326: 5319: 5312: 5305: 5298: 5291: 5284: 5277: 5270: 5263: 5256: 5187: 5180: 5156: 5131: 5113: 5106: 5099: 5092: 5085: 5067: 5060: 5053: 5046: 5039: 5032: 5025: 5018: 4986:Robert Poley 4976:Eleanor Bull 4956:Thomas Nashe 4937: 4930: 4912: 4905: 4898: 4891: 4884: 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