Titlebook: Apes and Monkeys on the Early Modern Stage, 1603–1659; Teresa Grant Book 2024 The Editor(s) (if applicable) and The Author(s), under exclu

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Conclusion: A Productive Distortionregrounds the topsy-turvy caused by collective purpose gone wrong. Shirley’s inverted world, where the ape-ward falls in love with his apes, becomes a microcosm of the political (dis)order of the 1650s.

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Habermas and Ricoeur’s Depth Hermeneutics Davenant’s use of the tumbling apes in ., disguising a dangerous political joke about Cromwell as a variety act. The contexts of the masque suggest that Davenant’s pragmatic co-operation with the Protectorate disguised a subversive Royalist agenda, using performing monkeys to expose Cromwell as fraud and usurper, if only to a coterie audience.

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The End of the Antique Measures,l’s great ape discoveries, the new attitude to scientific investigation and the seventeenth-century stage’s increasing use of metatheatrical and intertheatrical devices created the conditions for the stage ape to be particularly expressive in a period of significant political and social unrest.

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Book 2024e apes glimpsed in Shakespeare’s plays in the wider context of the many uncelebrated uses by other playwrights, c. 1603-1659. The book investigates the theatrical appearances of real monkeys, actors dressed up as apes, and characters mistaken for them, arguing that the ape trope is so insistent in e