Titlebook: Intertextuality and Romance in Renaissance Drama; The Staging of Nosta Richard Hillman Book 1992 Richard Hillman 1992 drama.essay.Renaissan

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Romance Exhausted: , and ,in his influential New Historicist discussion of the inseparability of ‘the stage from the staging of power’ (xiii) in Jacobean England, specifically rejects topical allusion-hunting conducted ‘as if the only reality of literature inhered in such allusions’ — a fallacy based, in turn, on ‘t that his

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Introduction, in a somewhat more oblique relation to what follows. Certainly, I have several problematic terms — all the key words of my title — to define; however, these definitions have to remain unusually indefinite in order to cover the range of texts and textual relations to be explored. For the seven subse

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Killing (a Woman) with Kindness: Duplicitous Intertextuality and the Domestication of Romance, crudely vengeful impulses suspends an obvious contradiction, which metaphorical application tends to mitigate in the direction of paradox. The prominent references to apes in several early variants confirm that, as befits its position within the discourse of folk-wisdom, the saying is grounded in (

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Attribution and Tribute in ,asingly recognised as a functional part of the play’s dramatic method, while the function itself has become the chief subject of debate, most of which concerns the issue of mediation: does the Chorus create alienation or engagement, and exactly how?. The proliferation of aesthetic arguments reflects

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Deceiving Appearances: Neo Chaucerian Magic in ,line in ., ‘And farewel! Al oure revel was ago’ (1204), and Prospero’s ‘Our revels now are ended’ (., IV.i.148). The parallel is not only verbal but contextual. The magician in the . has just dispelled, with the traditional clap of the hands,. the visions with which he has been regaling the love-smi

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(Mis) Appropriating the Romance Past in ,ilip Edwards leans heavily on ‘a Chaucerian view of the frailty of our determinations’ (99) in making his case for a fundamental continuity of vision. Shakespeare and Fletcher, apparently, are far from misappropriating the precursor romance, even if they skew its rueful irony regarding human subject

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Romance Exhausted: , and ,ents, Andrew Gurr remarks that ‘[t]he history of James’s characterization on the Jacobean stage has still to be written’ (liii). Since then, the concepts of history, of writing, and of writing history have been subject to radical renovation, and, for the new dominant schools, the discarded débris in