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Textual Transmission and the Enterprising Plagiarist: George Powell, The Treacherous Brothers, and The Dumb Knight 文本传递与进取的剽窃者:乔治·鲍威尔、奸诈的兄弟和愚笨的骑士

Renaissance Drama Pub Date : 2023-03-01 DOI: 10.1086/725178

C. Cathcart

{"title":"Textual Transmission and the Enterprising Plagiarist: George Powell, The Treacherous Brothers, and The Dumb Knight","authors":"C. Cathcart","doi":"10.1086/725178","DOIUrl":"https://doi.org/10.1086/725178","url":null,"abstract":"t his essay tells a story. It features a tragedy of 1690 — George Powell ’ s The Treacherous Brothers — in which the author commandeers long passages of dialogue from plays ﬁ rst printed between 1602 and 1680 and uses those passages to ﬂ esh out the speeches of his own characters. At least eight such plays contribute to the text of The Treacherous Brothers . In examining Powell ’ s practice, I draw special attention to one of these sources: Lewis Machin and Gervase Markham ’ s The Dumb Knight . This comedy of 1607 or 1608 supplied the plot — and frequently the words — with which Powell presents his play ’ s cru-cial deception: a trick that induces the King of Cyprus to believe that his Queen has been unfaithful. I examine a speech in which Powell melds his ﬁ rst appropriation from The Dumb Knight with another, from John Marston ’ s Antonio ’ s Revenge . The ﬁ rst line of that speech — “ Night Clad in black, mourns for the loss of day ” — careered across the seventeenth century. Its appearances in The Dumb Knight and The Treacherous Brothers constitute two moments in what was a sustained progress featuring not only dramatic dialogue but also erotic narrative verse, acrostic tribute, and a sequence of miscellanies. That single web of in ﬂ uence and appropriation offers a vivid illustration of Powell ’ s preference for material that itself possessed a complex intertextual history. It points to the sources and the afterlife of The Dumb Knight as subjects of interest in their own right. And it sketches a transmission history that may be val-ued and appreciated on its own terms, prioritizing neither the origin, the end-point, nor the various intervening stations. These claims re ﬂ ect the threefold subject of this essay. First, it is a tale of Powell ’ s acquisitive practice, and in that","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"51 1","pages":"89 - 108"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42312809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Renaissance Drama Pub Date : 2023-03-01 DOI: 10.1086/726329

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The Botany of Colonization in John Fletcher’s The Island Princess 约翰·弗莱彻的《岛公主》中的植物学殖民

Renaissance Drama Pub Date : 2022-09-01 DOI: 10.1086/722938

Roya Biggie

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The Courage to Transform: Diversifying the Classics Translates Valor, agravio y mujer 变革的勇气：经典的多样化翻译Valor，agravio和mujer

Renaissance Drama Pub Date : 2022-09-01 DOI: 10.1086/723005

Barbara Fuchs

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Introduction: Cross-Dressing Technologies of Mobility, Trauma, and Freedom 简介：移动、创伤和自由的变装技术

Renaissance Drama Pub Date : 2022-09-01 DOI: 10.1086/722937

S. Wofford, J. Tylus

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La Calandra: The Trauma behind Cross-Dressing La Calandra：变装背后的创伤

Renaissance Drama Pub Date : 2022-09-01 DOI: 10.1086/723002

J. Tylus

{"title":"La Calandra: The Trauma behind Cross-Dressing","authors":"J. Tylus","doi":"10.1086/723002","DOIUrl":"https://doi.org/10.1086/723002","url":null,"abstract":"rauma and loss lie at the beginning of most comedy, from which, by the law of the genre, resilience is born. This, at least, is the theory, but what t is the practice? And what does it mean to bring the version of comedy that is at the center of this cluster—that of early modern Europe—into the currents of today? Does doing so threaten to deform it, to subvert it? Does it mean failing to listen to its place in time and hence to be oblivious to what Michel de Certeau once called the resistance of a work to hypotheses and theories imposed from the outside? As sensitive as one must be to such resistance, it is also the case, as Stephen Orgel notes, that “however responsible we undertake to be to our texts and their contexts, we can look only with our own eyes, and interpret only with our own minds, which have been formed by our own history. All historical claims, even the most tactful and unpoliticized, are ultimately concerned to make the past comprehensible, usable and relevant to our own interests—to make it, that is, present. . . . The Renaissance changes with every generation.” It is banal to add that a theatrical work must make itself present with each performance— and so, it too changes with every generation. As Orgel was writing Impersonations: The Performance of Gender in Early Modern England, a generation was reeling from the AIDS crisis. Orgel’s book is dedicated to five friends who died of HIV, and among other things, his study probes","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"197 - 207"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42884041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Playing Women, Playing Men: Cross-Dressing in Sixteenth-Century France, 1980s New York, and Early Modern Critique 扮演女人，扮演男人：16世纪法国、20世纪80年代纽约的变装与早期现代批判

Renaissance Drama Pub Date : 2022-09-01 DOI: 10.1086/723004

Karen Newman

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Feminine Performance in The Taming of the Shrew: Final Speech and Missing Soliloquy 《驯悍记》中的女性表演:最后的演讲与缺失的独白

Renaissance Drama Pub Date : 2022-09-01 DOI: 10.1086/722939

Laura Kolb

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The Hymenal Resolution in the Accademia degli Intronati’s Gl’Ingannati 内行学院的海门决议被骗了

Renaissance Drama Pub Date : 2022-09-01 DOI: 10.1086/723003

Lucia Cardelli

{"title":"The Hymenal Resolution in the Accademia degli Intronati’s Gl’Ingannati","authors":"Lucia Cardelli","doi":"10.1086/723003","DOIUrl":"https://doi.org/10.1086/723003","url":null,"abstract":"n Sexual Dissidence, Jonathan Dollimore argues that, much as in postmodernity, “in the early modern period the individual was seen as constituted by and in relation to a pre-existing order.” Revealing subjectivity as a kind of subjection, not polarized to but located at the very fulcrum of sociality, Dollimore’s definition points the queer theorist toward a project for the disruption of such order. In this essay, I consider themistaken-identity narrative as a literary and performative locale throughwhich the relation between the individual and the “pre-existing order” is disrupted by way of suspension. Locating this essay within a queer scholarly practice of troubling the normative, I turn to Queer/Early/Modern, in which Carla Freccero notes that only a “textual, nonunified, nonpsychologized subject” may allow a disruption of normative gender and desire within a cultural context of heteronormativity. Aligning my lens with Freccero’s drive toward a rupture of subjectivity-as-subjection, I seek to examine the disguising and revealing of such “order” through the mistaken-identity device on the Italian Renaissance stage. Gl’Ingannati, a comedy written by the Sienese Accademia degli Intronati, first performed in 1531 and later published in 1537, belongs to the tradition ofmistakenidentity storylines, and it is often situated as a predecessor of Shakespeare’sTwelfth Night. In the first recorded notes written about the performance of Twelfth Night in London in 1601, one of the audience members, John Manningham, famously","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"209 - 220"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43949785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Cross-Dressing and Technologies of Desire and Revenge in Ana Caro, Valor, agravio y mujer with a Glance at Twelfth Night 《阿娜·卡罗》、《英勇》、《第十二夜》中的变装与欲望与复仇技术

Renaissance Drama Pub Date : 2022-09-01 DOI: 10.1086/723006

S. Wofford

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