Volume 27, numéro 1, 2024

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This essay argues that the unnamed playwright of the 1599 tragedy A Warning for Fair Women adapts Arthur Golding’s 1573 (rpt 1577) pamphlet to reshape the heroine from a negative example of adultery and the beneficiary of church-induced repentance into a positive model of motherhood and spiritual agency aided by another woman. Missing from Golding’s account, the play’s main source and the fount of subsequent reportage on the murder of George Sanders, is attention to women’s spiritual agency and their friendship. I compare the play and source text to argue that the playwright’s emendations of Golding’s material omit or minimize certain elements, including the moralizing tone, to advance a more positive view of women than critics have recognized.

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Although long maligned, the 1603 first quarto of Shakespeare’s Hamlet (Q1) portrays a strong queen and mother figure in Gertred, specifically in a scene that is unique to this version of the play. While some grant that Gertred may be a more sympathetic character than her counterpart Gertrard in the second quarto (Q2) or Gertrude in the Folio (F), critics generally neglect the Q1-only scene involving her and Horatio, finding it repetitious and dull. This essay’s close reading of this scene shows that Gertred excels at diplomatic intrigue, building strategic alliances through a distinctive politics of motherhood.

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This article explores three scenes in John Day’s understudied satiric drama The Isle of Gulls, reading the royal hunt, game of bowls, and double jest as examples of a cultural phenomenon that disguises politics as recreation.

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This essay uncovers the influences of Elizabeth Stanley Hastings, countess of Huntingdon (1588-1633), on household and commercial drama. John Marston’s Ashby entertainment (1607) and John Fletcher’s The Faithful Shepherdess (ca 1608) show how Huntingdon drew upon family tradition and conventional ideals of beauty to facilitate her rise as a patron. A focus on patronage reveals these plays’ shared emphasis on feminine authority within traditional roles. More broadly, this essay urges scholars to reconceive women patrons as co-makers of plays and value their important contributions to theatrical production.

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This article argues that John Brinsley's 1620 translation of Virgil's Georgics, Book IV, is a source for John Fletcher and Philip Massinger's The Elder Brother. This contention results in dating the play to 1620 rather than 1618 as suggested by Martin Wiggins. The re-dating has consequences for the dating of other plays in the canon of Fletcher and his collaborators for the period 1617 to 1620, and I propose a new chronology for the Fletcher plays in this time span.