By Subha Mukherji
This exam of the relation among legislation and drama in Renaissance England establishes the variety in their discussion, encompassing critique and complicity, remark and analogy, yet argues that the way drama addresses criminal difficulties and dilemmas is however certain. because the resemblance among legislations and theatre issues their formal constructions instead of their tools and goals, an interdisciplinary process needs to be alive to differences in addition to affinities. Alert to problems with illustration with out wasting sight of a lived tradition of litigation, this learn basically makes a speciality of early smooth implications of the relationship among criminal and dramatic facts, yet expands to handle a much broader diversity of matters which stretch the representational capacities of either court docket and theatre. The publication doesn't shrink back from drama's composite imaginative and prescient of criminal realities yet engages with the fictionality itself as major, and negotiates the methodological demanding situations it posits.
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Additional info for Law and representation early mod drama
This brings us very close, as we shall see, to Swinburne territory. Beaumont and Fletcher, Dramatic Works, I. Interestingly, one of the categories of divisio described by Boethius is that which reduces ‘polysemic words or propositions into words or propositions with single senses’. See Boethius, De divisione, } I, cited in Maclean, Interpretation, 111. 26 Law and Representation in Early Modern Drama ‘the single consent of thone par tie alone is not sufficient to constitute matrimonie for oneles the Consent be mutuall yt is .
On the socio-economic and political implications of wardship, see Hurstfield, Queen’s Wards, and Baker, Introduction, 275–6. On the history of resistance to wardship, see Croft, ‘Wardship’, 39–48. On patterns of exchange and obligation in the operations of wardship, see, Fumerton, Cultural Aesthetics, 29–60. Murthers, App. A to A Yorkshire Tragedy. Murthers, 2: ‘whether concealing his late contract from his honorable gardian, or forgetting his private and publicke vowes, or both I know not’. 33 Miseries replaces the ambiguities of the pamphlet account by a consistent pinning down of the ‘miseries’ to the fact of enforcement.
Legal education in the universities centred on Roman 36 37 On the perils of trying to establish a one-to-one correspondence between historical events and playscenes, see Ian Donaldson’s salutary discussion of the scene between Otter and Cutbeard in Jonson’s Epicœne, and its relation to the Essex divorce trial: Jonson’s Magic Houses, 132–7. The impotence trial and virginity test involved in establishing non-consummation in this notorious legal case would no doubt be brought to mind by Morose’s disclosure, in Act V, that he is impotent, in the hope that he can get a divorce from the woman he has married (who turns out in the end to be a boy).