Chapter 4. Canting Queer Ken: Stage Magic and the Edge of Knowledge

Chapters in this book

1. Frontmatter I
2. Contents VII
3. List of Figures IX
4. Acknowledgments XI
5. Foreword: The Stage on the Shore XIII
6. Chapter 1. Introduction: Edges, Spaces, and Intersections in Early Modern English Drama 1
7. Section I: Edges
8. Chapter 2. A Life on the Edge: Richard Bradshaw 19
9. Chapter 3. “Thou Dream’st Awake”: Ghosts and Sleep in Chapman’s Antonio’s Revenge and Marston’s Bussy D’Ambois 37
10. Chapter 4. Canting Queer Ken: Stage Magic and the Edge of Knowledge 57
11. Chapter 5. James Shirley at the Edge of Town 77
12. Section II: Spaces
13. Chapter 6. “Our Queen Is Comming to the Town”: Child Actors and Counsel in the Elizabethan Progresses of 1574 and 1578 97
14. Chapter 7. “And Huh, Too / For All Your Big Words!”: Language and Multiculturalism in Philip Massinger’s The Renegado 117
15. Chapter 8. Inherited Insecurities and the Staging of Alterity: Islam in Marlowe’s Tamburlaine 135
16. Chapter 9. “The End of All”: How a Forgotten Map Helped Us Forget Newington Butts 151
17. Section III: Intersections
18. Chapter 10. Hamlet’s French Philosophy 177
19. Chapter 11. “Then Turn Tail to Tail and Peace Be with You”: John Fletcher’s The Woman’s Prize, or The Tamer Tamed, Menippean Satire, and Same-Sex Desire 199
20. Chapter 12. “Whose Plot Was This?”: Shakespearean Convergences in Fletcher’s The Wild-Goose Chase 219
21. Chapter 13. “They Always Speak Things as They Would Have Them”: Aspirational Royalist Politics in Henry Killigrew’s Pallantus and Eudora (1653 237
22. Notes on Contributors 259
23. Index of Persons, Places, and Subjects 263