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Disguise on the Early Modern English Stage
Disguise devices figure in many early modern English plays, and an examination of them clearly affords an important reflection on the growth of early theatre as well as on important aspects of the developing nation. In this study Peter Hyland considers a range of practical issues related to the performance of disguise. He goes on to examine various conceptual issues that provide a background to theatrical disguise (the relation of self and "other", the meaning of mask and performance). He looks at many disguise plays under three broad headings. He considers moral issues (the almost universal association of disguise with "evil"); social issues (sumptuary legislation, clothing, and the theatre, and constructions of class, gender and national or racial identity); and aesthetic issues (disguise as an emblem of theatre, and the significance of disguise for the dramatic artist). The study serves to examine the significant ways in which disguise devices have been used in early modern drama in England.
Disguise on the Early Modern English Stage
Disguise devices figure in many early modern English plays, and an examination of them clearly affords an important reflection on the growth of early theatre as well as on important aspects of the developing nation. In this study Peter Hyland considers a range of practical issues related to the performance of disguise. He goes on to examine various conceptual issues that provide a background to theatrical disguise (the relation of self and "other", the meaning of mask and performance). He looks at many disguise plays under three broad headings. He considers moral issues (the almost universal association of disguise with "evil"); social issues (sumptuary legislation, clothing, and the theatre, and constructions of class, gender and national or racial identity); and aesthetic issues (disguise as an emblem of theatre, and the significance of disguise for the dramatic artist). The study serves to examine the significant ways in which disguise devices have been used in early modern drama in England.
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Mortage Tax
Reprint of the original, first published in 1875. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
The Two Walter Raleighs
Sir Walter Raleigh's biographers have given little attention to his tragic relationship with his son Wat (Walter). They began in proud identification, each seeing himself in the other. But after the father's political downfall and imprisonment for treason, he lost his authority in the family, and the son began to reject paternal advice and his studies and to engage in violent quarrels and duels. Often the father used his influence to rescue his son from his rash acts. Things came to a head after Wat was sued by a young woman for violent assault, and imprisoned. The aged Raleigh had been freed from the Tower to lead an expedition to Guiana, and--as recently discovered documents reveal--he delivered his son from the law by commissioning him as a captain on his flagship, ominously named the Destiny. In a shared tragedy, Wat was killed in a skirmish, and the grieving Raleigh returned to England, broken in spirit and ready for the execution that awaited him.
