This text explores the preoccupation of many Renaissance writers' with the inwardness and invisibility of truth. The perceived discrepancy between a person's outward appearance and inward disposition, it argues, influenced the ways in which English Renaissance dramatists and poets conceived the theatre, imagined dramatic characters and reflected upon their own creativity. Reading works by Kyd, Marlowe, Shakespeare, Jonson and Milton in conjuction with sectarian polemics, gynaecological treatises and accounts of criminal prosecutions, the author delineates unexplored connections among religious, legal, sexual and theatrical ideas of inward truth. She reveals what was at stake ethically, politically, epistemologically and theologically when a writer in early modern England appealed to the difference between external show and interior authenticity.
Acknowledgments 1: Introduction: Inwardness and Spectatorship 2: Machiavels and Family Men 3: Heretical Conscience and Theatrical Rhetoric: The Case of Christopher Marlowe 4: Proof and Consequences: Othello and the Crime of Intention 5: Prosecution and Sexual Secrecy: Jonson and Shakespeare 6: A Womb of His Own: Male Renaissance Poets in the Female Body 7: Conclusion Index
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- ID: 9780226511238
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