'Tis pity she's a whore : a critical guide PDF
Preview 'Tis pity she's a whore : a critical guide
'Tis Pity She's a Whore Continuum Renaissance Drama Series editors: Andrew Hiscock, University of Wales Bangor, UK and Lisa Hopkins, Sheffield Hallam University, UK Continuum Renaissance Drama offers practical and accessible introductions to the critical and performative contexts of key Elizabethan and Jacobean plays. Each guide introduces the text's critical and performance history but also provides students with an invaluable insight into the landscape of current scholarly research through a keynote essay on the state of the art and newly commissioned essays of fresh research from different critical perspectives. Current titles: Doctor Faustus, ed. Sara Munson Deats A Midsummer Night's Dream, ed. Regina Buccola Forthcoming titles: 1 Henry IV, ed. Stephen Longstaffe The Duchess of Malfi, ed. Christina Luckyj King Lear, ed. Andrew Hiscock and Lisa Hopkins Volpone, ed. Matthew Steggle Women Beware Women, ed. Andrew Hiscock 'TIS PITY SHE'S A WHORE A Critical Guide Edited by Lisa Hopkins continuum Continuum The Tower Building 80 Maiden Lane, Suite 704 11 York Road New York London SE1 7NX NY 10038 www.continuumbooks.com © Lisa Hopkins and contributors 2010 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-8264-9932-5 (Hardback) 978-0-8264-9933-2 (paperback) Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. Typeset by BookEns, Royston, Hertfordshire Printed and bound in Great Britain by CPI Antony Rowe Ltd., Chippenham, Wiltshire Contents Series Introduction vii Timeline ix Introduction 1 Lisa Hopkins Chapter 1 The Critical Backstory 14 Lisa Chapter 2 The Performance History 34 Kate Wilkinson Chapter 3 The State of the Art 60 Sandra Clark Chapter 4 New Directions: Fatal Attraction: Desire, 77 Anatomy and Death in 'Tis Pity She's a Whore Catherine Silverstone Chapter 5 New Directions: Identifying the Real Whore 94 of Parma Corinne S. Abate Chapter 6 New Directions: The Confessional Identities 114 of 'Tis Pity She's a Whore Gillian Woods Chapter 7 New Directions: The Deconstructing 136 'Tis Pity?: Derrida, Barthes and Ford Mark Houlahan vi CONTENTS Chapter 8 New Directions: 'Tis Pity She's a Whore and 152 the Space of the Stage Lisa Hopkins Chapter 9 A Survey of Resources 168 Rhonda Lemke Sanford Bibliography 181 Notes on Contributors 186 Index 189 Series Introduction The drama of Shakespeare and his contemporaries has remained at the very heart of English curricula internationally and the pedagogic needs surrounding this body of literature have grown increasingly complex as more sophisticated resources become available to scholars, tutors and students. This series aims to offer a clear picture of the critical and performative contexts of a range of chosen texts. In addition, each volume furnishes readers with invaluable insights into the landscape of current scholarly research as well as including new pieces of research by leading critics. This series is designed to respond to the clearly identified needs of scholars, tutors and students for volumes which will bridge the gap between accounts of previous critical developments and perfor- mance history and an acquaintance with new research initiatives related to the chosen plays. Thus, our ambition is to offer innovative and challenging guides which will provide practical, accessible and thought-provoking analyses of Renaissance drama. Each volume is organized according to a progressive reading strategy involving introductory discussion, critical review and cutting-edge scholarly debate. It has been an enormous pleasure to work with so many dedicated scholars of Renaissance drama and we are sure that this series will encourage to you read 400-year old playtexts with fresh eyes. Andrew Hiscock and Lisa Hopkins This page intentionally left blank Timeline 12 April 1586: John Ford baptized at Ilsington, Devon, second son of Thomas Ford and Elizabeth Popham, the niece of Lord Chief Justice Popham. 25 March 1601: A 'John Ford Devon gent.' who was almost certainly the dramatist matriculates at Exeter College, Oxford. 16 November 1602: Enters the Middle Temple. Hilary Term 1605: Officially expelled from the Middle Temple for failing to pay his buttery bill. 1606: Publication of Honour Triumphant, a prose piece linked to the chivalric entertainments proposed for the visit of James I's brother- in-law Christian IV of Denmark, and of Fame's Memorial, an elegy on Charles Blount, Earl of Devonshire, husband of Penelope Devereux (Sir Philip Sidney's 'Stella'). 10 June 1608: Formally readmitted to the Middle Temple. 1610: Death of Ford's father. Ford receives an inheritance of £10. 1612—13: Possibly writes a now lost play, An III Beginning Has a Good End. 1613: Publication of Christ's Bloody Sweat, a long religious poem, and of The Golden Mean, a neo-Stoic treatise in the vein of his maternal cousin Sir John Stradling's translations of Justus Lipsius. 1615—16: Ford contributes various writings, some of which have not survived, to the collective laments for his fellow Middle Templar Sir Thomas Overbury, murdered by the wife of James I's favourite the
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