dotage, 18, 31, 58, 70, 184–86, 194
Doty, Jeffrey S., 6, 10, 12, 85
dress. See costume and dress
The Duchess of Malfi (Webster), 138, 206
Dudley, Ambrose. See Warwick, Earl of (Ambrose Dudley)
Dudley, John, 47
Dudley, Robert. See Leicester, Earl of (Robert Dudley)
Dudley bear and ragged staff, 7, 8, 35, 48, 51–53, 65, 86, 87, 89–91, 101, 103
Dudley family, 47–48
Dutton, Richard, 26, 98, 107
Dyer, Edmund, 21
effeminacy, 16–17, 38, 47, 109, 112, 117, 142, 146, 161, 171, 184
Eggert, Katherine, 22, 163, 165, 177
Elizabeth: accession of, 2–3; age of the court of, 3; death of, 195; and identification with Richard II, 82; length of reign and age of, 41–44; moon cult of, 34, 38, 65, 78, 110, 196; Ovidian allusions to, 4, 35, 36, 38, 56, 63–66, 68, 72, 96–97, 104, 109, 113, 145; pet names for favorites of, 48, 62, 96; portraits of, 169–71; Rainbow Portrait of, 78, 169, 170, 171; and the Queen’s Men, 12–13; second reign of, 5, 20–22; and snake symbolism, 169, 170, 171; speculation on age of, 42; Tilbury speech of, 164, 176
Ellis, Anthony, 16
emasculation, 52, 67, 93, 96, 113, 150, 173, 186, 190
Endymion (Lyly): and age-in-love trope, 35, 37, 56–57, 69, 74; and aging Elizabethan court, 3, 33, 38, 41–42, 57–75; Bacon on, 59–60; bearbaiting in, 73; deformity in, 36, 70; Earl of Oxford as patron of, 57; as fable about princes and favorites, 59–60; and Leicester’s Commonwealth, 56–57; male sexuality in, 33–37, 39, 57, 66–75; and Metamorphoses, 36, 46, 66, 72; mundus scenescit trope in, 57–58; and pastimes, 24–26, 27, 31, 56; and royal favoritism, 24, 30, 33, 36, 58–70, 74; and rumor, 56, 59–60, 68–69; and satire, 37; and scandal, 30, 56, 60; and senex amans, 5, 73, 95; on solitary lives of favorites, 61; as source for Merry Wives of Windsor, 23, 78; and Twelfth Night, 122–25, 130–35, 140, 152–54; and vanity, 71, 73; wind metaphor in, 56
England’s Caesar, 195
entertainments: of Ditchley, 59; of Kenilworth, 6, 13, 34, 51, 64, 86–87, 92–93, 97, 132, 153, 175; of Woodstock, 97. See also pastimes
Erickson, Peter, 207, 208
Essex, Countess of (Lettice Knollys), 61, 67
Essex, Earl of (Robert Devereux), 8, 26, 27, 117, 165; Blessedness of Brytaine dedicated to, 168; and comparisons to Antonius, 172, 180; contemporary public response to, 21; on Elizabeth’s age, 41, 42; and Falstaff, 111, 114; historical privileging of, 22, 180, 207–8; as “proto-democratic” figure, 207; rebellion of, 42, 138, 172–74; and response to Elizabeth’s letters, 176; and self-love, 131
eulogies, 199–200
Every Man Out of His Humour (Jonson), 123, 128, 130, 138–40, 144–46, 151
The Faerie Queene (Spenser), 86–87, 92, 96, 97–98
fairies and fairy queens, 25, 71, 74; in Antony and Cleopatra, 15, 178, 181, 202; in Merry Wives of Windsor, 114, 131; in Midsummer Night’s Dream, 96–99, 124
fairy tales, 121, 123
Falstaff, 87, 89, 163; in cross-dressing scene, 113, 193; death of, 121; dehumanization of, 110; and desire for new livery, 106; effeminacy of, 110; Elizabeth’s connection to, 77–78; in the haunting of Twelfth Night, 31, 123, 126, 129, 131–34, 141, 147, 149–50; Jonson’s ghosting of, 122; and minion, 78; and the moon, 77–79; in “Munsur Fatpanche,”101; pity for, 109; publicity of, 118; self-description of, 77–78; self-promotion of, 103–4; theatrical ghosting of, 81–82; and transgressions of Elizabethan court, 78, 82; and wit and judgment, 77, 81–84, 101, 112, 147, 149, 181, 182, 187
favoritism. See royal favoritism
Fiedler, Leslie A., 2, 124
The First Part of Sir John Oldcastle (anon.), 100, 129
fish: as Elizabeth’s caught or tamed favorites, 63–64, 174; as Elizabeth’s pet name for Ralegh, 48, 62, 63
Fitz, L. T., 128
The Fountaine of Selfe-Love or Cynthia’s Revels (Jonson), 123, 131, 133, 138, 145–46; “popular breeches” in, 85, 102, 118
Foxe, John, 100
Freedman, Barbara, 106
Frye, Northrop, 141, 148
Frye, Stephen, 141
Frye, Susan, 22
A Game at Chess (Middleton), 26
Garnier, Robert, 172–73
Gascoigne, George, 34, 64, 86, 107; Noble Arte of Venerie or Hunting, 86–87, 107, 108, 114; “Princely Pleasures,” 34, 64
gender: bending categories of, 74, 91, 95–96, 140–41; convergence of, 193; and Elizabethan moon cult, 38; Elizabeth’s exploitation of, 44; versus generational categories, 192; hierarchies of, 12–13, 48; and judgment, 107, 115; and longing, 12; old men and norms of, 2, 3, 5, 14, 16, 21, 48, 91, 95–96; as political asset, 63, 93; and power, 159, 164, 190; and the public sphere, 12, 84; and social decorum, 12
gerontocracy, 15–16, 20, 190
“Gertrude Talks Back” (Atwood), 205
ghosting, 81–82, 122
Globe, 86, 102, 122, 141, 159, 162
Goddard, William, 144
“Golden Age” (film), 39
Golding, Arthur. See Metamorphoses (Ovid), Golding’s translation of
Goldring, Elizabeth, 6
Goodman, Godfrey, 42
Gorboduc (Norton and Sackville), 138
gossip, 56, 117, 123, 163, 172, 187, 194; about Hatton, 3–4, 13, 133; about Leicester, 3–4, 84, 87, 93–94, 205; and scandal, 93–94. See also Leicester’s Commonwealth; rumor; scandal
Gosson, Stephen, 10, 105, 167, 190, 202
Grady, Hugh, 23
Greenblatt, Stephen, 22, 97, 130, 148
Greville, Fulke, 173–74, 184, 196, 197
Guy, John, 176, 207
Habermas, Jürgen, 8, 11, 80
Hackett, Helen, 63, 68, 98
Halpin, N. J., 25
Hamlet (Shakespeare), 4–5, 16, 17, 25, 27–28, 106, 122, 159–63, 178, 185–86, 192, 202, 205–7
Harington, Sir John: on Elizabeth, 43, 64; fishing analogy of, 64; A New Discourse on a Stale Subject, or the Metamorphosis of Ajax, 31, 123–24, 136, 137
Harvey, Gabriel, 57
Hatton, Christopher, 13–15, 22, 29, 33–34, 47, 71, 114, 138, 146, 149, 155, 176; and abdication of traditional masculinity, 21, 34, 184; age of, 3–4, 57; on Elizabeth as “fishing” for courtiers, 64, 174; Elizabeth’s preference for men like, 180; and Endymion, 61–64; John Guy on, 207; as pattern, 176; sheep as Elizabeth’s pet name for, 48, 59; theatrical description of, 13–14; and vulnerability to slander, 46
Hawthorne, Nigel, 141
Heminge, John, 86
The Henriad (Shakespeare): 1 Henry IV, 29, 77, 78, 79, 81–84, 99–104, 106, 109–10, 112, 116–19, 124, 126, 154; 2 Henry IV, 9, 28, 79, 81, 83, 99–107, 110, 115–17, 121, 141; Henry V, 85, 87, 117, 121, 147; 2 Henry VI, 9; Richard II, 81–82; Richard III, 45
Herbert, William, 199, 200
Hobbes, Thomas, 105
Holinshed, Raphael, 87, 124
horizontal exchanges, 84
Hornback, Robert, 102
humoral theory of sexuality and aging, 39, 69
Hunt, Maurice, 23
Hunter, G. K., 72, 74
“Hymnus in Cynthiam” (Chapman), 63
Isle of Dogs (Jonson and Nashe), 24, 144
James I of England (James VI of Scotland), 5, 41, 163, 172, 195–97
James IV of Scotland, 57
James VI of Scotland (James I of England), 5, 41, 163, 172, 195–97
Jankowski, Theodora, 163, 179
Jensen, Phebe, 123, 129
Jones, Rosalind, 86
Jonson, Ben, 24–26; Bartholomew Fair, 24; on Elizabeth’s age, 42; Every Man Out of His Humour, 25, 26, 29, 122–23, 128, 130, 138–40, 144–46, 151; Fountaine of Selfe-Love or Cynthia’s Revels, 85, 102, 118, 123, 131, 133, 138, 145–46; ghosting of Falstaff by, 122; imprisonment of, 24; Isle of Dogs, 24, 144; and “narrow-eyed decipherers,” 26, 29; and “popular breeches,” 85–86, 102, 118; and Shakespeare, 12, 25, 115, 122–23; Twelfth Night’s allusions to works
of, 122–23, 128, 130–31, 133, 138–40, 144–46, 151
Jouber, Laurent, 17, 19
judgment. See wit and judgment
Kaine, Tim, 3
Kapur, Shekhar, 39
Kastan, David Scott, 78, 81
Kempe, Will, 12, 28, 86, 101–4, 107, 119, 163, 186, 208
King Lear (Shakespeare), 10–11
Kingsley, Ben, 141
Kisery, András, 10, 12
Knights of the Garter, 51, 53, 110–11, 114–15
Knollys, Lettice, 61, 67
Knox, John, 35, 173
Kyd, Thomas, 89
Lake, Peter, 10, 12, 52
Lamb, Charles, 151
Lee, Sir Henry, 57, 58, 59
Leicester, Earl of (Robert Dudley): age of, 3–4; aging body of, 48, 50–53; and bearbaiting event, 51–52; and commissioning of Golding’s Metamorphoses translation, 97; in “Dead Mans Right,” 87, 94; death of, 85; and death of son, 62; as Elizabeth’s lapdog, 174, 226n158; Golding’s dedicatory letter to, 35, 65, 87; gossip and scandal about, 3–4, 84, 87, 93–94, 205; as governor-general of the Netherlands, 50; and Kenilworth, 6, 13, 34, 51, 64, 86–87, 92–93, 97, 132, 153, 175; libido of, 6, 50–53; marriage of, 61–62; patronage of traveling troupe by, 85; and printing press, 6, 86; Segar’s portrait of, 48, 49; self-promotion of, 85, 87; and slander, 14, 21, 36, 46, 53, 55, 87, 89–90, 101, 104–5, 114; transgressions of, 52, 95, 118; and vanity, 50, 64, 91, 97. See also Leicester’s Commonwealth
Leicester’s Commonwealth (anon.), 62, 82, 90–91, 93–95, 114, 162, 184; anonymous Catholic expatriates as authors of, 6, 35, 94; and court trial, 78–79; and Dudley bear and ragged staff, 51–53, 54, 89; Elizabeth’s attempted suppression of, 56; and Endymion, 56–57; as entertainment, 89; as exploitation of public anxiety about favorites, 30, 35; female cameos in, 67; French translation of, 53, 54; impetus for, 8, 124; influence of, 87; on Leicester’s body and libido, 50–53, 55–57; misogynist arguments in, 146–47; popularity of, 52–53
Leicester’s Ghost, 94–95, 199
Leoni, Téa, 26
Levin, Carole, 4, 130, 207
libel, 10, 30, 53, 55, 80, 100. See also defamation; slander
life expectancy, 3, 57
Loomis, Catherine, 195, 198, 199
Lord Admiral’s Men, 106–17
Lord Chamberlain’s Men, 86, 106–7, 122
“A Lover’s Complaint” (Shakespeare), 158
Love’s Labor’s Lost (Shakespeare), 13
Lowin, John, 159, 163
Lyly, John, 3; Earl of Oxford as patron of, 57, 74; and Elizabeth, 74; influence of, 23–24, 74–75. See also Endymion
MacFaul, Tom, 14
Machiavelli, Niccolò, 11, 45, 79–80, 89
Madam Secretary (television program), 26
Malcolmson, Cristina, 126, 127
Marc Antoine (Garnier), 172–73
Marcus, Leah, 25, 147
Markham, Robert, 124, 130
Marlowe, Christopher, 46
Marprelate controversy, 100
Marston, John, 137
Martin, Christopher, 16, 40, 157
Mary, Queen of Scots, 41, 57, 67
masculinity, 3, 6, 12–14, 16, 21–22, 205–7; abdication of, 21, 59–61, 73; and Antony, 164–65, 175; feminine perspective of, 195, 201, 202, 206; hyper, 48; and old men, 34, 40, 46, 48, 207; and wit and judgment, 84
A Mastif Whelp with Other Ruff-Island-lik Currs Fetcht from Amongts the Antipedes (Goddard), 144
McLaren, A. N., 93
memory: individual and collective, 126, 200; and the theater, 27–29, 82, 95, 102–4, 111, 122, 123
Merry Wives of Windsor (Shakespeare), 4, 9, 10, 31, 84, 110–17, 122, 194; age-in-love trope in, 2, 84, 110–17; bearbaiting in, 9, 31, 110–17; comparative judgment of, 84, 111–17; Elizabeth’s role in writing of, 77; Endymion as source for, 23, 78; punishment in, 111–12; and Twelfth Night, 131–32, 135
Metamorphoses (Ovid): and Antony and Cleopatra, 186, 191, 194; Aurora in, 36, 56, 194; Circe in, 4, 35, 96, 104, 109, 114, 132, 145, 171, 174, 184–85, 190, 193, 203; and Elizabethan allusions, 4, 35, 36, 38, 56, 63–66, 68, 72, 96–97, 104, 109, 113, 145; and Endymion, 36, 46, 66, 72; and Merry Wives of Windsor, 113; on passion, 186; and royal favorites, 4, 35; Tithonus in, 36, 38, 46
Metamorphoses (Ovid), Golding’s translation of: dedicatory letter to Leicester in, 35, 65, 87; Dudley bear and ragged staff displayed on, 35, 65, 87, 88; Leicester’s commissioning of, 97; title page of, 87, 88
The Metamorphosis of Pygmalions Image (Marston), 137
Microcynicon (Middleton) 144
Middleton, Thomas, 12, 29; Game at Chess, 26; influence of Lyly on, 24; Microcynicon, 144; Revenger’s Tragedy, 5, 159–63, 178, 181–82, 185, 188, 189
A Midsummer Night’s Dream (Shakespeare), 14, 15, 151–52, 172, 181; Bottom in, 2, 14, 95, 96, 98–101, 107, 115, 124, 163, 181, 182, 202; Endymion as source for, 23, 95; Fairy Queen in, 96–99, 124; Kenilworth as inspiration of, 97; and masculine merit versus feminine perspective, 202; and Shakespeare scholars, 22; and women in power, 205
miles gloriosus, 71, 73, 95, 113, 129, 182–83
minion, definition of, 78
misogyny, 12, 22, 44, 146, 180, 201, 203, 207, 213–14n58
Montrose, Louis, 14, 22, 25, 37, 38, 41, 44
moon: Elizabeth’s cult of, 34, 38, 65, 78, 110, 196; in Endymion, 58–59, 62–63, 67, 69, 181; and Falstaff, 78–79; and Isis, 169; minions of, 30, 77
Muir, Kenneth, 178
Mullaney, Steven, 37, 38, 39, 159–60, 201
mundus scenescit (trope), 37, 57–58
Nashe, Thomas: and Bishop’s Ban of 1599, 137; Choice of Valentines,137; Isle of Dogs, 24, 144; Pierce Penniless’s Supplication to the Devil, 87
Naunton, Robert, 13, 48, 50
Netherlands, 25, 50, 53, 79, 87, 91, 102
Neoplatonism, 37, 40, 65, 69, 124, 162, 183, 193
A New Discourse on a Stale Subject, or the Metamorphosis of Ajax (Harington): bearbaiting in, 123–24; Twelfth Night’s allusions to, 31, 123–24, 136, 137
news, 10–11; of Antony, 188, 190; of Falstaff’s death, 121; and rumor, 104–5
News from Heaven and Hell (anon.), 90–95, 121, 133; age-in-love trope in, 94; bearbaiting trope in, 91–93, 112; “bere whelp” in, 92, 113, 194; and castration anxiety, 184; on Dudley bear and ragged staff, 90–91, 101; and judgment, 90–95; on Leicester 101, 102, 103; as precedent for Shakespeare, 90; and punishment, 90–95, 106, 112
The Noble Arte of Venerie or Hunting (Gascoigne), 86–87, 107, 108, 114
North, Sir Thomas, 165–66, 171, 187
Northumberland, Duke of (John Dudley), 47
nostalgia, 31, 125–26, 132, 152, 153, 155, 166, 200
Nunn, Trevor, 140–41
Nyquist, Mary, 175–76
Oldcastle, Sir John, 100, 123
Order of the Garter, 51, 53, 110–11, 114–15
Ormond, Earl of, 53
Othello (Shakespeare), 15, 19
Ovid. See Metamorphoses (Ovid); Metamorphoses (Ovid), Golding’s translation of
Owen, Clive, 39
Oxford, Earl of, 57–58, 74
Pack, Roger Lloyd, 141
Palfrey, Simon, 163, 167
Parallel Lives (Plutarch; North’s translation), 165–66
Parker, Patricia, 74, 98
Paster, Gail Kern, 136, 139
pastimes: in Antony and Cleopatra, 168; definition of, 24; Elizabeth’s anxiety regarding, 82; in Endymion, 24–26, 27, 31, 56; and Falstaff, 90–100, 109, 110, 114, 116, 119; in Twelfth Night, 133, 139, 149–50
patriarchy, 3, 6, 16–17, 19, 61, 161, 164, 181, 190–91, 194, 202, 206
Patterson, Annabel, 27, 216n128
Paulet, Sir Amyas, 57
Peck, D. C., 21, 124
Peele, George, 130, 132
Pembroke, Countess of (Mary Sidney), 172–73
Perry, Curtis, 12, 68, 80, 85, 89, 94, 210n15
personalities, 25,
35
Petrarch, 19, 58, 65, 71, 72, 130, 140, 143–45, 161, 162
Philip II of Spain, 57
Pincus, Steven, 10
Plato, 128; Symposium, 127–28, 194. See also Neoplatonism
Platter, Thomas, 42, 169
Plautus, 15; Menaechme, 128; miles gloriosus, 71. See also miles gloriosus
playgoers: and Antony and Cleopatra, 163, 167, 177–79, 181, 183, 185, 187–89, 196, 198, 200, 202; collaboration of, 27, 86, 102, 127, 133, 134, 136, 138–39, 181, 183; and Falstaff, 84, 100, 104–7, 110, 112–18; and laughter, 11, 27, 28, 105, 112, 125, 134, 148, 185, 188; and Shakespeare’s allusions to Elizabeth’s suitors, 27–29
Plutarch: influence on Shakespeare, 166–67; “Life of Marcus Antonius,” 31, 166–68, 171–72, 175–76, 180–82, 184, 187–88, 190–92; Parallel Lives, 165–66
Pole, John, 48
“popular breeches,” 85, 102, 118
popularity: of anticourt satire, 31, 36, 52; control of, 180; of court materials, 85; definition of, 6, 85; of dream-settings, 68; of Elizabethan moon cult, 38; and Leicester, 6, 87; of lost masculine ideal, 153; of verse satires, 137
printing press, 6, 86, 118
Privy Council, 3, 24, 55, 114, 138, 195
promotion, 85, 87, 103–4
Protestantism: and Falstaff, 100; and Leicester, 8, 25; and News from Heaven and Hell, 83, 94; radicals of, 6, 25; and treason, 100
publicity, 6, 8–10, 12, 29–30, 36–37, 86, 94, 118, 179
public-making texts and stories, 28, 90, 166
public punishment, 10, 112
public sphere, 6, 10–12, 15, 80, 84, 89, 93, 150, 180
punishment: charivaris, 20, 214n89; in Merry Wives of Windsor, 111–12; in News from Heaven and Hell, 90–95, 106, 112; public, 20, 112; in Twelfth Night, 106, 139, 149
Purkiss, Diane, 73
Queen’s Men, 12–13
Quinn, Michael L., 4
Rainbow Portrait of Elizabeth I, 78, 169, 170
Ralegh, Sir Walter: and Elizabeth, 21, 38, 39, 41, 42, 47, 48, 62, 63, 65, 172, 174, 175; as Elizabeth’s “fish,” 48, 62, 63; “Golden Age” portrayal of, 39; and Jonson, 133, 145; as Middle Templar, 138; Ocean to Cynthia, 38, 78, 130; “Of Favorites,” 142; on old age, 1, 46, 141; as royal minion, 111; and Twelfth Night, 125, 130, 132, 133
Revenger’s Tragedy (Middleton), 5, 159–63, 178, 181–82, 185, 188, 189
Richard II (Shakespeare), 81–82
Richard III (Shakespeare), 45
Riehl, Anna, 44
Roach, Joseph, 104