Rowe, Nicholas, 77, 118
royal favoritism, 3–4, 306–8; and Antony and Cleopatra, 164, 166–67, 173–74, 177, 180, 192, 194; and Elizabeth’s names, 48, 62, 96; and Endymion, 24, 30, 33, 36, 58–70, 74; and Hamlet, 161, 206; and minions, 47, 52, 59, 77–79, 81, 84, 94, 100, 104, 106, 110–11, 113–14, 116–17, 146–47, 200; public anxiety regarding, 30; and the theater, 12–14, 24–25, 26, 29; and transgression, 4, 46, 65, 75, 78; and Twelfth Night, 126, 131, 137–38, 142, 147, 148, 153; and vanity, 5, 57, 60, 73, 97, 99, 111, 116, 155
royal interference, 77
Rudd, Bishop, 42
rumor, 8, 187, 194, 199; about Elizabeth’s love affairs, 4; and Endymion, 56, 59–60, 68–69; and Falstaff, 82, 118. See also gossip; scandal
Rylance, Mark, 141
scandal, 9, 84, 109; definition of, 93–94; and Endymion, 30, 56, 60; and libel legislation, 55; transformation of, 109. See also gossip; rumor
Segar, William, 48; portrait of Robert Dudley, Earl of Leicester, 49
self-promotion, 85, 87, 103–4
senex amans, 30–31, 73, 95, 153, 164, 182; in Antony and Cleopatra, 182; definition of, 19–20; and Elizabethan court, 30; in Endymion, 5, 73, 95; Shakespeare’s fascination with, 9, 20, 95; in Twelfth Night, 20, 31, 153, 164
Shakespeare, William: as an actor, 12–13; and age-in-love trope, 1–4, 12–22, 28–29, 206; As You Like It, 10, 16–17; Comedy of Errors, 26–27; and Jonson, 12, 25, 115, 122–23; King Lear, 10–11; Love’s Labor’s Lost, 13; Lyly’s influence on, 23; metatheatrical devices of, 10; Othello, 15, 19; and the revision of Plutarch’s “Life of Marcus Antonius,” 180–81; and senex amans, 9, 20, 95. See also Antony and Cleopatra; Hamlet; The Henriad; The Merry Wives of Windsor; A Midsummer Night’s Dream; sonnet sequence; Twelfth Night
Shannon, Laurie, 80
Shapiro, James, 166, 183, 187
Shaw, George Bernard, 121, 201
Sheffield, Douglas, 67
Sheffield, Lady, 61
Shephard, Alexandra, 16
Sidney, Mary, 172–173
Sidney, Philip, 11, 50, 53, 55, 101, 105, 134, 148, 149, 172–75, 208
silence, 2, 56, 196
slander, 194; and antigovernment propaganda, 30, 53, 55, 87, 89–90, 138; devices of, 55, 93, 95, 114, 138; and Falstaff, 101, 104–5, 114, 117; against Hatton, 14, 46; against Leicester, 14, 21, 36, 46, 53, 55, 87, 89–90, 101, 104–5, 114; and pastimes, 150. See also defamation; libel
Simier, Jean de, 96
Smith, Mel, 141
Smith, Peter, 136
social class, 11, 13, 16, 30, 34, 75, 84, 89, 105–6, 112, 125, 140, 148
“social imaginary,” 21
social mobility, 2, 8, 14, 29, 34, 51, 58, 89, 126–27, 147, 154
sonnet sequence (Shakespeare), 126, 128, 154–58; age-in-love trope in, 1–5, 154–58; Sonnet 2, 155; Sonnet 5, 155; Sonnet 7, 155–56; Sonnet 16, 156; Sonnet 19, 155; Sonnet 20, 128; Sonnet 25, 155; Sonnet 31, 156; Sonnet 34, 56; Sonnet 37, 156; Sonnet 55, 156; Sonnet 60, 157; Sonnet 62, 155; Sonnet 63, 157; Sonnet 64, 155; Sonnet 65, 157; Sonnet 73, 157; Sonnet 76, 129; Sonnet 129, 20; Sonnet 138, 1–2, 15, 18–23, 75, 156; Sonnet 107, 155, 196
The Spanish Tragedy (Kyd), 89
Spenser, Edmund: Epithalamion, 59; Faerie Queene, 86–87, 92, 96, 97–98
sport and theater, 14, 26, 28, 84, 115, 118, 123, 144, 148–50, 206
“sportful malice,” 26, 149–50, 194
Stallybras, Peter, 86
Stanivuković, Goran, 153
Steggle, Matthew, 25
Stern, Tiffany, 163, 167
Storage, William, 53, 104
“strippling age,” 1
Strong, Sir Roy, 40, 169
subjugation, 84, 190
Sullivan, Garret, 59, 67, 109, 116
Tarleton, Richard, 103, 130
Tassi, Marguerite, 169
Taunton, Nina, 16
Taylor, Charles, 21
Tennenhouse, Leonard, 143, 165
theater, 83–84; and Antony and Cleopatra, 167–68, 188–89, 190, 201–2; bearbaiting compared to, 123; commodification of court materials by, 103; democratizing functions of, 10, 24, 105–6; and laughter, 11, 27–28, 105–6, 185; and Leicester, 103–4, 176; and memory, 27–29, 82, 95, 102–4, 111, 122, 123; memory machine aspect of, 28; and pastimes, 24; patronage system of, 12, 74, 106–7, 172; as place of judgment, 10–11; and Privy Council’s attempts to restrain, 106–7; and royal favorites, 12–14, 24–25, 26, 29; and shared emotions, 11, 12, 15–17, 28, 147–53, 188–90, 195–200; and sport, 14, 26, 28, 84, 115, 118, 123, 144, 148–50, 194; and Twelfth Night, 140–41
theatres: Globe, 86, 102, 122, 141, 159, 162; the Theatre, 12
Thomas, Keith, 3, 15, 16, 19
Twelfth Night (Shakespeare): age-in-love trope in, 20, 31, 125, 141–43, 151–53, 156; allusions to Ajax in, 123–24, 136, 137; allusions to Cynthia’s Revels in, 123, 131, 133, 138, 145–46; allusions to Endymion in, 122–25, 130–35, 140, 152–54; allusions to Every Man Out of His Humour in, 122–23, 128, 130, 138–40, 144–46, 151; and bearbaiting trope, 9, 123, 125, 143–51; and deformity, 125, 128, 134, 142, 150–51; division and subtraction in, 127–28; dogs and dogging in, 123, 144, 149–51; and emotional response of playgoers, 147–53; Falstaff’s haunting of, 31, 123, 126, 129, 131–34, 141, 147, 149–50; fustian riddle in, 127, 136; Jonson as target of, 143–43; and judgment, 137, 139, 142, 144, 147, 149–51; names in, 127; and nostalgia, 125–26; punishment in, 106, 139, 149; Rylance’s all-male production of, 141; and satirical norms, 129, 132, 135–37, 139–42, 144–51; senex amans in, 20, 31, 153, 164; stagings and productions of, 140–41; twinning and twins in, 125–28, 132, 140–41, 147, 154; and violence, 106, 141, 148, 150–51
United States presidential election of 2016, 208
vanity, 145, 219–20n44; and “age in love,” 1, 5, 20, 57, 60, 71, 73, 97, 111, 141, 155–56; and Antony, 166–67; Elizabeth accused of, 38, 40, 45–46; and Endymion, 71, 73; and Falstaff, 83, 99, 111; and Leicester, 50, 64, 91, 97; in Midsummer Night’s Dream, 97; and royal favoritism, 5, 57, 60, 73, 97, 99, 111, 116, 155; and Shakespeare’s sonnet sequence, 1, 156; and Twelfth Night, 141, 155
Vavasour, Anne, 57, 59, 67
Vickers, Nancy J., 65
Waith, Eugene, 189
Walsingham, Sir Francis, 3, 53, 57
Warner, Michael, 12, 28, 55, 83, 90
Warwick, Earl of (Ambrose Dudley), 8–9, 144
Webster, John, 138; Duchess of Malfi, 138, 206; White Devil, 89
wind 56, 104–5
wit and judgment: and age-in-love trope, 11; bearbaiting as contests of, 123; Castiglione on, 82, 84; and Falstaff, 77, 81–84, 101, 112, 147, 149, 181, 182, 187; and gerontocracy, 15–16, 20, 190; laughter as form of, 11; and masculinity, 84; in Merry Wives of Windsor, 115; political, 9, 14–15; for royal favoritism, 68; theater as place of, 9–11; and Twelfth Night, 123, 142
Wittek, Stephen, 10
Wotton, Henry, 11, 102
Wyatt, Sir Thomas, 19, 71
Yachnin, Paul, 10, 95, 163, 179
About Jacqueline Vanhoutte
Jacqueline Vanhoutte is a professor of English and University Distinguished Teaching Professor at the University of North Texas. She is the author of Strange Communion: Motherland and Masculinity in Tudor Plays, Pamphlets, and Politics and coauthor, with Laurel Amtower, of A Companion to Chaucer and His Contemporaries.
In the Early Modern Cultural Studies series:
Courage and Grief: Women and Sweden’s Thirty Years’ War
By Mary Elizabeth Ailes
Travel and Travail: Early Modern Women, English Drama, and the Wider World
Edited and with an introduction by Patricia Akhimie and Bernadette Andrea
By Jodi Campbell
Separation Scenes: Domestic Drama in Early Modern England
By Ann C. Christensen
Portrait of an Island: The Architecture and Material Culture of Gorée, Sénégal, 1758–1837
By Mark Hinchman
Producing Early Modern London: A Comedy of Urban Space, 1598–1616
By Kelly J. Stage
Words Like Daggers: Violent Female Speech in Early Modern England
By Kirilka Stavreva
Sacred Seeds: New World Plants in Early Modern English Literature
By Edward McLean Test
My First Booke of My Life
By Alice Thornton
Edited and with an introduction by Raymond A. Anselment
Age in Love: Shakespeare at the Elizabethan Court
By Jacqueline Vanhoutte
The Other Exchange: Women, Servants, and the Urban Underclass in Early Modern English Literature
By Denys Van Renen
To order or obtain more information on these or other University of Nebraska Press titles, visit nebraskapress.unl.edu.