In Renaissance Drama, the bastard is an extraordinarily powerful and disruptive figure. We have only to think of Caliban or of Edmund to realise the challenge presented by the illegitimate child.
Drawing on a wide rage of play texts, Alison Findlay shows how illegitimacy encoded and threatened to deconstruct some of the basic tenets of patriarchal rule. She considers bastards as indicators and instigators of crises in early modern England, reading them in relation to witch craft, spiritual insecurities and social unrest in family and State.
The characters discussed range from demi-devils, unnatural villains and clowns to outstanding heroic or virtuous types who challenge officially sanctioned ideas of illegitimacy. The final chapter of the book considers bastards in performance; their relationship with theatre spaces and audiences. Illegitimate voices, Findlay argues, can bring about the death of the author/father and open the text as a piece of theatre, challenging accepted notions of authority.
Table des matières
Preface and acknowledgements
1 Illegitimacy in Renaissance England
2 Bastardy and evil
3 Unnatural children
4 Natural Children
5 Heroic bastards
6 Bastards and theatre
A propos de l’auteur
Richard Dutton is Professor of English Literature at the University of Lancaster
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