This book is the first full-length study of apes and monkeys on the early modern stage. It broadens the scope of existing scholarship by situating the apes glimpsed in Shakespeare’s plays in the wider context of the many uncelebrated uses by other playwrights, c. 1603-1659. The book investigates the theatrical appearances of real monkeys, actors dressed up as apes, and characters mistaken for them, arguing that the ape trope is so insistent in early modern drama that it becomes a structural metaphor. It addresses both plays and masques across the period, arguing that the ways of seeing in these different kinds of theatre make apes mean differently in their generic contexts. Grounded in historicist readings, this book also draws significantly on the field of ritual studies and the new intersectional discipline of animal performance studies.
Table of Content
1. The Renaissance Animal: Critics and Contexts.- 2. The Renaissance Monkey.- 3. ‘Somewhat Like A Man’: Apes, Boy Players, Women.- 4. Vir-tue: Being a Man.- 5. Bacon’s Antimasquing Baboons.- 6. The Memorable Masque, 1613.- 7. Beaumont and Fletcher (with Shakespeare).- 8. Apes, Indigeneity and the Early Modern Travel Narrative.- 9. A Brace of Court Apes: James Shirley’s Masques.- 10. “Sir William and His Apes”: Davenant, monkeys and the staging of disorder.- 11. The End of the Antique Measures.
About the author
Teresa Grant is Director of the Centre for the Study of the Renaissance and Associate Professor in Renaissance Theatre in the department of English and Comparative Literary Studies at the University of Warwick, UK. With primary research interests in early modern theatre, she also publishes more widely on Renaissance culture and on the history of the book. She is a general editor of The Complete Works of James Shirley (2022-).
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