Titlebook: Licensing, Censorship and Authorship in Early Modern England; Buggeswords Richard Dutton Book 2000 Palgrave Macmillan, a division of Macmil

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,Obscenity and Profanity: Sir Henry Herbert’s Problems with the Players and Archbishop Laud, 1632–34ater liberty than is allowed them by mee’, which I shall consider shortly), we both followed general precedent in assuming that Herbert’s standards and practices were broadly comparable with those of his predecessors. In all this the occasion never arose to take an overview of Herbert’s own career,

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Marlowe: Censorship and Construction, first beginning of religion was only to keep men in awe’, which is not far removed from Machiavel’s ‘I count religion but a childish toy,/And hold there is no sin but ignorance’ in . (Prologue, lines 14–15). Baines’s claim that Marlowe also held ‘that all they that love not […] boys were fools’ fin

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GUILT

Licensing, Censorship and Authorship in Early Modern England978-0-230-59871-3

Insulin

The Regulation and Censorship of Early Modern Drama, . at court, and when Claudius shrewdly suspects that it may contain ‘offense’ (i.e. offensive material) he assures him that it contains ‘no offense i‘the’world’ (i.e. no crime of any sort) — because the poisoning it depicts is only fictional, not the real thing. It is a sophisticated piece of quibb

Optimum

Licensed Fools: the 1598 Watershed, defined. It often has to be inferred from actions they either did or did not take, while anything they put into writing . need to be seen as a negotiating posture (in relation, say, to the City of London authorities) rather than as a settled will. In fact, it is probably a mistake to assume that th

Outspoken

,Obscenity and Profanity: Sir Henry Herbert’s Problems with the Players and Archbishop Laud, 1632–34e whole early modern period: for the simple reason that virtually nothing has survived from the office-books of his principal predecessors as Master of the Revels, Edmond Tilney and Sir George Buc.. Yet the gravitational pull of Shakespeare and his immediate contemporaries remains so strong in the s

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Semblance

Shakespeare: the Birth of the Author,hat editors have generally agreed are based on the author’s papers or a good playhouse copy.. Yet hardly anyone has supposed that Shakespeare actively saw them into print. This is one of those ‘facts’ about Shakespeare’s career usually taken quietly for granted. In the course of this chapter I shall

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Jonson: the Epistle to ,ments in earlier works by Jonson, such as Lorenzo Jr’s encomium on poetry in . (printed 1601), the various Grexes in . (1600), and incidental commentary on those parts of . (1604) for which Jonson had been responsible. There are also relatively brief prefaces to the printed texts of . (1605) and the