Drafts by Michael Teare-Williams
In Shakespeare's time, no female actors were permitted to perform. This thesis studies the perfo... more In Shakespeare's time, no female actors were permitted to perform. This thesis studies the performances of the boys who acted in place of the women, particularly in the comedies.
Though Shakespeare often gave his very young actors the spiritual aspect of the divine androgyne in the Neoplatonic sense; in the comedies he mostly allowed the boys to indulge themselves and their audiences in the outspoken bawdry that the many outrageous double-meanings in the texts supplied.
This alone separated what was permissible for a boy in the reign of the first Elizabeth, from that in the reign of the second Elizabeth. My thesis also provides a de-code for the lexical obscurities that sometimes fox a modern reader.
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Drafts by Michael Teare-Williams
Though Shakespeare often gave his very young actors the spiritual aspect of the divine androgyne in the Neoplatonic sense; in the comedies he mostly allowed the boys to indulge themselves and their audiences in the outspoken bawdry that the many outrageous double-meanings in the texts supplied.
This alone separated what was permissible for a boy in the reign of the first Elizabeth, from that in the reign of the second Elizabeth. My thesis also provides a de-code for the lexical obscurities that sometimes fox a modern reader.
Though Shakespeare often gave his very young actors the spiritual aspect of the divine androgyne in the Neoplatonic sense; in the comedies he mostly allowed the boys to indulge themselves and their audiences in the outspoken bawdry that the many outrageous double-meanings in the texts supplied.
This alone separated what was permissible for a boy in the reign of the first Elizabeth, from that in the reign of the second Elizabeth. My thesis also provides a de-code for the lexical obscurities that sometimes fox a modern reader.