'An honest dog yet': Performing The Witch of Edmonton

At the climax of Dekker, Ford, and Rowley’s 1621 tragedy The Witch of Edmonton, the devil treats a young morris dancer named Cuddy Banks to a discourse on the relationship between the everyday world in which Cuddy lives and the demonic realm over which he himself reigns.

Reading Silk: England's Search for a National Identity, 1590-1630

In this thesis, I plan to demonstrate that silk becomes a tool for nation building. While at first the English peoples’ insatiable appetite for silk creates an identity crisis of sorts for England, with the conflicting desires to emulate foreign practices and also to remain steadfast to the nation, silk is eventually recognized as a material that has the power to unite the English people.

Warning, Familiarity and Ridicule: Tracing the Theatrical Representation of the Witch in Early Modern England

The image of the witch and the vehicle of the theatre seem to be a natural fit. The spectacle inherent in the supernatural aspects of the witch provided a wealth of vivid opportunities for the employing the latest in scenic and technical advances and for experimenting with the possibilities for new special effects.

All Singing, All Dancing

Sexually explicit jigs were a major part of the attraction of the Elizabethan, Jacobean and Restoration stage, as Lucie Skeaping explains.

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