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The article reviews a production of Marlowe's "Doctor Faustus" directed by Ricky Dukes for the Lazarus Theatre Company at the Southwark Playhouse in London on September 3, 2022.

This essay explores the mention of a set of wall hangings showing the story of Abraham, Sarah and Hagar in Margaret Cavendish's play The Unnatural Tragedy (1662). It relates this to the prominence of actual tapestries and other hangings in the Cavendish family houses, following a tradition established by Bess of Hardwick. Cavendish herself had no interest in needlework, and tapestries in particular might have been a difficult topic for her because she associates them with pregnancy and childhood, matters on which she was sensitive because she was childless and aware that Newcastle had married her partly because he desired more sons. In The Unnatural Tragedy, however, these associations are put to good use by providing thematic echoes of both the play's main plot and subplot and also of Cavendish's own situation. Probably alluding to a set of tapestries in the royal collection, the Hagar panel speaks of the continuity of the royal line and, by implication, tropes dynastic continuity more generally, and thus forms an interface between the private space of the house and the public space of the world outside, underlining the extent to which this is a play with a public resonance as well as a purely private one. [ABSTRACT FROM AUTHOR]

This essay argues what is on the face of it a ludicrous claim: that Shakespeare's play The Winter's Tale can profitably be read in the light of the story of the Algonquian princess Pocahontas. The reason that this seems ludicrous is quite simply that The Winter's Tale was almost certainly written before Shakespeare can have heard of Pocahontas, and in any case, everyone knows that it is The Tempest which is interested in the New World, not The Winter's Tale , which is located firmly in the classical past. Nevertheless, as many scholars have observed, the classical past and the New World were rarely far apart in early modern thought. The essay argues that there is not merely an incidental but a structural parallel, with deep roots in early modern thought systems, between the events of The Winter's Tale and those surrounding the vist of Pocahontas to London some four or five years after the play was first performed, so that the later of the two events can indeed help us to read the earlier. It suggests that excessive attention to Pocahontas’ relationships with first John Smith and then John Rolfe have prevented us from noticing a much less visible but culturally no less interesting one with Henry, Prince of Wales, and above all with the mode of relationship between England and America which Prince Henry encouraged and with which he ultimately came virtually to be identified, which was one mediated through the classical past. Throughout Prince Henry's life in England there was a strong association between him and the figure of Marcellus, nephew and heir apparent of the Emperor Augustus, who died young and whose loss was lamented in the Aeneid . Pocahontas too was a figure to whom strong Virgilian resonances accrued. In The Winter's Tale , the princess from a new land replaces the lost prince who had died in the old, and the discourse of the classical mingles so powerfully with that of the trade and exploration which drove the quest for the New World. To read The Winter's Tale in the light of the Pocahontas story allows us a lens through which to read the culturally crucial intersection of the Virgilian with the Virginian, and of the New World with the Old. [ABSTRACT FROM AUTHOR]

Examines "A Midsummer Night's Dream," a play by William Shakespeare in terms of the classical myths that influenced the cultural demonization of women. Similarity of the play's characters to those of "Hippolytus"; Details of feminist criticisms to the drama; Reference of the play to tragedies.

Focuses on the representations of Irishness and Germanness in the fiction of novelists John Buchan and Erskine Childers. Similarities between the English and the Germans in race and language; Preference toward the Irish in the book of Buchan; Association between the Irish and the blacks.

Focuses on the female characters in the poetry of John Milton. Representation of women in `Paradise Lost'; Speculations on omission of the Virgin Mary in `Paradise Lost'; Impact of culture on views of women by Milton.

Focuses on the applied misogyny in Thomas Middleton' `Women Beware Women.' Justification of misogyny in the behavior of the play's central manipulator, Livia; Significance of the play's emphasis on the parent-child relationship; Representation of Livia as a mother despite her childless state.

Examines selected scenes between men and women in John Webster's two drama tragedies `The White Devil' and `The Duchess of Malfi'. Value of women's language by members of their own sex; Attempt by females to adopt male modes of speech.

The article reviews the theatrical production "Twelfth Night" written by William Shakespeare, directed by Tim Carroll and starring Samuel Barnett, held at the Apollo Theatre in London, England on January 26, 2013.

The article reviews the play "Love's Sacrifice," written by John Ford, directed by Matthew Dunster, and starring Sheila Atim, Guy Burgess, and Jonathan McGuinness, performed at the Swan Theatre in Stratford-upon-Avon, England on May 16, 2015.

The article reviews the theatrical production "The Winter's Tale" written by William Shakespeare and directed by Sam Mendes, performed at the Old Vic, London, England, during May 23-August 15, 2009.