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"Rowley, William"
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Middleton and Rowley : forms of collaboration in the Jacobean playhouse
\"Can the inadvertent clashes between collaborators produce more powerful effects than their concordances? For Thomas Middleton and William Rowley, the playwriting team best known for their tragedy The Changeling, disagreements and friction proved quite beneficial for their work.
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\Nobody in the Renaissance conceived of a revenge quite so delicious\: John Dickson Carr's Bencolin Stories and Jacobean Revenge Plays
This article argues that John Dickson Carr's first four novels about Inspector Henri Bencolin each draw from a different early modern revenge tragedy: It Walks by Night alludes to John Webster's The Duchess of Malfi; Castle Skull borrows names and atmosphere from Henry Chettle's Hoffman; The Lost Gallows nods to Thomas Kyd's The Spanish Tragedy; and The Corpse in the Waxworks evokes Thomas Middletons and William Rowley's The Changeling.
Journal Article
Bad Blood, Black Desires: On the Fragility of Whiteness in Middleton and Rowley's The Changeling
This essay reads Thomas Middleton and William Rowley's The Changeling (ca 1622) as a meditation on the fragility of white privilege. The anxieties about blood in the play are situated by how the English viewed Spain as the least white nation within Europe. The trope of blackness impacts the way others read Beatrice-Joanna's sexual transgressions, ultimately questioning her chastity and challenging her privileges as a white woman. Rather than seeing whiteness as a stable identity category, I argue that the privileges of whiteness were particularly unstable for white women in the early modern period.
Journal Article
Here’s Beauty Changed to Ugly Whoredom
Jeffrey explains how Thomas Middleton and William Rowley's tragedy The Changeling (1622) destabilizes the Neoplatonic view of beauty with its representation of transgressive femininity. When Middleton wrote The Changeling in 1622, Calvinist theology needed defenders. Calvinism had been the dominant theology in the Church of England since the Elizabethan era, but many of the Church's divines were converting to Arminianism, a branch of Protestantism that rejected fundamental Reformed doctrines such as total depravity and predestination. Like other proto-feminist writers of the early modern era, Middleton emphasizes female equality, but he does so by emphasizing the mutual depravity of the sexes. Beatrice-Joanna is the focal point in The Changeling's picture of depravity, but all the characters in the play wander Calvin's labyrinth, and they fail to find its exit for the same reason: they cannot recognize and repent from their spiritual blindness.
Journal Article
Shameless Collaboration
Although he held Thomas Middleton among the finest of Elizabethan and Jacobean playwrights, T. S. Eliot nevertheless remained ambivalent about his \"authorial\" status, Middleton's role as a \"shameless collaborator\" hardly to be separated from Rowley. Unlike Shakespeare or Jonson or Donne, Middleton poses a peculiar dilemma for Eliot: he lacks \"personality.\" In his account of The Changeling in particular, Eliot identifies \"mixture\" as the characteristic feature, and the most pressing problem, of any Middleton play. Whatever method of collaboration Middleton and Rowley may have employed, there is no compelling basis to disentangle their respective shares. For the moment, and absent further evidence, the authorship of The Changeling, like its genre and its two plots, remains thoroughly and unabashedly mixed.
Journal Article
Exit at one door and enter at the other
This article examines the use in early modern English drama of an apparently awkward stage direction, the 'immediate re-entrance.' In its purest form—in which the stage is cleared and the exact same group of characters re-enters, now imagined to be in a different fictional location—this device is extremely rare, and indeed discouraged by the unwritten 'Law of Re-entry.' Yet scattered examples exist, and a remarkable number involve characters in similar situations with recurring images of keys, fate and devils. Studying these 'fatal re-entrances' reveals their earliest appearance to have been in Thomas Heywood's A Woman Killed with Kindness (1603) and The Second Part of The Iron Age (1612-32). A flurry then appeared at the Cockpit playhouse on Drury Lane in the early 1620s: William Rowley's All's Lost by Lust (1619-20) crystallized Heywood's idea into a simpler form that seems in turn to have inspired sequences in The Witch of Edmonton (Rowley with Thomas Dekker and John Ford, 1621) and The Changeling (Rowley with Thomas Middleton, 1622). Two subsequent Cockpit plays, The Spanish Gypsy (Dekker, Ford, Middleton and Rowley, 1623) and The English Traveler (Heywood, 1624), toy with the audience's familiarity with this expanding trope by introducing unexpected variations. For a few years, a group of playwrights turned the disparaged immediate re-entrance into a powerful stage image that could represent physically the act of choosing, and of walking toward the destiny created by that choice.
Journal Article
Shame and Pleasure in The Changeling
Panek discusses shame and pleasure in Middleton and Rowley's play The Changeling. Its two climactic moments foreground the excruciating, specifically sexual shame of its protagonist, Beatrice-Joanna: first, when she rises from her position of supplicating self-abasement to \"shroud (her) blushes\" (3.4.167) in the bosom of the physically repellent servant who is about to deflower her, and second, when both she and he, disheveled, bleeding, and at least verbally constructed as being caught in flagrante, are exhibited by her vengeful husband to a stage full of gawking onlookers. Examining the treatment of sexual shame in The Changeling helps to illuminate a facet of the early modern understanding of an emotion--or a \"passion,\" the contemporary term unusually apt in this context--that has received surprisingly little attention to date.
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Saints’ Lives and Shoemakers’ Holidays
This essay considers the 1613 Wells Cordwainers’ pageant of SS Crispin and Crispianus through an exploration of hagiographical appropriation in two other contemporary iterations of the St Crispin legend and the conditions of English occasional pageantry. A comparison with the prose tale The Gentle Craft by Thomas Deloney and the stage play A Shoemaker, A Gentleman by William Rowley indicates that the Cordwainers improvised on a popular Jacobean version of their patron saints as romance heroes instead of holy martyrs.
Journal Article