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For many years Middleton's "A Game at Chess" was more notorious than read, considered rather a phenomenon of theatrical history than a pre-eminent piece of dramatic writing. "A Game at Chess" was a nine days' wonder, an exceptional play of King James' reign on account of its unprecedented representation of matters of state usually forbidden on the stage. The King's Men performed the play uninterruptedly between 5th and 14th August, 1624 at their Globe Theatre, attracting large audiences, before the Privy Council closed the theatre by the King's command. More recently, growing interest in the connections of economics and politics with authorship have promoted readings that locate the play so firmly within its historical context as propaganda that, again, its worthwhile literary and theatrical qualities are neglected. In writing "A Game at Chess", Middleton employed the devices of the neoclassical comedy of intrigue within the matrix of the traditional oral play. What might have seemed old-fashioned allegory was rejuvenated by his adoption of the fashionable game of chess as the fiction within which the play was set. The product of Middleton's experienced craftsmanship is at once deceptively simple and surprisingly complex.
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Eleven articles on aspects of the Renaissance, chief among them women writers, art, and drama.Renaissance Papers is a collection of the best scholarly essays submitted each year to the Southeastern Renaissance Conference. Organized and sponsored in the early 1950s by Duke University and the universities of South Carolina and North Carolina, the annual meeting is now hosted by various colleges and universities across the southeastern United States. The conference accepts papers on all subjects relating to the Renaissance -- music, art, history, literature, etc. -- from scholars all over North America and Europe. This is the forty-seventh volume of Renaissance Papers. It includes articles on 15th-c. Florentine wedding chests, called cassoni, on Isabella Whitney, on Spenser's 'April' woodcut, on Cervantes' El Trato del Argel, on Thomas Nashe's Christ's Tears over Jerusalem, on the crone as type in English Renaissance drama, on female speech and disempowerment in Marlowe's Tamberlane I, on Shakespeare's Richard II and Marlowe's Edward II, on Chaucer's contribution to The Tempest, and on echoes of Ovid in Donne's elegies.T. H. HOWARD-HILL and PHILIP ROLLINSON are professors of English at the University of South Carolina.