Abstract and Keywords
During the period in between, and especially in the decades immediately following Elizabeth's accession when London in particular experienced unprecedented growth and rapid expansion of trade, the preponderance of extant Protestant religious drama is deeply distrustful of commercial practices. Representative of this highly critical attitude towards commerce is a series of printed plays that specifically target economic issues. They are The Cruel Debtor (1565), The Trial of Treasure (1567), Like Will to Like (1568), Enough Is as Good as a Feast (1570), The Tide Tarrieth No Man (1577), and All for Money (1578). Identified today as ‘moral interludes’, these plays are essentially religious in purpose, present characters who are part allegorical abstraction and part social type, and appeal to popular audiences. This article argues that these plays were written in response to what early Elizabethan preachers and play-makers saw as the widespread practice of fraud, oppression, and injustice arising from a surge in the growth of commerce and wealth. Emphasizing the spiritual implications of economic ill-doing, these interludes were part of a print propaganda campaign led by the advanced Protestant wing to outlaw usury and to reduce rent-racking and other forms of economic exploitation.
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