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date: 20 February 2020

(p. ix) List of Figures

(p. ix) List of Figures

  1. 0.1 The Cardsharps (c.1594. Michelangelo Merisi da Caravaggio, 1573–1610. AP 1987.06 Kimbell Art Museum, Fort Worth, TX, USA) 7

  2. Kimbell Art Museum, Fort Worth, Texas/Art Resource, NY.

  3. 1.1 The Owle's Almanacke (1618, STC 6515.2 copy 1), title page. 24

  4. By permission of the Folger Shakespeare Library.

  5. 1.2 The Tragicall History of the Life and Death of Dr. Faustus (1620, Robert H. Taylor Collection. Department of Rare Books and Special Collections), title page. 27

  6. By permission of the Princeton University Library.

  7. 5.1 Heat map showing patterns of emotional intensity in three versions of the Cupid Song. 85

  8. 5.2 Cupid Song: setting of lines 2–3 showing musical figures of excitement and anxiety. 91

  9. 5.3 Cupid Song: high notes and incisive rhythms in the setting of anxiety-laden words. 91

  10. 5.4 Cadenza from manuscript version of Thomas Morley's air ‘With my love my life was nestled’. 95

  11. 6.1 Dick Follywit and the lads devise a sting (A Mad World, My Masters, 1.1). 106

  12. 6.2 Sir Bounteous distributes gifts to guests (A Mad World, My Masters, 2.1). 107

  13. 6.3 Frank Gullman, the Courtesan, negotiates an erotic future for Penitent Brothel (A Mad World, My Masters, 1.1). 108

  14. 6.4 Offstage fornication as onstage romp (A Mad World, My Masters, 3.2). 110

  15. 6.5 Dick Follywit, transvestite, and the lads: ‘Did not I tell you rascals you should see a woman quickly made up?’ (A Mad World, My Masters, 3.3). 114

  16. 8.1 A zanni and his lady. Alessandro Padovano after Friedrich Sustris, 1575–79. Fools’ staircase (‘Narrentreppe’), Castle Trausnitz, Landshut, Bavaria. Courtesy of the Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen. 135

  17. (p. x) 8.2 ‘Unus non sufficit’—‘One is not enough’. Seventeenth-century Spanish coin. Private collection. 139

  18. 8.3 A cavalier demonstrating a deep reverence (‘riverenza grave’) to his lady at the beginning of a dance. Frontispiece to the dance Alba Novella, dedicated to Bianca Cappello de’ Medici, Gran Duchessa di Toscana. Fabritio Caroso, Il Ballarino (Venice: Ziletti, 1581), part 2, fo. 3v. Shelfmark MT950.c.25 1581 Case. Courtesy of the Music Division, Library of Congress. 140

  19. 31.1 Prologue—Duke, Gloriana, Vindice (2008, National Theatre, London: Image #00135). 506

  20. NT Archive/Photo by Johan Persson.

  21. 31.2 Duke, bony lady, Vindice (2008, National Theatre, London: Image #01116). 510

  22. NT Archive/Photo by Johan Persson.

  23. 31.3 Cross-dressed Vindice, Lussurioso, other masquer in background (2008, Royal Exchange Theatre, Manchester: Image JKP-080527–1105). 513

  24. Photo by Jonathan Keenan.

  25. 32.1 Middleton's Imaginative World. 528

  26. 34.1 The masque in the Red Bull production of Women Beware Women. 555

  27. Photo by Carol Rosegg.

  28. 34.2 Raymond Coulthard and Harriet Walter as Hippolito and Livia. 557

  29. NT Archive/Photo by Simon Annand.

  30. 34.3 Barbara Flynn as Gratiana in the National Theatre's production of The Revenger's Tragedy. 558

  31. NT Archive/Photo by Johan Persson.

  32. 34.4 Katherine Manners and Rory Kinnear as Castiza and Vindice in the National Theatre production of The Revenger's Tragedy. 561

  33. NT Archive/Photo by Johan Persson.

  34. 34.5 Kathryn Meisle and Liv Rooth as Livia and Isabella in the Red Bull production of Women Beware Women. 562

  35. Photo by Carol Rosegg.

  36. 34.6 The masque in the National Theatre production of Women Beware Women. 566

  37. NT Archive/Photo by Simon Annand.