Copyright held by
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Further details of licences are available from our
Licences page. For more
information, contact the project director,
Provider: University of Victoria
Database: The Map of Early Modern London
Content: text/plain; charset="utf-8"
TY - ELEC
A1 - Jenstad, Janelle
A1 - Klemic, Kane
A1 - Barber, Benjamin
ED - Jenstad, Janelle
T1 - 520 Class 10
T2 - The Map of Early Modern London
ET - 7.0
PY - 2022
DA - 2022/05/05
CY - Victoria
PB - University of Victoria
LA - English
UR - https://mapoflondon.uvic.ca/edition/7.0/TEN1.htm
UR - https://mapoflondon.uvic.ca/edition/7.0/xml/standalone/TEN1.xml
ER -
Janelle Jenstad is Associate Professor of English at the University of Victoria, Director of
Benjamin Barber is a PhD student at the University of Ottawa. His recently completed MA research at the University of Victoria analyzed the role of mimetic desire, honour, and violence in Heywood’s
Programmer at the University of Victoria Humanities Computing and Media Centre (HCMC). Martin ported the MOL project from its original PHP incarnation to a pure eXist database implementation in the fall of 2011. Since then, he has been lead programmer on the project and has also been responsible for maintaining the project schemas. He was a co-applicant on MoEML’s 2012 SSHRC Insight Grant.
Student contributor enrolled in
Sheriff of London
Our editorial and encoding practices are documented in detail in the Praxis section of our website.
Jump to other classes: 1 2 3 4 5 6 7 8 9 10 11 12
: Dekker,
: Browse the introduction to Smallwood and Wells’ edition.
:
purposely conserves a state of discord(358). Christensen and Arab (in different ways) offer readings of the gender politics of the play. These references are for information only. I may draw upon them in my discussion, but do not expect you to read them.
:
but give me your angel; your angel shall tell you(IV.iv) as though money literally talks. Indeed, it appears that everyone and everything in London can be bought — all except Jane, who
only gives(IV.i), much to Hammon’s repeated astonishment (V.ii). What, then, is the picture one gets of the economy of London from
leave the gross work to Hans(III.i); Eyre, on the other hand, becomes Lord Mayor but still speaks mostly in prose, belying his former position — something that did not seem as out of place when he was briefly disguised as an Alderman (III.i). Do you think that the portrayal of upward mobility in the play takes itself seriously? Or, in other words, is there evidence in
not [for] a base want of true valour’s fire /(21.56-57)? If there is a critique of class inequality in this play, are there other examples? Alternately, how does Dekker affirm the value of hierarchical class distinctions? Does Dekker both affirm and critique class hierarchy? (but love’s desire