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TY - ELEC
A1 - Jenstad, Janelle
A1 - Zheng, Can
A1 - Gruenewald, Aleta
ED - Jenstad, Janelle
T1 - 520 Class 11
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/ELEV1.htm
UR - https://mapoflondon.uvic.ca/edition/7.0/xml/standalone/ELEV1.xml
ER -
Is Not All the World Mile End, Mother?: The Blackfriars Theater, the City of London, and
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Janelle Jenstad is Associate Professor of English at the University of Victoria, Director of
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.
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: Beaumont,
: Browse the introduction to Zitner’s edition.
: You’ll find a number of good articles on
:
present something notably in honour of the commons of the city(57). Simultaneously, Venturewell’s plan to marry Luce with a rich husband fails and is satirized throughout the play. What is the social status of the majority of the audience? Do these satires to some extent reflect that the city’s hierarchy was changing as citizens became gradually wealthy? What possible class conflicts does Beaumont suggest in the play? (
Speaker’s Names(Beaumont 55) he is referred to as
Master Humphrey, a friend to the Merchant. However, Jasper, as that very Merchant’s apprentice and the son of Master Merrythought, also possess a certain degree of status (even if he appears to be younger than Humphrey. In the competition between these characters specifically, a lot is made of very little difference in social status. It appears that Jasper’s sole impediment in marrying Luce is that he is beholden to her father as his apprentice:
Sir, I do liberally confess I am yours, / Bound by both love and duty to your service(1.16-17). Keeping in mind that Beaumont is being satirical with
but let that pass(7.46). Does this suggest something about the status of the Citizen’s wife as a loose woman, or in any way shame the Citizen for being too indulgent with her? For instance, when the wife interrupts the play to remark on the sweetness of the children in the boy’s company, all the Grocer condescendingly says is
Chicken, I prithee heartily, contain thyself. The childer are pretty childer, but when Rafe comes, lamb—(1.98-99). As outrageous as Eyre’s treatment of his wife seems to us, would that behaviour be considered more appropriate by audiences at the time than the Citizen’s? (
The London Merchantwith its intertwined stories of the Merrythought and Venturewell families; and (3) Rafe’s episodic romance quest (one character in search of a plot). Map out the implied spatial trajectories of each of those plots. What parts of London are visited/represented in each story? Where do we begin/end each story? What role does
London—and its constituent places or spaces play in each story? (