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: Dekker,
: Browse the introduction to Smallwood and Wells’ edition.
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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