The play tells the story of Duke Hercules, who disguises himself as a flattering courtier, the Fawn, in order to infiltrate the court of Duke Gonzago and observe the behaviour of his son Tiberio, who has been sent to Gonzago as an ambassador. In the process, Hercules observes the lechery of Gonzago's courtiers, who are all embroiled in seedy sexual adventures, and the vanity and stupidity of Gonzago himself, who is a pompous old windbag. At the play's conclusion, Hercules holds a symbolic Court of Cupid, in which all the foolish courtiers are arrested for their crimes against love and good sense.
In the early seventeenth century, the London stage often portrayed a ruler covertly spying on his subjects. Traditionally deemed 'Jacobean disguised ruler plays', these works include Shakespeare's Measure for Measure, Marston's The Malcontent and The Fawn, Middleton's The Phoenix, and Sharpham's The Fleer. Commonly dated to the arrival of James I, these plays are typically viewed as synchronic commentaries on the Jacobean regime. Kevin A. Quarmby demonstrates that the disguised ruler motif actually evolved in the 1580s. It emerged from medieval folklore and balladry, Tudor Chronicle history and European tragicomedy. Familiar on the Elizabethan stage, these incognito rulers initially offered light-hearted, romantic entertainment, only to suffer a sinister transformation as England awaited its ageing queen's demise. The disguised royal had become a dangerously voyeuristic political entity by the time James assumed the throne. Traditional critical perspectives also disregard contemporary theatrical competition. Market demands shaped the repertories. Rivalry among playing companies guaranteed the motif's ongoing vitality. The disguised ruler's presence in a play reassured audiences; it also facilitated a subversive exploration of contemporary social and political issues. Gradually, the disguised ruler's dramatic currency faded, but the figure remained vibrant as an object of parody until the playhouses closed in the 1640s.
The Dutch Courtesan is a riotous tragicomedy that explores the delights and perils afforded by Jacobean London. While Freevill, an educated young Englishman and the play's nominal hero, frolics in the city's streets, taverns and brothels, Franceschina, his cast-off mistress and the Dutch courtesan of the play's title,laments his betrayal and plots revenge. Juxtaposing Franceschina's vulnerable financial position against the unappealing marital prospects available to gentry women, the play undermines the language of romance, revealing it to be rooted in the commerce and commodification. Marston's commentary on financial insecurity and the hypocritical repudiation of foreignness makes The Dutch Courtesan truly a document for our time.
The Malcontent, usually recognized as John Marston's masterpiece, is one of the most original and complex plays of the Elizabethan theatre. Complex in genre, structure and language, it poses interesting problems for theatre history and textual transmission. The aim of this edition is to offer answers to the various questions raised by the play (derived from the thirty-six copies now extant), to establish a reliable text, to date the play and relate it to the aesthetic cross-currents flowing at the turn of the seventeenth century. It also seeks to place The Malcontent within the theatrical traditions both of boy-players and of Shakespeare's company, which stole the play from the boys and adapted to their own theatre.
In the early years of the twentieth century, South American fire ants crossed the Caribbean and invaded the shores of the southeastern United States. These imported fire ants quickly found a niche in Gulf Coast fields and lawns, overpowered the native species, and began spreading. In the process they became a notorious pest to some, a beneficial ally to others, and a potential killer to allergy sufferers. As a result, they are among the most intensely studied insects in the world. Near the turn of the millennium the dominant species, the red imported fire ant, finally made its long-feared leap across the hostile western desert into the greener oasis of southern California, where it stood poised to infest the richest agricultural region in the country.In this authoritative book, five economically important species take center stage. These are the red imported fire ant, the black imported fire ant, the tropical fire ant, the southern fire ant, and the golden fire ant. A general introduction and a history of their invasion of North America open the door to additional chapters on natural history, origin and evolution, animals that share the fire ants' nest, the mixed successes of chemical control, and natural enemies and the hopes for biocontrol. Also examined are the pros and cons of fire ants, their medical importance, and suggestions for future research. The appendices list all known fire ant species and explain how to prepare, preserve, and identify every known species occurring in the United States.Well written and enhanced by an extensive glossary, a thorough bibliography of scientific literature, and more than one hundred photos, maps, and drawings, Fire Ants engages and informs both nonprofessionals and specialists.
