CONTENTS

 

 

 

Nathaniel Richards

††††††††††† Nathaniel Richards

††††††††††† His Circle

††††††††††† His Works

 

Introduction

 

The Play

††††††††††† Date

††††††††††† Textual History

Genre

††††††††††† Title Page Engraving

††††††††††† Characters

††††††††††† Themes

††††††††††† Performance

††††††††††††††††††††††† The Kingís Revels

††††††††††††††††††††††† The Salisbury Court†††††

††††††††††††††††††††††††††††††††††† History

††††††††††††††††††††††††††††††††††† Staging†††††††††††

 

The Context

††††††††††† Sources

The Roman Play

††††††††††† Political Topicality

††††††††††† Treatment of Women

Reception

 

Afterlife

 

THE TRAGEDY OF MESSALINA, THE ROMAN EMPRESS

 

Editorial Procedures

 

Works Cited and Further Reading

 

Appendix

A. Commendatory Verses

i)                    Thomas Rawlinís The Rebellion (1640)

ii)                   Thomas Middletonís Women Beware Women (1657)