Middleton & Rowley: Forms of Collaboration in the Jacobean Playhouse

Acknowledgements

Note on the Citation of Early Modern Dramatic Texts

1. Middleton and Rowley: Writing About Collaborative Drama

- Critical Approaches to Collaboration: The Case of The Changeling

- Middleton, Rowley and Authorship

- Authorial Divisions and the Process of Collaboration

- Analyzing Collaborative Drama

2. Collaborators and Individual Style: Choice and Religion in The Changeling

- Choosing to Sin in All`s Lost by Lust

- The Mind of the Sinner

- Calvinism and Middleton`s Tragedies

- Collaboration and Choice in The Changeling

- Divided Authors

3. The Actor as Collaborator: Wit at Several Weapons and the Incorporation of Persona

- Rowley’s Persona Under Different Playwrights

- The Rowleyan Clown in All’s Lost by Lust

- The Structure of Rowley’s Clown Plots

- Middleton, Rowley, and the Clown: Wit at Several Weapons

- The Clown’s Perspective

4. Collaborators and Playing Companies: Class and Genre in A Fair Quarrel

- Middleton and the Factious Comedy

- Rowley and Romance

- The Double Ending of A Fair Quarrel

­- Duelling Genres

5. A Presence in the Crowd: Multiple Authorship and the Individual Voice in The Spanish Gypsy, The World Tosesed at Teninis and The Old Law

- An Actor’s Presence in The Spanish Gypsy and The Changeling

- The Patron’s Presence in The World Tossed at Tennis and The Old Law

- Epilogue: The Presence of the Absent Author

Appendix: A Middleton-Rowley Chronology