Acknowledgments Textual note Introduction: consummate play Part I. 'Come ... and Play': Christopher Marlowe, Beside the Point: 1. Genre, gender, and sexuality in 'The Passionate Shepherd' and Tamburlaine 2. Submitting to history: Edward II 3. 'True-loves blood': narrative and desire in Hero and Leander 4. 'Thus with a kiss': a Shakespearean interlude Part II. Desiring Women in the Seventeenth Century: 5. 'How strangely does himself work to undo him': (male) sexuality in The Revenger's Tragedy 6. 'My body bestow upon my women': the space of the feminine in The Duchess of Malfi 7. 'I(t) could not choose but follow': erotic logic in The Changeling 8. 'Old men's tales': legacies of the father in 'Tis Pity She's a Whore 9. The passionate shepherdess: the case of Margaret Cavendish Afterword: for(e)play Notes List of works cited Index.
Acknowledgments Textual note Introduction: consummate play Part I. 'Come ... and Play': Christopher Marlowe, Beside the Point: 1. Genre, gender, and sexuality in 'The Passionate Shepherd' and Tamburlaine 2. Submitting to history: Edward II 3. 'True-loves blood': narrative and desire in Hero and Leander 4. 'Thus with a kiss': a Shakespearean interlude Part II. Desiring Women in the Seventeenth Century: 5. 'How strangely does himself work to undo him': (male) sexuality in The Revenger's Tragedy 6. 'My body bestow upon my women': the space of the feminine in The Duchess of Malfi 7. 'I(t) could not choose but follow': erotic logic in The Changeling 8. 'Old men's tales': legacies of the father in 'Tis Pity She's a Whore 9. The passionate shepherdess: the case of Margaret Cavendish Afterword: for(e)play Notes List of works cited Index.
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