Intersectionalities of Class in Early Modern English Drama

Acknowledgments
Contents
Notes on Contributors
1 Introduction
2 “As of Moors, so of Chimney Sweepers”: Blackness, Race, and Class in George Chapman’s May Day
	Sooty Marks, Chromatic Metaphors
	The Role of the Sweep in May Day
	Conclusion
3 “The Moor? She Does Not Matter”: Intersections of Class, Race, Religion, and Gender in Novelizations of The Merchant of Venice
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4 Working-Class Villains: Iago in the Trump Zeitgeist
	Aunt Joyce May Be Colorblind
	Working-Class Villain: Iago the Trump Voter
	“Honey Badger Don’t Care”: Iago the Proud Boy
	“I Know My Place”: Venice, Charlottesville, and Le Grand Remplacement
	“Gratiano, Keep the House”: The Status Quo and the Politics of Division
5 Filiation and White Freedom: Class, Race, and Sexuality in Brome’s A Jovial Crew
	Black Rogues, White Landowners: The Labor of Racializing Class
	Beggar-Nigglers and the Eroticization of Whiteness
	From Romance to Race
6 “Portraiture[s] of Schism”: The Trans-Rogue-Royalism of Catalina/Antonio de Erauso and Mary/Jack Frith
7 Class and Climate, or Redemption Comes to Pericles but Not to Spring
8 Red-Green Intersectionality Beyond the New Materialism: An Eco-Socialist Approach to Shakespeare’s The Tempest
9 Logic-Chopping Servants, Politic Jesters, and Pet Fools
10 Wench, Witch, Wife, Widow: The Power of Address Terms in The Witch of Edmonton
	Introduction
	Wench
	Witch
	Wife, Widow
11 Advancing Him, Subjecting Herself: Class, Gender, and Mixed-Estate Marriages in Early Modern Drama
12 “Too Slight a Thing”: Jane Shore, Womanhood, and Ideological Conflict in Thomas Heywood’s Edward IV
13 Women’s Intersectional Shop Labor in the Royal Exchange
14 Counsel, Class, and Just War in Shakespeare’s Henry V
15 Sexual Violence as Class Conflict: Seizing Patriarchal Privilege in Early Modern English Drama
Index