Globalizing Fortune on The Early Modern Stage

How were understandings of chance, luck, and fortune affected by early capitalist developments such as the global expansion of English trade and colonial exploration? And how could the recognition that fortune wielded a powerful force in the world be squared with Protestant beliefs about the all-controlling hand of divine providence? Was everything pre-determined, or was there room for chance and human agency? Globalizing Fortune addresses these questions by demonstrating how English economic expansion and global transformation produced a new philosophy of fortune oriented around discerning and optimizing unexpected opportunities. The popular theater played an influential role in dramatizing the new prospects and dangers opened up by nascent global economics and fostering a set of ethical practices for engaging with fortune's unpredictable turns. While largely derided as a sinful, earthly distraction in the Boethian tradition of the Middle Ages, fortune made a comeback on the English Renaissance stage as a force associated with valiant risks, ennobling adventures, and purposeful action. The early modern stage also reveals how a new philosophy of fortune led to economic exploitation and racialized exclusions.

Offering in-depth discussions of plays by Shakespeare, Marlowe, Heywood, Dekker, and others, Globalizing Fortune demonstrates how the history of the English commercial theater—like that of English seaborne expansion—was also a history of fortune. The public theater not only shaped popular understandings of fortune's role in a culture undergoing economic transformation, but also addressed this transformation from a unique position because of its own implication in London commerce, its reliance on paying customers, and its vulnerability to the risks and contingencies of live performance. Drawing attention to an archive of plays dramatizing maritime travel, trade, and adventure, this book shows how the popular stage shaped evolving understandings of fortune by cultivating new viewing practices and mechanisms of theatrical wonder, as well as modeling proper ways of acting in the face of unknown outcomes and contingency. In short, Globalizing Fortune demonstrates how the public theater offered the first modern understanding of fortune as a globalizing commercial and ethical phenomenon.

Jane Hwang Degenhardt, Professor of English, University of Massachusetts Amherst

Jane Hwang Degenhardt is Professor of English at the University of Massachusetts Amherst, where she teaches classes on Shakespeare and his contemporaries as well as on racial trauma and social justice. Her scholarship focuses on early modern drama, with particular interests in the histories of race
and religion, the effects of globalizing processes, and the relationship between literature and social justice. She is the author of Islamic Conversion and Christian Resistance on the Early Modern Stage (2010), and co-editor, with Elizabeth Williamson, of Religion and Drama in Early Modern England.
She is co-editor of the journal ELR.

Preface: My Early Fortunes
Introduction: Fortune's Early Modern Turn: From Pagan Goddess to Proto-Capitalist Economics
1. The Rise and Fall of Fortune: Imperial World History and England's Commercial Turn in Doctor Faustus (c. 1588/89) and Friar Bacon and Friar Bungay (c. 1589/90)
2. Fortunate Returns: Venturing, Performance, and the Hidden Hand of Providence in The Merchant of Venice (c. 1596) and The Four Prentices of London (c.1594)
3. Navigating Fortune's Global Compass: Economies of Value and Affective Labor in Old Fortunatus (c. 1600) and The Fair Maid of the West, Part 1 (c. 1600)
4. Embracing the Unknown: Fortune at Sea and Theatrical Risk in Hamlet (1600) and Pericles (c. 1608)
Afterword: The Darker Side of Fortune: Taking Stock of Fortune's Ethical and Racial Costs