These essays apply the postmodernist theory of intertextuality to
romantic drama of the English Renaissance, including work by
Heywood, Beaumont and Fletcher, Ford, and especially Shakespeare.
Placing the plays into dynamic relation with a wide variety of
literary, cultural, and political 'intertexts' causes them to
signify in ways not previously appreciated, as well as to define
neglected features of the staged romance of the period. Equally
important is the development of intertextuality as a critical
methodology with a particular affinity for the genre and the
period.
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