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Prodigality in Early Modern Drama

of Isabella,” “the highest-status-level characters in real or feigned poverty” (126)—for example, Pantalone dei Bisognosi in “The Travails of Isabella”—and the innamorato “drawn into the fiction of poverty” (126) in “The Fake Blind Man.” In the final chapter, Henke returns to Shakespeare, analyzing key moments in Henry VI Part 2, The Taming of the Shrew, Coriolanus, The Winter’s Tale, and As You Like It, where Shakespeare “staged variegated types of poverty and alternatives responses to the poor” (167). With his across-the-borders approach, Henke displays invaluable material that tracks specific accounts of performances of poverty in early modern European theater, giving the reader new ways of understanding the staging of poverty and charity in early modern Europe.