Introduction 1.1 Mucedorus in Witney, 1652 1.2 Romance and self-performance 1.3 The origins of romance drama 1.4 Case-studies: romance drama 1560-1590 1.5 Mucedorus in context: Mouse, the Seneca-quoting clown Chapter 1. Mucedorus and Popularity: ' To gaine the love of all estates' 1.1 Disturbing romance 1.

2 Commercial drama and popularity 1.3 Case-studies: romance drama 1590-1600 1.4 Mucedorus in context: Bremo, the wild man poet Chapter 2. Mucedorus in the City: 'Who comes here with whom I dare not fight?' 1.1 Amateur playing and self-performance 1.2 Apprentice performances in London 1.3 Case studies: romance drama and apprenticeship 1.4 Mucedorus in context: Mucedorus, the disguised prince Chapter 3.

Mucedorus and the King: 'What should shepherds do in the court?' 1.1 Stuart Arcadias and the stage repertory 1.2 Royal self-performance 1.3 Case-studies: romance drama in the Caroline court 1.4 Mucedorus in context: Segasto, the scheming courtier Chapter 4. Mucedorus in the Country: 'How can she fight, that weapons cannot wield?' 1.1 Playing beyond London 1.2 Playing the community 1.

3 Case studies: romance drama beyond London 1.4 Mucedorus in context: Amadine, the rebel princess Conclusions: 'Now Mucedorus , whither wilt thou go?' 1.1 Mucedorus on the scaffold 1.2 Case studies: Mucedorus beyond drama 1.3 Mucedorus in context: Comedy, the tripled boy player Index.