ABSTRACT
An occasionalist reading of The Phoenix's 'militancy' colours the editorial commentary of Danson and Kainps, who conclude that this play represents Middleton's 'angry denunciation and political optimism' at the arrival of James. The Fawn offers the most convincing example of external political influences brought to bear on a Jacobean playwright. The princess's derogatory comments are not the only allusions to Friar Bacon within The Fawn. The Fawn invokes Brant's Narrenschiff, not only with its overt ship of fooles imagery, but also with its Zuccone/Zoya subplot of insane marital jealousy. The Ferraran dukedom of The Phoenix figures the barely-disguised City of London. With its proto-city comedy subgeneric status, The Phoenix exemplifies Middleton's own generic radicalism. The inherent medievalism of Middleton's Italianized disguised ruler adventure is further evinced in several miracle play allusions that denote a subtle intertextuality between The Phoenix and The Malcontent. Economic pragmatism rather than factional didacticism seems more important for the aristocratic patrons of London's playhouse companies.
