‘Parting is such’: Those Who Stay and Those Who Go in Early Modern Domestic Drama
Bibliographic record
Abstract
In this paper, we parse scenes of parting for war in order to read wartime female stage presence and agency in William Shakespeare’s 1 Henry IV and Othello, Thomas Heywood’s 1 + 2 Edward IV, and Thomas Dekker’s The Shoemaker’s Holiday . We show that moments of parting for war on stage figure in powerful ways the instability that characterized domestic life in early modernity, particularly for women, and we demonstrate that the various modes of resistance enacted by Kate Percy, Mortimer’s Welsh bride, Desdemona, Jane Shore, and Jane Damport expose not only the threat to domestic life posed by war, but also the broader threat to women’s lives posed by commercial, political, and military decisions from which they are often excluded. While directors and critics often reduce these “partings” to so much “sweet sorrow,” we argue that these charged junctures complicate the assumption that wives are fainthearted or selfish when their husbands are called to war, that they reveal the commercial concerns that often underlie men’s wartime absences, and that they emphasize the marital alienation, economic precarity, sexual exploitation, and physical danger that faces both women who stay and those who go to war in early modern domestic drama. We want our attention to domestic ruptures in drama generally to contribute new ways to expand the particular definition of domestic tragedy: these plays share a pattern in which matters of international politics and commerce are shown to impact directly domestic lives and in which wives respond in a broader range of ways than has previously been recognized.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".