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The End of SatisfactionDrama and Repentance in the Age of Shakespeare$
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Heather Hirschfeld

Print publication date: 2014

Print ISBN-13: 9780801452741

Published to Cornell Scholarship Online: August 2016

DOI: 10.7591/cornell/9780801452741.001.0001

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As Good as a Feast?

As Good as a Feast?

Playing (with) Enough on the Elizabethan Stage

Chapter:
(p.94) Chapter 4 As Good as a Feast?
Source:
The End of Satisfaction
Author(s):

Heather Hirschfeld

Publisher:
Cornell University Press
DOI:10.7591/cornell/9780801452741.003.0005

This chapter analyzes the migration of “Enough,” from the 1570 play Enough Is as Good as a Feast, from its place in Elizabethan drama to its lodging in the figure of Shylock (Shakespeare's stage). Shylock is a Jewish money lender whose profession and religion were among the period's preeminent symbols of excess, the ever-increasing “overplus” associated with illicit commerce and the general acceleration of early modern England's domestic and international economies. This acceleration, and the kinds of financial instruments and ideologies it involved, is inextricable from the complicated intersection of economic practices and Reformation religious beliefs. The chapter identifies a certain moment in the history of satisfaction, a moment when the ethical and affective values assigned to satis by the strong voices of economic morality stood in striking contrast to the values associated with penitential enough.

Keywords:   Enough, Enough Is as Good as a Feast, Elizabethan drama, Shylock, Shakespeare's stage, excess, satisfaction, pentitential enough

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