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Abstract Despite a Restoration vogue for adapted—or ‘improved’—productions of Shakespeare’s plays, Love’s Labour’s Lost (c.1594) fell out of the theatrical repertoire after 1660. The play’s immediate afterlife exists solely in Margaret Cavendish’s inversion of the play in her closet drama The Convent of Pleasure (1668). This essay argues that both plays respond to the virulent plague outbreaks which immediately preceded them in their depiction of single-sex cloistering, and engage with contemporaneous debates around the efficacy of household quarantine as a public health response. Love’s Labour’s Lost offers a complicated defence of public theatre in the face of quarantine restrictions which saw the playhouses forcibly closed for 11 months. Convent repurposes Shakespeare’s portrayal of infection risk in a public theatre for the closet environment. But transferring a play predicated upon the fear of contagious bodies from the commercial stage to the ‘Stage of Imagination’ has potentially dangerous consequences for its readers. Cavendish’s vitalist materialism renders the recreation of the public stage within the mind an act of potential self-harm. Yet Cavendish’s adaptation of a Shakespearean play preoccupied with plague allows her to think through her own theory of imitation as the driving force behind both contagion and sympathetic inclination.
Caroline Taylor (Thu,) studied this question.