In 1579 a leading dramatic critic made the curious remark that theatre 'effeminated' the mind. Four years later another insisted that male actors who wore women's clothing could literally 'adulterate' male gender. In a tract which may have hastened the closing of the theatres in the mid-seventeenth century, William Prynne described a warrior whom women's clothing had caused to 'degenerate' into a woman. How can we account for these persistent anxieties and their effect on the work of Renaissance playwrights, simultaneously haunted by such fears and obsessively intent on coming to terms with them?
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