A critical edition of John Fletcher's 'The Island Princess' for Arden Early Modern Drama.

我寻求支持，完成约翰·弗莱彻1621年创作的戏剧《岛公主》的评论版，以便让学校、大学和剧院的广大读者都能读到它。这个版本的价值主要在于弗莱彻剧本本身的重要性。《岛屿公主》是第一部以东印度群岛为背景的英国戏剧，特别是现在被称为摩鹿加群岛的岛屿，但在17世纪，由于贸易，欧洲国家为了争夺“香料群岛”的所有权而闻名。该剧也是早期英国戏剧经典的核心部分，代表了欧洲殖民主义在美洲和“东方”的行为和后果。弗莱彻重新创作了莎士比亚的《暴风雨》（一个异国情调的岛屿，欧洲人的到来争夺它的控制权）的背景和情节，创造了一个完全不同的剧本，以其对悲喜剧结构的自觉处理和对彬彬有礼的比喻，以及对殖民主义和宗教差异的戏剧表现的质疑而闻名。此外，这部戏剧是早期英国戏剧对“东方”和伊斯兰的重要考虑。在当前的地缘政治环境下，在学校和大学中使用现代拼写版本的《岛公主》有明显的教学优势。然而，目前，该剧只存在于一个旧拼写版本（威廉姆斯，1982年），这虽然有价值，但使今天的读者与文本保持一定的距离，与莎士比亚的现代戏剧相比，它延续了一种古老的、难以理解的弗莱契戏剧的扭曲感。我的版本纠正了这一误解，提供了一个完全现代化的文本，遵循严格的做法雅顿莎士比亚系列。此外，读者对戏剧的参与是由一个完整的关键设备帮助。引言和历史整理解释了该剧的文本历史。文本注释记录了编辑的决定和歧义，评注阐明了参考文献，讨论了歧义，并解释了来源和文学、历史、文化和古典典故。在更广泛的层面上，评论进一步分析了弗莱彻的语言使用，他的宗教信仰，皈依，海上贸易和探索，以及欧洲殖民主义的话语。读者将会发现一部同时讲述17世纪和21世纪的戏剧。近代早期的宗教差异在最近对“土耳其人”、殉道者或皈依者的批评中表现得尤为突出。然而，关于弗莱彻对伊斯兰教的描述和“香料群岛”的文化历史，还有很多需要写的。在2002年皇家莎士比亚剧团演出的彩排中，导演格雷戈里·多兰使用了吉尔斯·弥尔顿的流行历史小说《纳撒尼尔的肉豆蔻》来帮助演员们理解“香料群岛”对17世纪作家和观众的重要性：对戏剧本身进行彻底的学术处理是早就应该的了。我的批判性介绍填补了这一空白，揭示了欧洲人与摩鹿加群岛、早期现代基督教与伊斯兰教、天主教与新教之间遭遇的历史和表现。引言部分还介绍了该剧的演出历史；它在弗莱彻的戏剧生涯和他的剧团“国王剧团”中的地位；1621年在詹姆斯六世和一世之前的宫廷演出；它对火药阴谋语言的操纵；以及它对《基萨拉》中外国女王的威胁形象的戏剧化，也就是公主的头衔。因此，引言将戏剧置于其历史化的背景中，并鼓励读者自己理解戏剧，这一版本将激发人们对早期现代英语舞台上“东方”表现的兴趣。

I seek support to complete a critical edition of John Fletcher's 1621 play, 'The Island Princess', and so to make it accessible to a wide range of readers in schools, universities and theatres.The edition's value lies primarily in the importance of Fletcher's play itself. 'The Island Princess' is the first English play to dramatise the East Indies, specifically the islands now called the Moluccas, but known in the seventeenth century by the trade which drove the nations of Europe to compete for their possession - the 'Spice Islands'. The play is also a central part of a canon of early English theatre representing the act and aftermath of European colonialism in the Americas and the 'East'. Fletcher reworks the setting and action of Shakespeare's 'Tempest' (an exotic island, the arrival of Europeans who compete for its control) to create a quite different play, one notable for its self-conscious handling of tragicomic structure and tropes of courtliness, and for its interrogation of the dramatic representation of colonialism and religious difference. Furthermore, this play is a crucial early English theatrical consideration of the 'East' and of Islam. In the current geopolitical climate, there are clear pedagogical advantages to having a modern-spelling version of 'The Island Princess' readily accessible for use in schools and universities. At present, however, the play exists only in an old-spelling edition (Williams, 1982) which, though valuable, keeps present-day readers at arm's length from the text and - in comparison to Shakespeare's much-modernised plays - perpetuates a skewed sense of an archaic, inaccessible Fletcherian dramaturgy. My edition corrects this misunderstanding by providing a fully modernised text, following the rigorous practices of the Arden Shakespeare Series. In addition, readers' engagement with the play is aided by a full critical apparatus. The introduction and historical collation explain the play's textual history. Textual notes record editorial decisions and ambiguities, and the commentary elucidates references, discusses ambiguities, and explains sources and literary, historical, cultural and classical allusions. On a broader level, the commentary further analyses Fletcher's use of language, his discourses of religious faith, conversion, maritime trade and exploration, and European colonialism.Readers will discover a play which speaks to both the seventeenth and twenty-first centuries. Early modern religious difference features prominently in recent criticism in the figures of the 'Turk', the martyr or the convert. Much, though, remains to be written about Fletcher's depiction of Islam and the cultural history of the 'Spice Islands'. In rehearsals for his 2002 RSC production of the play, director Gregory Doran used Giles Milton's popular historical novel 'Nathaniel's Nutmeg' to help his cast understand the significance of the 'Spice Islands' for a seventeenth-century writer and audience: a thorough scholarly treatment aimed squarely at the play itself is much over-due. My critical introduction fills this gap, unpacking the history and representation of European encounters with the Moluccas, and those between early modern Christianity and Islam, and between Catholicism and Protestantism. The introduction also deals with the play's performance history; its place in Fletcher's dramatic career and that of his playing company, the King's Men; the play's performance at court before James VI and I in 1621; its manipulation of the language of the Gunpowder Plot; and its dramatisation of the threatening figure of the foreign queen in Quisara, the princess of the title. So, the introduction situates the play in its historicised contexts, and in encouraging readers to their own understanding of the play, this edition will spark interest in the representation of the 'East' on the early modern English stage.