Conclusion

Abstract

’shackspeers Plaies are printed in the best Crowne paper, far better than most Bibles’, complained William Prynne.1 The paranoid and monomaniac author of Histrio-mastix, The Players Scourge (1633) — a mammoth and delirious sum of anti-theatrical arguments — obviously took great pleasure in propounding the false idea of a radical incompatibility between theatre (Shakespeare’s plays in particular) and the religious culture of early modern England. The different chapters of this book show, on the contrary, that Shakespeare had an unfailing interest in religious questions. Indeed, religion in his English history plays is not just a byword for politics, nor does a secularist vein necessarily run through all Shakespeare’s work, as the dramatist’s approach to confessional issues betrays his genuine concern for matters of religion.

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