Abstract
In early modern England, theatrical performance was charged with undermining sincerity, while epitaphic writing was praised as upholding it. Given that epitaphs and plays were perceived to occupy contrasting positions with respect to the contemporary discourse surrounding sincerity, it is striking how often epitaphs are invoked in the dramas of the period: the preeminently “sincere” genre within the preeminently “insincere” genre. I suggest that the epitaphic genre provided dramatists with an unexpected vehicle for exploring the limits of sincerity; the repeated convergence of the two genres provides a kind of mutual critique.
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