‘Enter [. . .] a Boy dressed for a Lady': (Meta)Theatricality, Tyranny, and Theatrum Mundi in Philip Massinger's The Roman Actor (1629) and Jean de Rotrou's Le Véritable Saint Genest (1644)

 Analyse du Roman Actor de Massinger et du Véritable Saint Genest de Rotrou, où il appert que “the two texts most productively intersect where they most profoundly diverge: on the shifting and unstable ground of true and false servants and masters” (p. 559).