Comparing Milton's tract Of Education with the Ludlow Masque, this chapter studies the schoolboys of the masque and how their education into manhood is developed in these works. Comparing the masque to Shakespeare's Two Gentlemen of Verona, the chapter shows how young men school themselves into heteronormative power. In the cultural contexts of humanist pedagogy, with its ambivalent views of both peer review and maternal tutors, Milton's Comus, Lady, Sabrina, Thyrsis, and brothers reenact a graduation into masculinity that depends upon the lost mother and the silenced woman.

This chapter provides a thorough revision of the status of boys and youths in the early modern period, attending to the neglected question of physical skill and training. It argues that attending to historically situated forms of physical expectation can shed light on how particular bodily skills are culturally cultivated, placing a more active emphasis on boys' bodies than scholars of early modern culture have typically tended to. The chapter draws on religious writings, conduct books, memoirs, apprenticeship manuals, and educational tracts in order to provide a wide-ranging picture of how boys' physical capacities were understood, improved, and manipulated in this period. Examining the ways in which boys and their bodies are situated in these works – often with an emphasis on physical labour and potential for activity – the chapter argues for a shared culture of expectation around the bodies of early modern boys in which physical movement and productivity is at the forefront. This culture, it moves to suggest, is everywhere discernible in contemporary attitudes to the early modern theatre, which articulated a pervasive fascination with the moving, working bodies of boy performers.

Chapter One, ‘Contexts’, is the starting point for these colonial journeys from New Zealand, South Africa and the West Indies. What it was like to be a young man in Wellington, Cape Town or Kingston in 1914? The chapter explores the cultural ‘baggage’ the newly enlisted men brought with them: their expectations for the conflict and what service to the empire meant, to think about how this would influence their representation of their encounters. This chapter acts as touchstone for the rest of the book in explaining how New Zealand, South Africa and the West Indies got involved with the war, how they recruited and who they sent. The intricacies of racial restrictions on the service of men of colour are explored, from those demanded by the South African government, to later decisions made about the combatant status of the British West Indies Regiment which help to understand the structural framing of the encounters the men experienced.

This chapter turns inward, considering how the performance of vice haunted the early modern child, how the positionality of boyhood or girlhood inflected and shaped the act of performance, and the possible reasons for casting children as rule-breakers, sexual deviants, and seducers in a pedagogical context. Plays and masques with antimasque style roles were performed by schoolgirls and boys, including a boy who played an unruly scholar celebrating truancy in song, young ladies who sang as Furies and witches, and schoolgirl dancers who enacted scenes of murder and violence. Children of both genders also practiced the arts of musical seduction: a boy, Wentworth Randall, sang as Dame Siren in Apollo Shroving (1627), before his costume was violently torn from him, revealing a monstrous fish tail; a girl sang to persuade Paris to choose Venus and pleasure in Beauties Triumph (1676), even as she warned of the dangers of doing so. As these entertainments reveal, the performance of vice was dialectical – the pedagogues who crafted the entertainments claimed they displayed immorality only to uncloak its rottenness. Yet, given early modern pedagogical theories, there was also the very real danger that children might become what they performed – imitatio gone terribly wrong.