| Acknowledgments | xi |
| Prologue--A Force Within: The Importance of Demonic Possession for Early Modern Studies | xiii |
| A Paradigm of Theologemes for Literary Exorcism | xxi |
| Introduction: The Morphology of Exorcism, or a Grammar of Possession in Spanish and English Literature, 1550-1700 | 3 |
1 | Demoniacs in the Drama: Theatricalities of Comic Possession and the Exorcism of the Body Politic | 17 |
| The Demon Enters the Body: Alonso de la Vega's La duquesa de la rosa | 19 |
| Symptoms of Possession: Jonson's The Devil is an Ass | 23 |
| Demonic Polyglossia: Ruggle's Ignoramus | 26 |
| The Coach: Jonson's Volpone | 29 |
| The Exorcist: Shakespeare's Twelfth Night | 33 |
| The Lovers' Ruse: The Bugbears | 35 |
| The (Mock) Exorcism: Shakespeare's Comedy of Errors | 39 |
| Binding the Body: Timoneda's Los menemnos | 44 |
| Relics, Holy Water, and Other Props: Shadwell's The Lancashire Witches | 48 |
| The Successful Exorcism: El pleyto que tuvo el diablo | 51 |
| Exorcizing the Body Politic: Zamora's El hechizado por fuerza and Middleton's The Phoenix | 56 |
2 | Possessed Picaros and Satanic Satire | 67 |
| An Erasmian View of Lazarillo's Fifth Tratado | 68 |
| Another Picaro and Another Alguacil endemoniado: Quevedo's Buscon, Suenos, Satirical Poetry, and La endemoniada fingida | 75 |
| Alguacil endemoniado or Demonio alguacilado? | 79 |
| 'The Experienced Mysteries of Damnation' | 81 |
| 'Da ... al discurso miedo': The Printing of Forbidden Knowledge | 89 |
| 'Libido sciendi' | 92 |
3 | Romance, the Interlude, and Hagiographical Drama: The Humanization of Possession and Exorcism | 97 |
| Romance, the Interlude, and the Restoration of Order: Cervantes' Persiles and Lope's La endemoniada | 99 |
| Rebirth and Hagiography: Cervantes' El rufian dichoso | 104 |
| 'False Miracles and Apocryphal Things': Cervantes and the Debate over the Comedia de santos | 113 |
| Saint = Exorcist: Calderon's Las cadenas del demonio and Lope's El divino africano | 117 |
4 | Tragedy As the Absence or Failure of Exorcism | 126 |
| The Relationship of Satire to Tragedy: Harsnett's Declaration | 127 |
| Exorcism as Neo-Aristotelian Catharsis: King Lear | 131 |
| The Demon As Scapegoat: A Yorkshire Tragedy, with a Note on Othello and Macbeth | 140 |
| Tragedy, Possession, and Performativity: Hamlet | 149 |
5 | Self-Exorcism and the Rise of the Novel | 157 |
| Poltergeists and Wizards: Supernatural Pranks in Part I of Don Quijote | 158 |
| Mysterious Caves and Flying Horses: Diabolical Humour in Part II of Don Quijote | 165 |
| Lucid Intervals and a Wise Enchanter: Demonic Possession in Don Quijote | 167 |
| The Paradox of Self-Exorcism | 176 |
| Self-Exorcism and the Rise of the Autonomous Novelistic Character | 180 |
| Conclusion: Liturgy in Literature, or Early Modern Literary Theory and the Christian Legitimate Marvellous | 184 |
| Epilogue: Problematizing the Category of 'Demonic Possession' | 200 |
| Notes | 207 |
| Bibliography | 265 |
| Index | 307 |