Literary studies: c 1400 to c 1600 Books

Book SynopsisChristopher Marlowe (1564-1593), a man of extreme passions and a playwright of immense talent, is the most important of Shakespeare''s contempories. This edition offers his five major plays, which show the radicalism and vitality of his writing in the few years before his violent death.Tamburlaine Part One and Part Two deal with the rise to world prominence of the great Scythian shepherd-robber; The Jew of Malta is a drama of villainy and revenge; Edward II was to influence Shakespeare''s Richard II. Doctor Faustus, perhaps the first drama taken from the medieval legend of a man who sells his soul to the devil, is here in both its A- and its B- text, showing the enormous and fascinating differences between the two.Under the General Editorship of Dr Michael Cordner of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation. In addition, there is a scholarly introduction and detailed annotation. ABOUT THE SERIES: For over 100 years Oxford World''s Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford''s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.Table of ContentsTamburlaine, Part I ; Tamburlaine, Part II ; Doctor Faustus, A-Text ; Doctor Faustus, B-Text ; The Jew of Malta ; Edward II

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Book SynopsisSinister histories is the first book to offer a detailed exploration of the Gothic's response to Enlightenment historiography. It uncovers hitherto-neglected relationships between fiction and prominent works of eighteenth-century history, locating the Gothic novel in a range of new interdisciplinary contexts. Drawing on ideas from literary studies, history, politics and philosophy, the book demonstrates the extent to which historical works influenced and shaped Gothic fiction from the 1760s to the early nineteenth century. Through a series of detailed readings of texts from The Castle of Otranto (1764) to Maria, or The Wrongs of Woman (1798), this book offers an alternative account of the Gothic's development and a sustained revaluation of the creative legacies of the French Revolution.Table of ContentsAcknowledgementsAbbreviationsIntroduction: history and the Gothic in the eighteenth century1. Contested pasts: David Hume, Horace Walpole and the emergence of Gothic fiction2. '[B]ringing this deed of darkness to light': representations of the past in Clara Reeve's The Old English Baron (1778)3. 'Entombed alive': Sophia Lee's The Recess (1783-85), the Gothic and history4. '[E]very nerve thrilled with horror': the French Revolution, the past and Ann Radcliffe's The Romance of the Forest (1791)5. 'Things as they are': William Godwin, Mary Wollstonecraft and the perils of the present ReferencesIndex

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Book SynopsisThe Revenge Tragedy flourished in Britain in the late sixteenth and early seventeenth centuries. Thomas Kyd''s The Spanish Tragedy helped to establish the popularity of the genre, and it was followed by The Revenger''s Tragedy, published anonymously and ascribed first to Cyril Tourneur and then to Thomas Middleton. George Chapman''s The Revenge of Bussy D''Ambois and Tourneur''s The Atheist''s Tragedy appeared soon after. Each of the four plays printed here defines the problems of the revenge genre, often by exploiting its conventions in unexpected directions. All deal with fundamental moral questions about the meaning of justice and the lengths to which victimized individuals may go to obtain it, while registering the strains of life in a rigid but increasingly fragile social hierarchy. Under the General Editoriship of Dr Michael Cordner, of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation. In addition, Table of ContentsThe Spanish Tragedy ; The Revenger's Tragedy ; The Revenge of Bussy D'Ambois ; The Atheist's Tragedy

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Book SynopsisBased on the reprinted Revels Plays Edition of 1964, the notes to this play have been augmented to cast futher light on Webster's dialogue. A new introduction sets the tragedy in the context of pre-Civil War England and discusses the play's themes, action and visual imagery.

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Book Synopsis''Be of good comfort, Master Ridley, and play the man: we shall this day light such a candle by God''s grace in England, as, I trust, shall never be put out.''Hugh Latimer''s famous words of consolation to Nicholas Ridley as they are both about to be burnt alive for heresy come from John Foxe''s magisterial Acts and Monuments, popularly known as the Book of Martyrs. This vast collection of unforgettable accounts of religious persecution exerted as great an influence on early modern England and New England as the Bible and the Book of Common Prayer. It contains many stirring stories of the apprehension, interrogation, imprisonment, and execution of alleged heretics. The narratives not only attest to the fortitude of individuals who suffered for their faith not many years before the birth of Shakespeare, but they also constitute exciting tales filled with graphic details and verbal wit.This modernized selection also includes some of the famous woodcuts that illustrated the original text, as well as providing a comprehensive introduction to Foxe''s life and times and the martyrology narrative. ABOUT THE SERIES: For over 100 years Oxford World''s Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford''s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.Table of ContentsSELECT NARRATIVES

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Book SynopsisScholars of Edmund Spenser have focused much more on his accomplishments in epic and pastoral than his work in satire. Scholars of early modern English satire almost never discuss Spenser. However, these critical gaps stem from later developments in the canon rather than any insignificance in Spenser's accomplishments and influence on satiric poetry. This book argues that the indirect form of satire developed by Spenser served during and after Spenser's lifetime as an important model for other poets who wished to convey satirical messages with some degree of safety. The book connects key Spenserian texts in The Shepheardes Calender and the Complaints volume with poems by a range of authors in the late sixteenth and early seventeenth centuries, including Joseph Hall, Thomas Nashe, Tailboys Dymoke, Thomas Middleton and George Wither, to advance the thesis that Spenser was seen by his contemporaries as highly relevant to satire in Elizabethan England.Trade Review‘Offers an important theoretical framework and textually detailed account of an overlooked genre in the history of satire.’Professor Lowell Gallagher, Studies in English Literature‘Hile’s book is an engaging and carefully researched study, which not only furthers our understanding of verse satires of the late-sixteenth and early seventeenth centuries, but also invites scholars to reassess the importance of indirect satire in the trajectory of Spenser’s works and the influence it had on emerging writers. By prompting us to read Spenser’s satirical work alongside his epic, pastoral, and lyrical poetry, Hile expands our sense of him as “the poets’s poet”’Stuart Hart, The Sixteenth Century Journal, Vol 49, Issue 1, Spring 2018 -- .Table of ContentsIntroduction1. Indirect satire: theory and Spenserian practice2. Spenser's satire of indirection: affiliation, allusion, allegory 3. Spenser and the English literary system in the 1590s4. Spenserian "entry codes" to indirect satire5. Thomas Middleton's satires before and after the Bishops' Ban6. After the Bishops' Ban: imitation of Spenserian satireConclusionIndex

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Book Synopsis**Shortlisted for Waterstones Book of the Year**The Penguin Classics Book is a reader''s companion to the largest library of classic literature in the world.Spanning 4,000 years from the legends of Ancient Mesopotamia to the poetry of the First World War, with Greek tragedies, Icelandic sagas, Japanese epics and much more in between, it encompasses 500 authors and 1,200 books, bringing these to life with lively descriptions, literary connections and beautiful cover designs.Trade ReviewBeautifully designed and lovingly compiled * The Spectator *Smartly illustrated with original cover artwork-ideal for glancing over dearly loved literary companions, as well as for discovering gaps to fill . . . This is a fascinating survey of how our nation's literary tastes have altered over the years and makes us wonder anew at what constitutes a 'classic'. -- Emily Rhodes * Country Life *The perfect gift for bibliophiles * The Arts Society UK *I can't imagine a better or more beautifully presented reference for a book-lover -- Waterstones.com review

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Book SynopsisDepicts a morally corrupt world where the desire for justice is contaminated by the obsession for revenge. The characters take pleasure in watching adultery, incest and murder. The play's chief moral spokesman, Vindice, is at the same time enamoured of and disgusted by, the luxury of the court.

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Book SynopsisRichard III is one of Shakespeare''s most popular plays on the stage and has been adapted successfully for film. This new and innovative edition recognizes the play''s pre-eminence as a performance work: a perspective that informs every aspect of the editing. Challenging traditional practice, the text is based on the 1597 Quarto which, it is argued, brings us closest to the play as it would have been staged in Shakespeare''s theatre. The introduction, which is illustrated, explores the long performance history from Shakespeare''s time to the present. Its critical engagement with the play responds to recent historicist and gender-based approaches. The commentary gives detailed explication of matters of language, staging, text, and historical and cultural contexts, providing coverage that is both carefully balanced and alert to nuance of meaning. Documentation of the extensive textual variants is organized for maximum clarity: the readings of the Folio and the Quarto are presented in separate banks, and more specialist information is given at the back of the book. Appendices also include selected passages from the main source and a special index of actors and other theatrical personnel. ABOUT THE SERIES: For over 100 years Oxford World''s Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford''s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.Trade ReviewThis is far and away the finest critical edition of the play available * Eric Rasmussen, Shakespeare Survey *Table of ContentsLIST OF ILLUSTRATIONS; INTRODUCTION; EDITORIAL PROCEDURES; THE TRAGEDY OF KING RICHARD III; APPENDICES; INDEX

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Book SynopsisThe era between the accession of Henry VIII and the crisis of the English republic in 1659 formed one of the most fertile epochs in world literature. This anthology offers a broad selection of its poetry, and includes a wide range of works by the great poets of the age—notably Sir Philip Sidney, Edmund Sepnser, John Donne, William Shakespeare and John Milton. Poems by less well-known writers also feature prominently—among them significant female poets such as Lady Mary Wroth and Katherine Philips. Compelling and exhilarating, this landmark collection illuminates a time of astonishing innovation, imagination and diversity.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by intrTable of ContentsSelected and with an Introduction by David Norbrook - Edited by H.R. Woudhuysen Abbreviations Used in the TextPrefaceAcknowledgmentsIntroductionNote on the Text and AnnotationI. The Public World1. JOHN SKELTON: [from A Lawde and Prayse Made for Our Sovereigne Lord the Kyng]2. SIR THOMAS MORE: De Principe Bono Et Malo3. Quis Optimus Reipublicae Status4. SIR DAVID LINDSAY: [from The Dreme] The Complaynt of the Comoun weill of Scotland5. SIR THOMAS WYATT: [Who lyst his welth and eas Retayne]6. In Spayn7. [The piller pearisht is whearto I Lent]8. HENRY HOWARD, EARLY OF SURREY: [Thassyryans king in peas with fowle desyre]9. ANONYMOUS: John Arm-strongs last good night10. ROBERT CROWLEY: Of unsaciable purchasers11. JOHN HEYWOOD: [from A Ballad on the Marriage of Philip and Mary]12. WILLIAM BIRCH: [from A songe betwene the Quenes majestie and Englande]13. QUEEN ELIZABETH I: [The dowbt off future foes exiles my present joye]14. SIR PHILIP SIDNEY: [from The Countesse of Pembrokes Arcadia]15. ANONYMOUS: Of Sir Frauncis Walsingham Sir Phillipp Sydney, and Sir Christopher Hatton, Lord Chancelor16. GEORGE PUTTENHAM: Her Majestie resembled to the crowned piller17. ANNE DOWRICHE: [from The French Historie]18. SIR WALTER RALEGH: [Praisd be Dianas faire and harmles light]19. [from Fortune hath taken the away my love]20. QUEEN ELIZABETH I: [Ah silly pugge wert thou so sore afraid]21. SIR WALTER RALEGH: The 21th: and last booke of the Ocean to Scinthia22. The Lie23. ALEXANDER MONTGOMERIE: [Remembers thou in Aesope of a taill]24. SIR JOHN HARINGTON: A Tragicall Epigram25. Of Treason26. FULKE GREVILLE, LORD BROOKE: [from Caelica] Sonnet 7827. GEORGE PEELE: [from Anglorum Feriae]28. JOHN DONNE: The Calme29. [from Satire 4]30. ROBERT DEVEREUX, EARL OF ESSEX: [Change thy minde since she doth change]31. MARY SIDNEY, COUNTESS OF PEMBROKE: [To Queen Elizabeth]32. EDMUND SPENSER: [from The Faerie Queene Book 5]33. EOCHAIDH Ó HEÓGHUSA: [On Maguire's Winter Campaign]34. BEN JONSON: On the Union35. SIR ARTHUR GORGES: Written upon the death of the most Noble Prince Henrie36. SIR HENRY WOTTON: Upon the sudden Restraint of the Earle of Somerset, then falling from favor37. WILLIAM BROWNE: [from Brittania's Pastorals Book 2]38. ANONYMOUS: Feltons Epitaph39. ANONYMOUS: [Epitaph on the Duke of Buckingham]40. SIR RICHARD FANSHAWE: [from An Ode Upon occasion of His Majesties Proclamation in the yeare 1630]41. JOHN CLEVELAND: Epitaph on the Earl of Strafford42. SIR JOHN DENHAM: Coopers Hill43. MARTIN PARKER: Upon defacing of White-hall44. ROBERT HERRICK: A King and no King45. ANDREW MARVELL: An Horatian Ode upon Cromwel's Return from Ireland46. SIR WILLIAM MURE: [from The Cry of Blood, and of a Broken Covenant]47. KATHERINE PHILIPS: On the 3. of September, 165148. JOHN MILTON: To the Lord Generall Cromwell May 165249. To Sir Henry Vane the younger50. ANDREW MARVELL: [from The First Anniversary of the Government under O.C.]51. ALEXANDER BROME: On Sir G.B. his defeatII. Images of Love52. ANONYMOUS: [Westron wynde when wylle thow blow]53. SIR THOMAS WYATT: [They fle from me that sometyme did me seke]54. [Who so list to hount I knowe where is an hynde]55. [It may be good like it who list]56. [My lute awake perfourme the last]57. HENRY HOWARD, EARL OF SURREY: [The soote season, that bud and blome furth bringes]58. ALEXANDER SCOTT: [To luve unluvit it is ane pane]59. GEORGE TURBERVILLE: To his Love that sent him a Ring wherein was gravde, Let Reason rule60. ISABELLA WHITNEY: I.W. To her unconstant Lover61. GEORGES GASCOIGNE: [A Sonet written in prayse of the brown beautie]62. ANONYMOUS: A new Courtly Sonet, of the Lady Greensleeves63. SIR PHILIP SIDNEY: [from Certain Sonnets: 4]64. [from The Countesse of Pembrokes Arcadia]65. [from Astrophil and Stella] 166. [from Astrophil and Stella] 267. [from Astrophil and Stella] 968. [from Astrophil and Stella] 7269. [from Astrophil and Stella] 8170. [from Astrophil and Stella] 8371. [from Astrophil and Stella] Eight song72. [from Astrophil and Stella] Eleventh song73. FULKE GREVILLE, LORD BROOKE: [from Caelica] Sonnet 2274. [from Caelica] Sonnet 2775. [from Caelica] Sonnet 3976. [from Caelica] Sonnet 4477. [from Caelica] Sonnet 8478. MARK ALEXANDER BOYD: Sonet79. ROBERT GREENE: Dorons description of Samela80. EDMUND SPENSER: [from The Faerie Queene Book 2]81. [from The Faerie Queene Book 3]82. [from The Faerie Queene Book 3]83. [from Amoretti] Sonnet 2384. [from Amoretti] Sonnet 6485. [from Amoretti] Sonnet 6786. [from Amoretti] Sonnet 7087. [from Amoretti] Sonnet 7188. Epithalamion89. SIR WALTER RALEGH: [As you came from the holy land]90. SAMUEL DANIEL: [from Delia] Sonnet 1391. [from Delia] Sonnet 3992. [from Delia] Sonnet 5293. SIR JOHN DAVIES: [from Gullinge Sonnets]94. [Faith (wench) I cannot court thy sprightly eyes]95. THOMAS NASHE: The choise of valentines96. JOHN DONNE: To his Mistress going to bed97. BARNABE BARNES: [from Parthenophil and Parthenophe] Sonnet 2799. CHRISTOPHER MARLOWE: The passionate Sheepheard to his love99. Hero and Leander100. WILLIAM SHAKESPEARE: [from Venus and Adonis]101. [from Lucrece]102. RICHARD BARNFIELD: [from Cynthia] Sonnet 8103. [from Cynthia] Sonnet 11104. WILLIAM SHAKESPEARE: [from Sonnets] 19105. [from Sonnets] 20106. [from Sonnets] 29107. [from Sonnets] 35108. [from Sonnets] 36109. [from Sonnets] 55110. [from Sonnets] 56111. [from Sonnets] 66112. [from Sonnets] 74113. [from Sonnets] 94114. [from Sonnets] 121115. [from Sonnets] 124116. [from Sonnets] 129117. [from Sonnets] 135118. [from Sonnets] 138119. [from Sonnets] 144120. ROBERT SIDNEY, EARL OF LEICESTER: Sonnet 21121. Sonnet 25122. Sonnet 31123. Songe 17124. GEORGE CHAPMAN: [from Hero and Leander Sestiad 3]125. JOHN MARSTON: [from The Metamorphosis of Pigmalions Image]126. THOMAS DELONEY: [Long have I lov'd this bonny Lasse]127. ANONYMOUS: [from The wanton Wife of Bath]128. [JOHN DOWLAND]: [Fine knacks for ladies, cheape choise brave and new]129. THOMAS CAMPION: [Followe thy faire sunne unhappy shaddowe]130. [Rose-cheekt Lawra come]131. [There is a Garden in her face]132. JOHN DONNE: His Picture133. The Sunne Rising134. The Canonization135. Loves growth136. A Valediction of weeping137. A Valediction forbidding mourning138. MICHAEL DRAYTON: [from Idea] 10139. [from Idea] 61140. To His Coy Love, A Canzonet141. BEN JONSON: Why I Write Not of Love142. My Picture left in Scotland143. LADY MARY WROTH: [from Pamphilia to Amphilanthus] 23144. [from Pamphilia to Amphilanthus] 34145. [from Pamphilia to Amphilanthus] A crowne of Sonetts dedicated to Love146. [from Pamphilia to Amphilanthus]147. [from The Countesse of Mountgomeries Urania] 7148. ROBERT HERRICK: Delight in Disorder149. The Vision150. The silken Snake151. Her Bed152. Upon Julia's haire fil'd with Dew153. Upon Sibilla154. THOMAS CAREW: The Spring155. Ingratefull beauty threatned156. [from A Rapture]157. MARTIN PARKER: [from Cupid's Wrongs Vindicated]158. [from Well met Neighbour]159. EDMUND WALLER: The story of Phoebus and Daphne appli'd160. Song161. The Budd162. SIR JOHN SUCKLING: [Out upon it, I have lov'd]163. JOHN CLEVELAND: The Antiplatonick164. RICHARD LOVELACE: Song. To Lucasta, Going to the Warres165. Gratiana dauncing and singing166. To Althea, From Prison167. Her Muffe168. [from On Sanazar's being honoured with six hundred Duckets by the Clarissimi of Venice, for composing an Elegiack Hexastick of the City. A Satyre]169. ANDREW MARVELL: To his Coy Mistress170. The Gallery171. The Definition of Love172. JAMES HARRINGTON: Inconstancy173. KATHERINE PHILIPS: An Answer to another perswading a Lady to MarriageIII. Topographies174. ALEXANDER BARCLAY: [from Certayne Egloges 5]175. GEORGE BUCHANAN: Calendae Maiae176. ANONYMOUS: [from Vox populi vox Dei]177. ANONYMOUS: [from Jack of the North]178. ANONYMOUS: The Jolly Pinder of Wakefield179. BARNABE GOOGE: Goyng towardes Spayne180. SIÔON PHYLIP: [from Yr Wylan]181. SIR PHILIP SIDNEY: [from The Countesse of Pembrokes Arcadia]182. EDMUND SPENSER: [from The Shepheardes Calender] Maye183. ALEXANDER HUME: [from Of the day Estivall]184. JOHN DAVIES: [from Epigrammes] In Cosmum 17185. JOSEPH HALL: [from Virgidemiarum Book 5]186. EVERARD GUILPIN: [from Skialetheia Satire 5]187. ANONYMOUS: A Songe bewailinge the tyme of Christmas, So much decayed in Englande188. JOHN DONNE: A nocturnall upon S. Lucies day, Being the shortest day189. AEMILIA LANYER: The Description of Cooke-ham190. BEN JONSON: To Penshurst191. MICHAEL DRAYTON: [from Pastorals] The Ninth Eglogue192. [from Poly-Olbion Song 6]193. To the Virginian Voyage194. SAMUEL DANIEL: [from Epistle. To Prince Henrie]195. ANONYMOUS: On Francis Drake196. W. TURNER: [from Turners dish of Lentten stuffe, or a Galymaufery]197. JOHN TAYLOR: [from The Sculler] Epigram 22198. WILLIAM BROWNE: [from Britannia's Pastorals Book 2]199. EDWARD HERBERT, LORD HERBERT OF CHERBURY: Sonnet200. RICHARD CORBETT: A Proper New Ballad Intituled the Faeryes Farewell: Or God-A-Mercy Will201. SIR WILLIAM DAVENANT: The Countess of Anglesey lead Captive by the Rebels, at the Disforresting of Pewsam202. GEORGE WITHER: [from Britain's Remembrancer Canto 4]203. JOHN MILTON: Song on May morning 204. L'Allegro205. ROBERT HERRICK: To Dean-bourn, a rude River in Devon, by which sometimes he lived206. Corinna's going a Maying207. To Meddowes208. The Wassaile209. RICHARD CRASHAW: [from Bulla]210. ABRAHAM COWLEY: The Wish211. ANONYMOUS: [The Diggers' Song]212. HENRY VAUGHAN: [from To his retired friend, an Invitation to Brecknock]213. RICHARD LOVELACE: The Snayl214. ANDREW MARVELL: Bermudas215. The Mower to the Glo-Worms216. The Mower against Gardens217. The Garden218. [from Upon Appleton House, to my Lord Fairfax]219. MARGARET CAVENDISH, DUCHESS OF NEWCASTLE: Of many Worlds in this World220. A Dialogue betwixt Man, and Nature221. Similizing the Sea to Meadowes, and Pastures, the Marriners to Shepheards, the Mast to a May-pole, Fishes to Beasts222. KATHERINE PHILIPS: Upon the graving of her Name upon a Tree in Barnelmes WalksIV. Friends, Patrons and the Good Life223. SIR THOMAS WYATT: [Myn owne John poyntz sins ye delight to know]224. GEORGE GASCOIGNE: [Upon the theme: Magnum vectigal parcimonia]225. [Gascoignes wodmanship]226. EDWARD DE VERE, EARL OF OXFORD: [Weare I a Kinge I coulde commande content]227. THOMAS LODGE: [from Scillaes Metamorphosis]228. JOHN DONNE: To Sir Henry Wotton229. THOMAS DELONEY: The Weavers Song230. THOMAS DEKKER: [Art thou poore yet hast thou golden Slumbers]231. SAMUEL DANIEL: To Lucy, Countesse of Bedford, with Mr. Donnes Satyres233. Inviting a Friend to Supper234. [THOMAS RAVENSCROFT]: [Hey hoe what shall I say]235. [Sing we now merily]236. A Belmans song237. THOMAS CAMPION: [Now winter nights enlarge]238. ANONYMOUS: The Mode of France239. MICAHEL DRAYTON: These verses weare made By Michaell Drayton Esquier Poett Lawreatt the night before hee dyed240. EDMUND WALLER: At Pens-hurst241. RICHARD LOVELACE: The Grasse-hopper. To my Noble Friend, Mr. Charles Cotton. Ode242. ALEXANDER BROME: [from The Prisoners] Written when O.C. attempted to be King243. JOHN MILTON: [To Edward Lawrence]244. KATHERINE PHILIPS: Friendship's Mystery, To My Dearest Lucasia245. Friendship in Embleme, or the Seal. To my dearest Lucasia246. To my Excellent Lucasia, on our FriendshipV. Church, State and Belief247. JOHN SKELTON: [from Collyn Clout]248. ANNE ASKEW: The Balade whych Anne Askewe made and sange whan she was in Newgate249. LUKE SHEPHERD: [from The Upcheringe of the Messe]250. ANONYMOUS: [A Lament for our Lady's Shrine at Walsingham]251. JOHN HEYWOOD: [from Epygrams] Of turnyng.252. GEORGE PUTTENHAM: [from Partheniades] Partheniad 11 Urania253. ROBERT SOUTHWELL: The burning Babe254. HENRY CONSTABLE: To St. Mary Magdalen255. SIR JOHN HARINGTON: A Groome of the Chambers religion in King Henry the eights time256. JOHN DONNE: Satyre 3257. Goodfriday, 1613. Riding Westward258. Hymne to God my God, in my sicknesse259. [from Holy Sonnets]260. [Since she whome I lovd, hath payd her last debt]261. [Show me deare Christ, thy spouse, so bright and cleare]262. FULKE GREVILLE, LORD BROOKE: [from Caelica] Sonnet 89263. [from Caelica] Sonnet 99264. [from Caelica] Sonnet 109265. GILES FLETCHER: [from Christs Victorie, and Triumph in Heaven, and Earth, over, and after death]266. AEMILIA LANYER: [from Salve Deus Rex Judaeorum]267. WILLIAM DRUMMOND: [For the Baptiste]268. [Content and Resolute]269. PHINEAS FLETCHER: [Vast Ocean of light, whose rayes surround]270. JOHN MILTON: On the morning of Christs Nativity271. FRANCIS QUARLES: [from Pentelogia] Fraud Mundi272. [from Divine Fancies] On the contingencie of Actions273. [from Divine Fancies] On the Needle of a Sun-diall274. [from Divine Fancies] On the Booke of Common Prayer275. [from Divine Fancies] On Christ and our selves276. GEORGE HERBERT: Perseverance277. Redemption278. Easter wings279. Prayer280. Deniall281. Jordan282. The Collar283. The Flower284. The Forerunners285. Love286. [from The Church Militant]287. ANONYMOUS: [Yet if his Majestie our Sovareigne lord]288. SIDNEY GODOLPHIN: [Lord when the wise men came from Farr]289. JOHN TAYLOR: [from Here followeth the unfashionable fashion, or the too too homely Worshipping of God]290. EDMUND WALLER: Upon His Majesties repairing of Pauls291. RICHARD CRASHAW: A Hymne of the Nativity, sung by the Shepheards292. To the Noblest and best of Ladyes, the Countesse of Denbigh293. [from The Flaming Heart]294. ANONYMOUS: Upon Arch-bishop Laud, Prisoner in the Tower. 1641295. ROBERT WILD: [from Alas poore Scholler, whither wilt thou goe]296. JOHN MILTON: On the new forcers of Conscience under the Long Parliament297. MORGAN LLWYD: [from The Summer]298. LAURENCE CLARKSON: [from A Single Eye All Light, no Darkness]299. HENRY VAUGHAN: The Retreate300. The World301. Cock-crowing302. The Water-fall303. SIR WILLIAM DAVENANT: [from Gondibert Book 2]304. ANNA TRAPNEL: [from The Cry of a Stone]305. AN COLLINS: Another Song exciting to spirituall Mirth306. ANDREW MARVELL: The CoronetVI. Elegy and Epitaph307. JOHN SKELTON: [from Phyllyp Sparowe]308. HENRY HOWARD, EARL OF SURREY: [Norfolk sprang thee, Lambeth holds thee dead]309. [W. resteth here, that quick could never rest]310. NICHOLAS GRIMALD: [from A funerall song, upon the deceas of Annes his moother]311. CHIDIOCK TICHBORNE: [My prime of youth is but a froste of cares]312. WILLIAM SHAKESPEARE: [The Phoenix and Turtle]313. JOHN DONNE: [from The Second Anniversarie] Of the Progres of the Soule314. BEN JONSON: On My First Sonne315. To the immortalle memorie, and friendship of that noble paire, Sir Lucius Cary, and Sir H. Morison316. SIR WALTER RALEGH: [Even suche is tyme that takes in trust]317. WILLIAM BROWNE: On the Countesse Dowager of Pembrooke318. HENRY KING: An Exequy To his matchlesse never to be forgotten Freind318. GEORGE HERBERT: [from Memoriae Matris Sacrum]320. THOMAS CAREW: Epitaph on the Lady Mary Villers321. SIR HENRY WOTTON: Upon the death of Sir Albert Morton's Wife322. ROBERT HERRICK: To the reverend shade of his religious Father323. Upon himselfe being buried324. Upon a child325. JOHN MILTON: Lycidas326. [Methought I saw my late espoused Saint]327. 'ELIZA': To my Husband328. HENRY VAUGHAN: [They are all gone into the world of light]329. KATHERINE PHILIPS: Epitaph. On her Son H.P. at St. Syth's Church where her body also lies Interred330. Orinda upon little Hector Philips331. JAMES SHIRLEY: [The glories of our blood and state]VII. Translation332. HENRY HOWARD, EARL OF SURREY: [from Virgil's Aeneid Book 4]333. RICHARD STANYHURST: [from Virgil's Aeneid Book 4]334. ARTHUR GOLDING: [from Ovid's Metamorphoses Book 6]335. EDMUND SPENSER: [from Ruines of Rome: by Bellay] 5336. MARY SIDNEY, COUNTESS OF PEMBROKE: Quid gloriaris? Psalm 52337. [from Psalm 89 Misericordias]338. Voce mea ad Dominum Psalm 142339. CHRISTOPHER MARLOWE: [from Ovides Elegies Book 1] Elegia. 13. Ad Auroram ne properet340. [from Lucan's Pharsalia Book 1]341. SIR JOHN HARINGTON: [from Ariosto's Orlando Furioso Book 34]342. EDWARD FAIRFAX: [from Tasso's Godfrey of Bulloigne Book 4]343. JOSUAH SYLVESTER: [from Saluste du Bartas' Devine Weekes]344. GEORGE CHAPMAN: [from Homer's Iliad Book 12]345. JOHN MILTON: The Fifth Ode of Horace. Lib. 1VIII. Writer, Language and Public346. JOHN SKELTON: [from A Replycacion]347. THOMAS CHURCHYARD: [from A Musicall Consort]348. SIR JOHN HARINGTON: Of honest Theft. To my good friend Master Samuel Daniel350. JOHN DONNE: The triple Foole351. WILLIAM SHAKESPEARE: [from Sonnets]352. JOHN MARSTON: [from The Scourge of Villanie] In Lectores prorsus indignos353. SAMUEL DANIEL: [from Musophilus]354. BEN JONSON: A Fit of Rime against Rime355. An Ode. To himselfe356. GEORGE CHAPMAN: [from Homer's Iliad, To the Reader]357. SIR WALTER RALEGH: To the Translator358. WILLIAM BROWNE: [from Britannia's Pastorals Book 2]359. RACHEL SPEGHT: [from The Dreame]360. MICHAEL DRAYTON: [from Idea]361. To my most dearely-loved friend Henery Reynolds Esquire, of Poets and Poesie362. [from The Muses Elizium] The Description of Elizium363. JOHN MILTON: [from At a Vacation Exercise]364. JOHN TAYLOR: [from A comparison betwixt a Whore and a Booke]365. THOMAS CAREW: An Elegie upon the death of the Deane of Pauls, Dr. John Donne366. A Fancy367. ROBERT HERRICK: To the Detracter368. Posting to Printing369. GEORGE WITHER: [from Vox Pacifica]370. SIR WILLIAM DAVENANT: [from Gondibert Book 2]371. MARGARET CAVENDISH, DUCHESS OF NEWCASTLE: The Claspe372. [The Common Fate of Books]373. ABRAHAM COWLEY: The Muse374. HENRY VAUGHAN: The BookNotes to the TextAppendix 1: Index of GenresAppendix 2: Index of Metrical and Stanzaic FormsAppendix 3: Glossary of Classical NamesAppendix 4: Biographical Notes on AuthorsAppendix 5: Index of AuthorsIndex of First LinesIndex of Titles

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Book SynopsisThe Bright Ages recasts the European Middle Ages for what it was, capturing this 1,000-year era in all its complexity and fundamental humanity, bringing to light both its beauty and its horrors.Trade Review“While all of this is the sort of stuff that professional medievalists love to see, the thing I like most about Perry and Gabriele’s effort is that it is fun. The Bright Ages is written in such an engaging and light manner that it is easy to race through. I found myself at the end of chapters faster than I wanted to be, completely drawn in by the narrative. You can tell how much the authors love the subject matter, and that they had a great time choosing stories to share and evidence to consider.” — Slate "Incandescent and ultimately intoxicating, for as the chapters progress, it dawns on the reader that those who lived in this period were more conventional than cardboard figures. . . . They were, in essence, human." — Boston Globe "This revisionist history of medieval Europe takes apart the myth of a savage, primitive period . . . with passion and verve, [Gabriele and Perry challenge] the reader to tackle assumptions, bias and prejudices about the past to create a more joined-up, inclusive picture of the thousand years that followed the sack of Rome." — Peter Frankopan, The Guardian "The Bright Ages is a necessary book. It does the hard work of introducing audiences to a world that we too often overlook for expressly political reasons. It is also a joyful work. The medieval period, Perry and Gabriele argue, has good news for us. The world can be beautiful without centralized and brutal imperial power." — Los Angeles Review of Books "....a magic carpet ride around all manner of medieval places and moments....Perry and Gabriele are particularly keen to wrestle the Middle Ages from the clutches of white supremacists and other dangerous forces that yearn for a full return to a simplified version of the period. And so the authors present the doings of clever and durable women, too often overlooked among the churning dynasties of the early Middle Ages." — Irish Examiner “The Bright Ages shines a light on an age too often obscured by myth, legend, and fairy tales. Traveling easily through a thousand years of history, The Bright Ages reminds us society never collapsed when the Roman Empire fell, nor did the modern world wake civilization from a thousand-year hibernation. Gabriele and Perry show the medieval world was neither a romantic wonderland nor a deplorable dungeon, but instead a real world full of real people with hopes, dreams, and fears making the most of their time on earth.” — Mike Duncan, author of Hero of Two Worlds: The Marquis de Lafayette in the Age of Revolution and The Storm Before the Storm: The Beginning of the End of the Roman Republic “This book is perfect for people who are interested in the period but don't know where to start. Because the scale is sweeping but so well organized. . . . Most importantly, it's really entertaining, so. I recommend.” — Brandon Taylor, author of Real Life and Filthy Animals "A lively, searing, and transformative reimagining of the medieval world, The Bright Ages is brilliant in every way, both lucid in its arguments and sparkling in its prose. A gripping and compulsive read." — Bruce Holsinger, author of A Burnable Book and The Gifted School "In this engaging new history of the Medieval period Gabriele and Perry achieve a feat: they have written something eminently readable, suffused with academic rigor, and ethically responsible." — Candida Moss, author of The Myth of Persecution "Historians Gabriele and Perry argue in this accessible revisionist history that the so-called Dark Ages was actually a period of innovation that helped pave the way for the Renaissance and Enlightenment. . . . They add nuance and complexity to popular conceptions of the Dark Ages and make clear that beauty and achievement existed among the horrors. This is a worthy introduction to an oft-misunderstood period in world history." — Publishers Weekly "Although traditional politics-and–great-men history makes an appearance, the authors keep current by including a surprising number of great women and emphasizing their disapproval of racism, sexism, and slavery. The result is an appealing account of a millennium packed with culture, beauty, science, learning, and the rise and fall of empires." — Kirkus Reviews "Noted medieval historians Gabriele and Perry provide an engaging overview of a complex, yet often oversimplified era....sure to become a new standard for those seeking a comprehensive and inclusive review of medieval times." — Booklist "Matthew Gabriele and David M. Perry liberate the Middle Ages from stereotypes and half-truths in The Bright Ages, revealing that world as 'not simple or clean, but messy and human'....[a] lively account of a misunderstood era." — Shelf Awareness "This accessible trip through the medieval world is well worth taking for anyone wishing to better understand its complexity." — Library Journal "Chapter by chapter, Gabriele and Perry usher into view, from behind the curtain of the familiar grand narratives and from multiple locations, an eclectic cast of characters—many of them women—who exemplify, in a multitude of ways, a dazzling brightness where history has instructed us to see only gloom." — First Things

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Book SynopsisThis edition of the multi-authored text The Witch of Edmonton offers a thorough reconsideration of the text, comprehensive notes and glossary, together with a complete transcription of the original pamphlet by Henry Goodcole.Table of ContentsIntroductionThe Witch of EdmontonAppendixNotes

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Book SynopsisThe names Edmund Spenser and John Donne are typically associated with different ages in English poetry, the former with the sixteenth century and the Elizabethan Golden Age, the latter with the ‘metaphysical’ poets of the seventeenth century. This collection of essays, part of The Manchester Spenser series, brings together leading Spenser and Donne scholars to challenge this dichotomous view and to engage critically with both poets, not only at the sites of direct allusion, imitation, or parody, but also in terms of common preoccupations and continuities of thought, informed by the literary and historical contexts of the politically and intellectually turbulent turn of the century. Juxtaposing these two poets, so apparently unlike one another, for comparison rather than contrast changes our understanding of each poet individually and moves towards a more holistic, relational view of their poetics.Table of ContentsIntroduction: Spenser, Donne, and the trouble of periodization – Yulia Ryzhik1 Caring to turn back: overhearing Spenser in Donne – Richard Danson Brown 2 Comparing figures: figures of comparison and repetition in Spenser and Donne – Christopher D. Johnson 3 Refiguring Donne and Spenser: aspects of Ramist rhetoric – Niranjan Goswami 4 Artes poeticae: Spenser, Donne, and the metaphysical sublime – Patrick Cheney 5 Spenser and Donne look to the Continent – Anne Lake Prescott 6 Ovidian Spenser, Ovidian Donne – Linda Gregerson 7 Cosmic matters: Spenser, Donne, and the philosophic poem – Ayesha Ramachandran 8 ‘Straunge characters’: Spenser’s Busirane and Donne’s ‘Valediction of my name in the window’ – Elizabeth D. Harvey 9 Marriage and sacrifice: the poetics of the Epithalamia – Ramie Targoff 10 Spenser’s and Donne’s devotional poetics of scattering – David Marno 11 Eliot, Yeats, Joyce and the modernist reinvention of Spenser and Donne –Jane Grogan and Anne FogartyIndex

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Book SynopsisFirst published in 1572, The Lusiads is one of the greatest epic poems of the Renaissance, immortalizing Portugal''s voyages of discovery with an unrivalled freshness of observation. At the centre of The Lusiads is Vasco da Gama''s pioneer voyage via southern Africa to India in 1497-98. The first European artist to cross the equator, Camoes''s narrative reflects the novelty and fascination of that original encounter with Africa, India and the Far East. The poem''s twin symbols are the Cross and the Astrolabe, and its celebration of a turning point in mankind''s knowledge of the world unites the old map of the heavens with the newly discovered terrain on earth. Yet it speaks powerfully, too, of the precariousness of power, and of the rise and decline of nationhood, threatened not only from without by enemies, but from within by loss of integrity and vision. The first translation of The Lusiads for almost half a century, this new edition is complemented by an illuminating introduction and extensive notes. ABOUT THE SERIES: For over 100 years Oxford World''s Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford''s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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Book SynopsisThis volume in the "Revel Plays" series, offers reading editions, with modern spelling, of the 1604 and 1616 editions of Marlowe's play, arguing that the two cannot be conflated into one. Included are sources and commentary, literary criticism, style and staging/performance assessments.Table of ContentsIntroduction to "Dr Faustus"; date; sources and background; "Dr Faustus" - the orthodox framework; "Dr Faustus" and humanist inspiration; "Dr Faustus" - magic and poetry; genre and structure; style and imagery; staging and themes in the 1616 quarto; "Dr Faustus" in performance; the texts of "Dr Faustus" - "Dr Faustus", A-text (1604), "Dr Faustus", B-text (1616).

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Book SynopsisAdvertised in its Prologue as a prequel to Shakespeare’s Julius Caesar and Antony and Cleopatra, Fletcher and Massinger’s The False One is the first literary work completely to revolve around the affair between Caesar and Cleopatra. In its deployment of their liaison as a venue for the exploration and criticism of contemporary political manoeuvring and its high-spirited and pungent appropriation of Roman history, the play proves to be one of the most compelling Jacobean dramatizations of the classical past. This Revels Plays edition offers the first fully annotated, single-volume critical edition of The False One, with a thorough introduction that provides new insights on the date and the theatre of the play’s first performance, examines the playwrights’ reworking of their sources and explores the theatrical potential of a play that has hitherto regrettably been lost to the dramatic repertory.Trade Review'…a major contribution to the editorial history of this drama… an impressive feat of scholarship: a comprehensive edition worthy of an excellent, scholarly series. Lovascio’s edition is not only a significant milestone in the editorial history of the play; it reveals The False One as a drama that bristles with humour and spectacle worthy of performance, and offers wonderful insights into collaborative practises during the period and the presentation of Rome on the Jacobean stage.’Early Modern Literary Studies -- .Table of ContentsList of illustrationsGeneral editors’ prefaceAcknowledgementsAbbreviations and referencesIntroductionDating and authorshipA Blackfriars play?Staging Rome: Republic and empireSourcesThe titleCritical receptionStage historyThe textThe false oneAppendix 1: Latin transcription of passages from Lucan’s Pharsalia cited in the CommentaryAppendix 2: ‘Look out, bright eyes, and bless the air’Index

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Book SynopsisFrom the gritty realism and resentment of Du Bellay to the lyric grace and frank eroticism of Ronsard, the poems of this volume testify to the many-faceted achievement of the two poets who, as leaders of the famous 'Pléiade' group, were crucial to the creation of a new national literature.Trade ReviewThis is an essential poetry collection for all humans' home libraries, as well as public and university libraries. This collection is also a great choice for French or world literature classes. * Pennsylvania Literary Journal *Table of ContentsIntroduction Note on the Texts Select Bibliography A Chronology of Joachim Du Bellay A Chronology of Pierre de Ronsard Selected Poems Manifestos Explanatory Notes Glossary of Names and Places Index of French First Lines

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Book SynopsisThe "revenge" play became the most durable and commercially successful type of drama on the Elizabethan stage. This example by Thomas Kyd, who was one of the originators of the genre, brings to life the intrigues of the Spanish court, dramatically juxtaposing romantic passion with violent death.

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Book SynopsisThis classic text is the tale of a woman who becomes involved in murder without realizing the terrible price she will pay for it. This edition includes an introduction which analyzes the play in detail, and a commentary illuminating difficulties in the play for the modern reader.

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Book SynopsisThrough an examination of the expressive arts of needlework, painting, and writing, Pens and Needles offers insights into women's lives and, in its final chapters, into literary texts such as Shakespeare's Othello and Cymbeline and Mary Sidney Wroth's Urania.Trade Review"Susan Frye's book is a beautiful and powerful contribution to scholarship on early modern women's material culture. . . . No other book covers such ground; Pens and Needles is an invaluable resource for art historians, social historians, literary critics, and anyone interested in the material world that early modern women made." * American Historical Review *"Susan Frye's book is most fascinating in drawing out the histories and texts, both written and sewn, of less well-known women, and showing that they saw their needlework as equally articulate, valuable, and artful as their words." * TLS *"Susan Frye's meticulously researched, beautifully illustrated, and brilliantly titled Pens and Needles makes a significant addition to a growing subfield in early modern gender studies: the expressive arts of women's needlework, which Frye sees as a mode of both female self-fashioning and creative communication." * Studies in English Literature 1500-1900 *"Frye beautifully succeeds in aligning the different material practices, especially in the surprising discovery of a new portrait of Mary Queen of Scots embroidered by Bess of Hardwick." * Maureen Quilligan, Duke University *"No other book analyzes the combination of visual, textile, and textual modes in relation to early modern women as this one does. Frye draws on a vast range of sources, from comments on the minutiae of Shakespeare's plays, to contemporary translations of the poems of Mary Stuart, to a range of theorists including Michel de Certeau, Marcel Mauss and Karl Marx, to make a complex and convincing argument about women's consciousness and work." * Ann Rosalind Jones, Smith College *Table of ContentsList of Illustrations Note on Spelling Preface Introduction Chapter 1. Political Designs: Elizabeth Tudor, Mary Stuart, and Bess of Hardwick Chapter 2. Miniatures and Manuscripts: Levina Teerlinc, Jane Segar, and Esther Inglis as Professional Artisans Chapter 3. Sewing Connections: Narratives of Agency in Women's Domestic Needlework Chapter 4. Staging Women's Relations to Textiles in Shakespeare's Othello and Cymbeline Chapter 5. Mary Sidney Wroth: Clothing Romance Notes Selected Bibliography Index Acknowledgments

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Book SynopsisThe first collection to systematically combine the vibrant fields of memory and affect in early modern studies, this volume offers an innovative research agenda and invites new, explorative interdisciplinary methodologies. Essays by leading and emergent scholars provide fresh readings of Shakespeare and his contemporaries across literary genres.Trade Review'An expansive and consistently illuminating collection, Memory and Affect in Shakespeare's England argues so convincingly for integrating the areas of memory and affect studies that early modernists will wonder that we ever considered them separately. In essays on a broad range of literary subjects-from complaint poetry and sonnets to grisly domestic tragedy, jestbooks, and the Shakespearean history play-Baldo and Karreman's important volume demonstrates how affect and memory co-structure one another in and through a provocatively diverse array of abstract and material forms, such as geography, temporality, verse rhythm, texts, and props.' Alice Dailey, Villanova University'From memory arts to stagecraft via politics and the modalities of space and time, this book's organization demonstrates the varied possibilities of approaching memory and affect together. The essays included here offer smart, persuasive readings of Shakespearean drama and poetry as well as of non-canonical texts. A sustained exploration of memory and affect in early modern England is long overdue, and this collection thus provides an important and welcome intervention in early modern literary studies.' Kristine Johanson, University of AmsterdamTable of ContentsIntroduction Jonathan Baldo and Isabel Karremann; Part I. Ars Memoriae, Ars aAmatoria: 1. Allegories of Love: Affect and the Art of Memory in Shakespeare's Sonnets Rebeca Helfer; 2. Twelfth Night and the Rites of Memory Brian Cummings; 3 The Lustful Oblivion of Widowhood in The Insatiate Countess Grant Williams; Part II. The Politics of Memory and Affect: 4. 'Gathered Again from the Ash': Traumatropism, Memorialization, and Foxe's Acts and Monuments Devori Kimbro; 5. 'To Take on Me the Payn / Ther Fall to Remember': Metrical Visions and the Dangerous Memory Networks of Complaint William Kerwin; 6. Jesting, Nostalgia, and Agonistic Play Indira Ghose; Part III. Affective Memory: Temporal and Spatial Modalities: 7. 'My Despised Time': Memory, Temporality, and Disgust in Shakespearean Tragedy Johannes Schlegel; 8. Remembering Water in Robert Yarington's Two Lamentable Tragedies Katharine A. Craik; 9. Mourning Memory in Cymbeline Daniel Normandin; Part IV. Memory, Affect and Stagecraft: 10. The Tug of Memory: Affect and Invention in Shakespeare's Drama William E. Engel; 11. Memory, Text, Affect: The Deaths of Gloucester Rory Loughnane; 12. Memory, Affect, and the Multiverse: From the History Plays to The Merry Wives of Windsor Evelyn Tribble; 13. Cut Short All Intermission: Sound, Space, Memory, and Macduff's Grief Lina Perkins Wilder; Coda; 14. Remembering Shakespeare Peter Holland.

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Book SynopsisThe Narrative Grotesque examines late medieval narratology in two Older Scots poems: Gavin Douglas’s The Palyce of Honour (c.1501) and William Dunbar’s The Tretis of the Tua Mariit Wemen and the Wedo (c.1507). The narrative grotesque is exemplified in these poems, which fracture narratological boundaries by fusing disparate poetic forms and creating hybrid subjectivities. Consequently, these poems interrogate conventional boundaries in poetic making. The narrative grotesque is applied as a framework to elucidate these chimeric texts and to understand newly late medieval engagement with poetics and narratology.Table of ContentsIntroduction: the narrative grotesque Part I: The Palyce of Honour, Gavin Douglas1 ‘Overset with fantasyis’: grotesquing the dream vision 2 Identity crisis: temporal dissonance and narrative voice 3 Heavenly harmonies: classical and Christian divinity in Palyce Part II: The Tretis of the Tua Mariit Wemen and the Wedo, William Dunbar4 Making demandes: frame, form, and narratorial persona5 Flyte of fancy: the first wife’s Response6 Lovesick or sick of love?: The second wife’s Response 7 Bad romance: the widow as venerean preacher ConclusionIndex

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Book SynopsisSpenser’s ethics offers a novel account of Edmund Spenser as a moral theorist, situating his ethics at the nexus of moral philosophy’s profound transformation in the early modern era, and the English colonisation of Ireland in the turbulent 1580’s and 90’s. It revises a scholarly narrative describing Spenser’s ethical thinking as derivative, nostalgic, or inconsistent with one that contends him to be one of early modern England’s most original and incisive moral theorists, placing The Faerie Queene at the centre of the contested discipline of moral philosophy as it engaged the social, political, and intellectual upheavals driving classical virtue ethics’ unravelling at the threshold of early modernity.Table of ContentsIntroduction: Emptying the virtuous middle in Elizabethan Ireland1. Milton’s Spenser: An alternative virtue for a fallen world2. Purposeful lives: Romance narrative and the generation of empires3. Magnificence: Fashioning the imperial commonwealth4. The metaphysics of moral being: Time, change, and flourishing in the Gardens of Adonis5. Civility and government: Virtuous discipline in the mutable world6. Immoderation and necessity: Spenser’s MachiavelliCodaReferencesIndex

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Book SynopsisDescribed by Colin Burrow as 'the richest surviving record of early Tudor poetry and of the literary activities of 16th-century women,' the Devonshire Manuscript (BL MS Add. 17492) is a verse miscellany belonging to the 1530s and early 1540s, including some 194 items including complete poems, verse fragments and excerpts from longer works, anagrams, and other ephemeral jottings attributed to Thomas Wyatt, Henry Howard Earl of Surrey, Lady Margaret Douglas, Richard Hattfield, Mary Fitzroy (née Howard), Thomas Howard, Edmund Knyvett, Anthony Lee, and Henry Stewart, as well transcriptions of the work of others or original works by prominent court figures such as Mary Shelton, Lady Margaret Douglas, Mary (Howard) Fitzroy, Lord Thomas Howard, and, possibly, Anne Boleyn. This edition publishes the contents of the manuscript in their entirety, documenting well the manuscript's place as the earliest sustained example in English of men and women writing together in a community.Table of ContentsIntroduction: The First Sustained Example of Men and Women Writing Together in the English Tradition 1Sigla of Manuscripts & Early Printed Books Associated with the Devonshire Manuscript 35Poems 79Bibliography 458First-Line Index 513

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Book SynopsisThis new edition of Much Ado about Nothing is supplemented by an updated introduction which analyses recent stage, television, film and critical interpretations of the play, and considers the play's special interest in language, bodies and gender.Table of ContentsIntroduction; The play; Supplementary notes; Textual analysis; Appendixes: 1. The time-scheme of Much Ado about Nothing, 2. Lewis Carroll's letter to Ellen Terry, 3. Benedick's song, 5.2.18-22; Reading list.

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Book SynopsisIn this selection of research articles Butterworth focuses on investigation of the practical and technical means by which early English theatre, from the fifteenth to the early seventeenth century, was performed. Matters of staging for both ''pageant vehicle'' and ''theatre-in-the-round'' are described and analysed to consider their impact on playing by players, expositors, narrators and prompters. All these operators also functioned to promote the closely aligned disciplines of pyrotechnics and magic (legerdemain or sleight of hand) which also influence the nature of the presented theatre. The sixteen chapters form four clearly identified partsstaging, playing, pyrotechnics and magicand drawing on a wealth of primary source material, Butterworth encourages the reader to rediscover and reappreciate the actors, magicians, wainwrights and wheelwrights, pyrotechnists, and (in modern terms) the special effects people and event managers who brought these early texts to theatrical Table of Contents1. 'The York Mercers' Pageant Vehicle, 1433-1467: Wheels, Steering, and Control' / 2. 'Hugh Platte’s Collapsible Wagon' / 3. 'Pageant Carriage Maintenance at Chester' / 4. 'Jetties, Pentices, Purprestures and Ordure: Obstacles to Pageants and Processions in London' / 5. 'The work of William Parnell, supplier of staging and ingenious devices, and his role in the visit of Elizabeth Woodville to Norwich in 1469' / 6. 'The York Crucifixion: Actor/Audience Relationship' / 7. ''Jean Fouquet's 'The Martyrdom of St Apollonia' and 'The Rape of the Sabine Women' as Iconographical Evidence of Medieval Theatre Practice' / 8. 'Richard Carew's Ordinary: the First English Director' / 9. 'Prompting in Full View of the Audience: The Groningen Experiment' / 10. 'Hellfire: Flame as Special Effect' / 11. 'The Light of Heaven: Flame as Special Effect' / 12. The Providers of Pyrotechnics in Plays and Celebrations' / 13. 'Juggling and Staging Tricks in Early Theatre' / 14. 'Brandon, Feats and Hocus Pocus: Jugglers Three' / 15. 'Hocus Pocus Junior: Further Confirmation of its Author' / 16. 'Is there any Further Value to be Gained from Re-Staging Medieval Theatre?'

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Book SynopsisIntroduces and explores a wide range of fresh approaches to comparative study of Shakespeare and Montaigne.

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Book SynopsisExamines dramatic acts of nostalgia as rhetorical moves designed to precipitate future action.

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Book SynopsisBrink’s provocative biography shows that Spenser was not the would-be court poet whom Karl Marx’s described as ‘Elizabeth’s arse-kissing poet’. In this readable and informative account, Spenser is depicted as the protégé of a circle of London clergymen, who expected him to take holy orders. Brink shows that the young Spenser was known to Alexander Nowell, author of Nowell’s Catechism and Dean of St. Paul’s. Significantly revising the received biography, Brink argues that that it was Harvey alone who orchestrated Familiar Letters (1580). He used this correspondence to further his career and invented the portrait of Spenser as his admiring disciple. Contextualising Spenser’s life by comparisons with Shakespeare and Sir Walter Ralegh, Brink shows that Spenser shared with Sir Philip Sidney an allegiance to the early modern chivalric code. His departure for Ireland was a high point, not an exile.Trade Review'In what is arguably the most important contribution to Spenser studies since Andrew Hadfield’s landmark biography, Jean Brink has rendered a superb service to the field, filling in blanks in the poet’s life and opening up fresh lines of inquiry for future scholars. Brink’s account of the 1560s and 1570s is exemplary in its scholarly scrupulousness. A sustained analysis of Spenser’s schooldays and undergraduate experiences, a meticulous reading of The Shepheardes Calender and a firm putting of Gabriel Harvey in his proper, if less witty and familiar place are just some of the highlights of this splendid monograph. It is a work that is sure to be of lasting impact. Brink is less interested in Spenser’s access to Ireland prior to 1580 than some of her readers will be, but she opens a gateway into the poet’s early encounter with that country that her counterparts have yet to fully explore ... We speak nowadays of ‘research monographs’ when we really mean simply book-length arguments. The Early Spenser really is a research monograph. It reads like a volume that was pieced together over decades rather than years and for that reason it is certain to be a work of enduring criticism.'Willy Maley, The Spenser Review'She [Brink] has a special talent for the capsule biography, and she exploits it to considerable advantage.'Studies in English Literature 1500-1900 -- .Table of ContentsIntroduction1 Lineage and the ‘Nowell Account Book’2 Spenser’s education and Merchant Taylors’ School3 Pembroke College (1569–74) 4 ‘Southerne shepheardes boye’ (1574–79)5 Gabriel Harvey and Immerito (1569–78)6 ‘Minde on honour fixed’: Spenser, Sidney, and the early modern chivalric code7 Aprill and November8 Puzzling identities: From E.K. to Roffy’s ‘boye’ to Rosalind9 Familiar Letters (1580)10 Ireland and the preferment of Edmund Spenser (1580)Conclusion

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Book SynopsisA collection of inventive writings in letter form from a sixteenth-century star of commedia dell'arte. Isabella Andreini (1562–1604) was a commedia dell’arte diva who toured Italy and France as part of the Compagnia dei Comici Gelosi. Letters is a collection of epistles written by Andreini in fictional, anonymous, male, and female voices, a “hermaphroditic” alternation of gender unlike any that had been seen in letter writing to that time. In her letters, Andreini remade the humanistic epistolary genre into a distinctive fusion of literary and dramatic performance. The guise of epistolary intimacy cedes to a knowing artificiality, which allows for the emergence of Andreini’s modern critique of the gendered self as a uniform entity. The collection centers on love and examines—from surprising perspectives—pertinent issues such as death, the birth of a girl, prostitution, patriarchal marital practices, love in old age, courtiership, country and city life, human nature, and defenses and critiques of both sexes. Trade Review"Paola De Santo and Caterina Mongiat Farina’s critical edition and translation of Isabella Andreini’s Letters (1607) is a long-awaited resource for English readers and scholars of Renaissance and early modern studies. This monumental volume showcases De Santo and Mongiat Farina’s strong translation skills, as well as their deep knowledge of Andreini’s work and the rich trove of classical and Renaissance sources from which she drew her copious allusions. Their erudite notes contextualize the letters well for the modern reader. On the whole, the volume provides an eminently readable and enjoyable translation of this work that found enduring fame in Italy and abroad during the seventeenth century." -- Julie D. Campbell, Professor of English, Eastern Illinois UniversityTable of ContentsAcknowledgments Illustrations Introduction The Other Voice Life, Works, and Authorship Isabella Andreini and Women’s Writing in Early Modern Italy The Question of Genre: Pushing the Boundaries of the Letterbook Summary and Analysis of the Letters Love as the Beginning, Middle, and End of the Letters A Discordant Harmony: Paired and Thematically Grouped Letters The Actress as Writer: Thematic and Stylistic Aspects of the Letters Rhetoric and the questione della donna in the Letters Reception and Afterlife Translators’ Note Letters of Isabella Andreini Permission Dedicatory Letter Encomiastic Verses and Anagrams Table of All the Letters Contained in the Work Letters AppendixComparative Table of the Letters’ Summaries: 1607 Edition and This Edition Gender Designations of Letter Writers and Recipients Bibliography Index

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Book SynopsisWhat is the role of literature in the formation of the state? Anthony J. Cascardi takes up this fundamental question in Cervantes, Literature, and the Discourse of Politics, a comprehensive analysis of the presence of politics in Don Quixote. Cascardi argues that when public speech is constrained, as it was in seventeenth-century Spain, politics must be addressed through indirect forms including comedy, myth, and travellers'' tales.Cervantes, Literature, and the Discourse of Politics convincingly re-engages the ancient roots of political theory in modern literature by situating Cervantes within a long line of political thinkers. Cascardi notably connects Cervantes''s political theory to Plato''s, much as the writer''s literary criticism has been firmly linked to Aristotle''s. He also shows how Cervantes''s view of literature provided a compelling alternative to the modern, scientific politics of Machiavelli and Hobbes, highlighting the potential intTrade Review'Cascardi provides illuminating commentary on the overlooked influence of political philosophy upon Cervantes's -- Barbara Simerka Renaissance Quarterly; vol 65:03:2012Table of ContentsAcknowledgments 1. Introduction 2. What the Canon Said 3. Views from Nowhere 4. Controversies 5. The Practice of Theory 6. Politics Brought Down to Earth 7. Imagining the Nation 8. Civil Society, Virtue, and the Pursuit of Happiness 9. Free Speech? Notes Index

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Book SynopsisHarperCollins is proud to present its range of best-loved, essential classics.

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Book SynopsisTo the extent that she is popularly known, Katherine Parr (1512-48) is the woman who survived King Henry VIII as his sixth and last wife. The author assembles the four publications attributed to her - Psalms or Prayers, Prayers or Meditations, The Lamentation of a Sinner, and a compilation of prayers and Biblical excerpts written in her hand.Trade Review"Here we have one of Henry VIII's queens-the one who survived him-in her own words, making laws as regent of England, writing confessional prayers or short childish notes as a little girl.... Katherine Parr is one of the lesser known of Henry's wives, far from the dramatic triangle of Catherine of Aragon and Anne Boleyn, but this collection of her writings will remind historians that Parr was an extraordinary woman of letters and passions." (Los Angeles Times) "A testament to a remarkable woman, whose learning and character speak powerfully to us across the centuries." (Literary Review)"

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Book SynopsisMichael Pennington's solo show about Shakespeare, Sweet William, has been acclaimed throughout Europe and in the US as a unique blend of showmanship and scholarship. In this book, he deepens his exploration of Shakespeare's life and work - and the connection between the two - that lies at its heart. It is illuminated throughout by the unrivalled insights into the plays that Pennington has gained from the twenty thousand hours he has spent working on them as a leading actor, an artistic director and a director - and as the author of three previous books on individual Shakespeare plays. With practical analysis, wonderfully detailed and entertaining interpretations of characters and scenes, and vivid reflections on Shakespeare's theatre and ours, the result is a masterclass of the most enjoyable kind for theatregoers, professionals, students and anyone interested in Shakespeare. This book was published in hardback as Sweet William: Twenty Thousand Hours With Shakespeare. 'A brilliant and intimate insider's guide to Shakespeare from one of our greatest classical actors' Gregory Doran 'Michael Pennington is a great Shakespearian actor who writes with the authority of an academic. His book analyses the plays, the characters and the playwright's life. It will intrigue, entertain and challenge students, actors and their audiences' Ian McKellen 'Rich and informative, and something that will be mined for many years to come by anyone interested in Shakespeare and in British theatre' Professor James Shapiro 'Shakespeare comes wonderfully to life in Michael's beautifully written book' Rupert Everett 'Irresistibly readable' Peter Brook Trade Review'Pennington's blend of scholarship and practical experience gives him an edge over critics with a purely academic knowledge... It's like chatting to an immensely knowledgeable and entertaining actor in The Dirty Duck at Stratford: a raconteur full of theatrical anecdotes, waspish asides, and provocative insights' * Drama magazine *'I can't remember when I learned so much from a single volume as I have from Michael Pennington's engaging, absorbing, congenial, informative new book Sweet William... Sometimes he's anecdotal, often lyrical, always thoughtful and occasionally laugh-aloud funny. Pennington's book is a must-read for anyone interested in Shakespeare from almost any angle - actor, drama student, teacher, director, technician, literature student or audience member' * The Stage *'The most important and best set of original Shakespeare essays that I have read in over thirty years... Pennington is blessed with an ideal combination of talents and experiences... a wonderful book' * Speaking English *

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Book SynopsisOrdering Customs explores how Renaissance Venetians sought to make sense of human difference in a period characterized by increasing global contact and a rapid acceleration of the circulation of information. Venice was at the center of both these developments. The book traces the emergence of a distinctive tradition of ethnographic writing that served as the basis for defining religious and cultural difference in new ways. Taylor draws on a trove of unpublished sources—diplomatic correspondence, court records, diaries, and inventories—to show that the study of customs, rituals, and ways of life not only became central in how Venetians sought to apprehend other peoples, but also had a very real impact at the level of policy, shaping how the Venetian state governed minority populations in the city and its empire. In contrast with the familiar image of ethnography as the product of overseas imperial and missionary encounters, the book points to a more complicated set of origins. Table of ContentsAcknowledgments Abbreviations Introduction 1 The Study of Customs 2 Ambassadors as Ethnographers 3 Ethnography and the Venetian State 4 Reading Ethnography in Early Modern Venice 5 Ethnography, the City, and the Place of Religious Minorities Conclusion Notes Bibliography Index

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Book SynopsisEdmund Spenser''s poetry remains an indispensable touchstone of English literary history. Yet for modern readers his deliberate use of archaic language and his allegorical mode of writing can become barriers to understanding his poetry. This volume of thirty-seven essays, written by distinguished scholars, offers a rich introduction to the literary, political and religious contexts that shaped Spenser''s poetry, including the environment in which he lived, the genres he drew upon, and the influences that helped to fashion his art. The collection reveals the multiple personae that Spenser constructs within his work: to read Spenser is to read a rich archive of literary forms, and this volume provides the contexts in which to do so. A reading list at the end of the volume will prove invaluable to further study.Table of ContentsIntroduction Andrew Escobedo; Part I. Spenser's Environment: 1. Pedagogy, education, and early career Andrew Wallace; 2. Laureate career-fashioning William A. Oram; 3. Patrons Richard McCabe; 4. Church controversy Gregory Kneidel; 5. Figures of Elizabeth Anna Riehl Bertolet; 6. Publication and the book marketplace Andrew Zurcher; 7. Colonialism and the New World Brian Lockey; 8. Colonialism and Irish plantation Thomas Herron; 9. Spenser's Irish circle Willy Maley; 10. Land, boundaries, and borders Philip Schwyzer; Part II. Genre and Craft: 11. Epic David Quint; 12. Pastoral Katherine Little; 13. Romance Clare Kinney; 14. The Bible and biblical hermeneutics Jamie Ferguson; 15. Allegory: theory and practice Judith H. Anderson; 16. Complaint and satire William Kerwinl; 17. Renaissance literary theory Gordon Teskey; 18. Renaissance rhetorical theory Michael Hetherington; 19. Poetry and the Commonwealth Cathy Shrank; 20. Poetical history John E. Curran, Jr; 21. Premodern literary character Andrew Escobedo; 22. Prosody Paul J. Hecht; Part III. Influences and Analogues: 23. Virgil David Scott Wilson-Okamura; 24. Ovid Syrithe Pugh; 25. Petrarch Patrick Cheney; 26. Chaucer Craig A. Berry; 27. The Sidney circle Mary Ellen Lamb; 28. Spenser's French connection Anne Lake Prescott; 29. Plato and Platonism William Junker; 30. Aristotle and the virtues Joe Moshenska; 31. Protestant theology and devotion Beth Quitslund; 32. Emblem and iconography Sarah Howe; 33. Saints, legends, and calendars Susannah Brietz Monta; 34. Cosmology and cosmography Ayesha Ramachandran; 35. Early modern ecology Julian Yates; 36. Sex and eroticism in the Renaissance Melissa E. Sanchez; 37. Gender in the 1590 Faerie Queene Kimberly Anne Coles; Further reading; Index.

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Book SynopsisRe-evaluating the relationship between Renaissance dramatists and literary posterity, this book centres on the question of how writers attempted to cope with mortality, with a particular focus on drama and the building of monuments. It will interest scholars and upper-level students of Renaissance drama, memory studies, early modern theatre, and print history.Trade Review'This is at once an admirable study of the paradoxes of memorialization in several important Renaissance dramatic texts, and a significant intervention in the contemporary critical conversation.' Clara Calvo, Universidad de Murcia, SpainTable of ContentsIntroduction: 'raptures of futurity'; 1. 'Let all things end': Marlowe's immortality; 2. Jonson's textual monument; 3. Webster's 'worthyest monument': the problem of posterity in The Duchess of Malfi; 4. 'Mocking life': preemptive commemoration in The Winter's Tale; 5. Fletcher's future: dynasty and collaborative posterity in Henry VIII; Coda: what they hath left us; Select bibliography; Index.

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Book SynopsisThe Tudors are one of the best known royal families in English history. Over three generations, they constructed and maintained their status and authority during a period of social, political and religious unrest. This book examines the textual basis of Tudor royal power. Through analyses of correspondence alongside genres including proclamations and historical chronicles, the book explores the visual and verbal practices that came to symbolise monarchic authority in the Tudor era. Mel Evans combines concepts from sociolinguistics and pragmatics with corpus linguistic methods to explore the characteristics of authentic English language Tudor texts, alongside materials reporting and appropriating royal language. The book reveals a pervasive sixteenth-century royal voice - one which is central to the articulation and perpetuation of Tudor monarchic power.Trade Review'Evans (English and Linguistics, Univ. of Leicester, UK) studies the verbal and visual features of Tudor texts to track the ways in which monarchs' royal voices found expression and comprehension among their subjects.' L. C. Attreed, Choice'Evans' meticulous material and linguistic analysis of Tudor royal documents and their non-royal imitations and counterparts successfully demonstrates the importance of a royal register of language in royal documents and texts to the construction and representation of royal authority.' Jessica G. Purdy, Royal Studies JournalTable of ContentsIntroduction; Part I. Authentic Royal Voices: 1. Materiality and power in Tudor royal correspondence; 2. Royal epistolary language: trends and trajectories; 3. Pragmatic perspectives on royal letters; 4. Tudor royal proclamations: materiality, orality and performance; Part II. Appropriated Royal Voices: 5. Non-royal views of royal voices: afterlives and metalanguage; 6. Impostor, protector and queen: the textual power of royal pretenders; 7. Writing royal voices: royal discourse reports in sixteenth-century correspondence; 8. Royal voices, narrative and ideology in sixteenth-century chronicles; Conclusion.

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Book SynopsisThe ''graphosphere'' is the dynamic space of visible words. Graphospheres mutate, they are reconfigured with changes in technology, in modes of production, in social structures, in fashion and taste. The graphospheric environment can be public or private, monumental or ephemeral. This book explores a new approach to the study of writing, with a focus on Russia during its ''long early modernity'' from the late fifteenth century to the early nineteenth century. Taking an inclusive approach, it charts unmapped territory, uncovers sources that have almost entirely escaped attention and therefore provides, in the first instance, a unique reference guide to cultures of writing in Russia over four hundred years. Besides generating fresh insights into distinctive features of Russian culture, this outward-looking and accessible book offers a pioneering case study for the wider comparative exploration of the significance of technologies of the word.Trade Review'Recommended for libraries supporting Slavic, East European, and Central Eurasian graduate studies. Includes a most extensive bibliography.' B. K. Beynen, Choice'… insightful … Franklin takes the reader into a world where writing and reading signalled something very different from what they do today.' Marshall Poe, The Times Literary Supplement'Franklin has written an important book, one that inspires readers to reevaluate past assumptions about the history of material texts, categories of writing and the institutions that determine their value. His is a work whose implications extend beyond the chronological and geographical indicators of its title and that has the potential to establish a new branch of literary and cultural studies beyond the boundaries of our field.' University of Southern California Book Prize in Literary and Cultural Studies Committee'Franklin introduces the term [graphosphere] as a 'near neologism,' and with it, inaugurates an entire field. Now that he has done so, readers have cause to celebrate. This is a rare book that opens eyes and reveals new vistas for thought, imagination, and scholarship. It is as electrifying in its novelty as it is dazzling in its erudition … The cumulative force of the book allows us to see the concept of the graphosphere emerge out of a haze and solidify as a real and important way to look at the world, to think about culture and history, to unearth new information and gain new perspectives by cutting across familiar categories in unexpected ways.' Valerie A. Kivelson, Canadian-American Slavic StudiesTable of Contents1. Concepts and contexts; 2. Production in the graphosphere, I: primary writing; 3. Production in the graphosphere, II: secondary writing; 4. Scripts and languages of the graphosphere; 5. Places and times of the graphosphere; 6. Aspects of the ecology of the graphosphere; 7. Aspects of authority and status in the graphosphere; 8. (In)conclusion.

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Book SynopsisPeter Hainsworth's sparkling, eminently readable new English translation of The Book of the Courtier, Baldesar Castiglione's (1478–1529) literary and philosophical masterpiece, captures all the nuance, stylistic flair, and humor of this foundational work of Renaissance humanism.Trade Review"Peter Hainsworth's fresh translation of The Book of the Courtier will gladden those who have known this quintessentially important work through the available translations that are, after several decades, somewhat dated. Hainsworth's version is more accessible to contemporary readers because, first, it is more easily read, and second, because it deftly places Castiglione's classic discussion of manners, gender roles, language, and love in historical context. Instructors especially will welcome the Introduction’s establishment of the biographical, political, and cultural framework of Castiglione's dialogue; the explanatory notes that amply supply the information students will need to appreciate the conversation; and the guidance provided by an analytically enriched table of contents that groups the chapters meaningfully while highlighting the Courtier's principal themes. For 150 years, the ideals expressed in Castiglione's Courtier guided the European elite. Hainsworth’s robust new English edition will help students understand how and why." —Margaret L. King, Professor of History Emerita, Brooklyn College and the Graduate Center, CUNY

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Book SynopsisPeter Hainsworth's sparkling, eminently readable new English translation of The Book of the Courtier, Baldesar Castiglione's (1478–1529) literary and philosophical masterpiece, captures all the nuance, stylistic flair, and humor of this foundational work of Renaissance humanism.Trade Review"Peter Hainsworth's fresh translation of The Book of the Courtier will gladden those who have known this quintessentially important work through the available translations that are, after several decades, somewhat dated. Hainsworth's version is more accessible to contemporary readers because, first, it is more easily read, and second, because it deftly places Castiglione's classic discussion of manners, gender roles, language, and love in historical context. Instructors especially will welcome the Introduction’s establishment of the biographical, political, and cultural framework of Castiglione's dialogue; the explanatory notes that amply supply the information students will need to appreciate the conversation; and the guidance provided by an analytically enriched table of contents that groups the chapters meaningfully while highlighting the Courtier's principal themes. For 150 years, the ideals expressed in Castiglione's Courtier guided the European elite. Hainsworth’s robust new English edition will help students understand how and why." —Margaret L. King, Professor of History Emerita, Brooklyn College and the Graduate Center, CUNY

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Book SynopsisThe masterpiece of Britain’s leading Renaissance scholar. Winner of the Time-Life Silver Pen Award and The Royal Society of Literature Award.Trade Review‘This magnificent book is the product of a lifetime’s scholarship by someone with a quite irrepressible curiosity and prodigious breadth of reading…together with the enviable gift of writing clearly and beautifully.’ TLS ‘This study deserves to stand alongside Braudel’s classic account of the Mediterranean in the time of Philip II. Hale is as generous as he is knowledgeable; his life’s work has culminated in a meticulous masterpiece.’ Frederic Raphael, Sunday Times ‘John Hale has produced a vast and enthralling mosaic. Only someone who had devoted a lifetime to studying history, literature and the art of the 15th- and 16th-century could draw so effortlessly on what seems a limitless range of texts and illustrations…His curiosity never fails, his learning constantly surprises, and the wit and energy of his style never flags…Extraordinary.’ Anthony Grafton, LRB

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