Search results for ""Author Elizabeth"

The dramatic trilogy has been flourishing for some time now in new works and revivals of older works by American, British, and European playwrights. This book analyzes recent American works by Caucasian, African American, Asian American, and Hispanic American men and women. There are five chapters beginning with Opposing Families (trilogies of, e.g., Lanford Wilson, Foote, Machado, and McCraney are examined). Carson, Rabe, and McLaughlin are among those in the Classical Reimaginings chapter while Coen, Berc, and Wolfe constitute the Medieval Reimaginings chapter. Van Itallie, Havis, Rapp, and Hwang, among others, create New Forms. LaBute, Fierstein, and Nelson, among others, create New Selves. The concluding chapter is devoted to Ruhl's Passion Play, which spans 400 years of theatre-creating from Elizabethan England to Hitler's Germany to the Reagan era in America.

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The Norton Critical Edition is again based on the First Folio (1623), the only authoritative text of the play. The volume includes a revised introduction and new annotations and textual notes. The Second Edition also includes the innovative feature “The Actors’ Gallery,” which presents famous actors and actresses—among them David Garrick, Sarah Siddons, Ian McKellen, Hira Mikijirô, Patrick Stewart, and Kate Fleetwood—reflecting on their roles in major productions of Macbeth for stage and screen. “Sources and Contexts” provides readers with an understanding of Macbeth’s origins in earlier texts, specifically the works of the Roman playwright Seneca, the Tudor historian Raphael Holinshed, and the medieval drama The Slaughter of the Innocents and the Death of Herod. Contexts for the play include contemporary debates on predestination versus free will (Martin Luther versus Erasmus), witchcraft as fiction or fact (Reginald Scott versus King James I), the ethics of regicide (an Elizabethan homily versus Jan de Mariana, S.J.), and the ethics of equivocation (Henry Garnet, S.J., versus—new to the Second Edition—Sir Edward Coke). Eight carefully chosen essays represent four hundred years of critical and theatrical interpretation. Contributors include Simon Forman, Samuel Johnson, Samuel Taylor Coleridge, Thomas De Quincey, Harry Levin, Stephen Orgel, Peter Holland, and, presenting the latest arguments on the authorship controversy, Gary Taylor. Finally, an engaging new selection of Macbeth’s “Afterlives” includes excerpts from Giuseppi Verdi’s Macbeth and related letters, Eugene Ionesco’s Macbett (1972), Bill Cain’s Equivocation (2009), and more. This edition also provides a list of online and print resources.

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William Shakespeare's comedy Love's Labours Lost is edited with an introduction by John Kerrigan in Penguin Shakespeare.'What fool is not so wiseTo lose an oath to win a paradise?'Ferdinand, King of Navarre and his lords Berowne, Dumaine, and Longaville agree to form an austere academy, taking a solemn to have no contact with women for three years. But when the Princess of neighbouring France arrives with her female attendants, their pledge is quickly placed under strain. Soon all are smitten and confusion abounds, as each struggles to secretly declare his love in this comedy of deception, desire and mistaken identity.This book contains a general introduction to Shakespeare's life and Elizabethan theatre, a separate introduction to Love's Labours Lost, a chronology, suggestions for further reading, an essay discussing performance options on both stage and screen, and a commentary.If you enjoyed Love's Labours Lost, you might like The Merry Wives of Windsor, also available in Penguin Shakespeare.'The most beautiful of Shakespeare's comedies'Kenneth Branagh

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If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts. The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos. The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. Never has there been a Folio available in modern reading fonts. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan "look " none of them is easily and practically utilized in general Shakespeare studies or performances.

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This book is a study of five remarkable sixteenth-century women. Part of the select group of Tudor women allowed access to a formal education, the Cooke sisters were also well-connected through their marriages to influential Elizabethan politicians. Drawing particularly on the sisters’ own writings, this book demonstrates that the sisters’ education extended far beyond that normally allowed for sixteenth-century women, challenging the view that women in this period were excluded from using their formal education to practical effect. It reveals that the sisters’ learning provided them with opportunities to communicate effectively their own priorities through their translations, verse and letters. By reconstructing the sisters’ networks, it demonstrates how they worked alongside – and sometimes against – family members over matters of politics and religion, empowered by their exceptional education. Providing new perspectives on these key issues, it will be essential reading for early modern historians and literary scholars.

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The work of renowned firm McALPINE has always communicated the power of romanticism, speaking directly to the heart through the beauty and poetry of the home. Tapping diverse influences, the residences draw from architectural languages ranging from Elizabethan and Dutch to colonial Caribbean and agrarian American. The book opens with Bobby McAlpine s own newly designed house, featuring exquisite spaces that are modern in expression but classical in order and balance. Other projects include a white-on-white neoclassical pavilion-by-the-sea in the Bahamas; a masonry dwelling in the rolling hills of Virginia; a quintessential American country house in Tennessee that combines the familiarity of a farmhouse with crisp minimalism; and an exuberant house sited on the edge of a pastoral golf course in Alabama. Freely choosing from architecture s treasury, the assembly of houses is familiar, bold, and surprising, all at the same time reflecting the complexity of the human experience.

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From the Royal Shakespeare Company – a modern, definitive edition of Shakespeare's epic retelling of the Wars of the Roses. With an expert introduction by Sir Jonathan Bate, this unique edition presents a historical overview of Henry VI in performance, takes a detailed look at specific productions, and recommends film versions. Included in this edition are interviews with two leading directors and a designer - Edward Hal and Michael Boyd, and Tom Piper – providing an illuminating insight into the extraordinary variety of interpretations that are possible. This edition also includes an essay on Shakespeare’s career and Elizabethan theatre, and enables the reader to understand the play as it was originally intended – as living theatre to be enjoyed and performed. Ideal for students, theatre-goers, actors and general readers, the RSC Shakespeare editions offer a fresh, accessible and contemporary approach to reading and rediscovering Shakespeare’s works for the twenty-first century.

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Torte - the beloved small town bakeshop run by Jules Capshaw - is set to hit the stage. But who would have guessed that murder would makes a surprise appearance? It's the role of a lifetime for Jules. The Shakespeare Festival has returned to Ashland, Oregon, for the season and Torte has been castas the supplier of Elizabethan-era treats for the main event. But on the eve of opening night, a brawl between Jules's friend Lance, the artistic director, and a strapping young thespian named Anthony almost brings down the house. . . and the next morning, Anthony is dead. Jules knows that Lance loves his drama - and his just desserts - but she also knows that murder is way off-script for him. Now it's up to Jules to cut through a bevy of backstage betrayals and catty co- stars who all have their own secrets - before the curtain drops on someone else...

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English sacred music is a collection of English-texted sacred music that celebrates the genius of Thomas Tallis, which is selected and edited by Jeremy Summerly to provide an invaluable source of introits and anthems for choirs. For SATB mixed voices choir with optional accompaniment. The sixteenth century was a time of religious upheaval in England. From Henry VIII’s protestant reformation through Queen Mary’s staunch but short-lived Catholic revival to the return of Anglicanism in Elizabethan times, it would have required careful diplomacy for a Roman Catholic like Thomas Tallis simply to stay alive. In fact he became the most respected composer of his generation and is now recognised as one of the country’s greatest composers. The Choral Programme Series is now a well-established programming tool for many choirs as it offers a wealth of fresh material from many eras and in many styles. Also offering great value for money as each volume in the series provides up to forty minutes of music

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From the Royal Shakespeare Company – a modern, definitive edition of Shakespeare's exuberant early comedy. With an expert introduction by Sir Jonathan Bate, this unique edition presents a historical overview of The Two Gentlemen of Verona in performance, takes a detailed look at specific productions, and recommends film versions. Included in this edition are interviews with acclaimed directors David Thacker and Edward Hall – providing an illuminating insight into the extraordinary variety of interpretations that are possible. This edition also includes an essay on Shakespeare’s career and Elizabethan theatre, and enables the reader to understand the play as it was originally intended – as living theatre to be enjoyed and performed. Ideal for students, theatre-goers, actors and general readers, the RSC Shakespeare editions offer a fresh, accessible and contemporary approach to reading and rediscovering Shakespeare’s works for the twenty-first century.

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With the expansion of the publishing industry between the sixteenth and eighteenth centuries, reading for pleasure became possible for an increasing number of people, not just the wealthy and educated. The growth of the book trade produced, alongside elite literature, a parallel popular literature. Lori Humphrey Newcomb examines the proliferation of romances in early modern England, as well as their vilification by elite writers. Using as her case study Robert Greene's Pandosto (1585), an Elizabethan prose romance that inspired Shakespeare's late play, The Winter's Tale, she shows that the two forms of literature influenced each other profoundly. Because Shakespeare's works are considered timeless literary achievements, critics have distanced his plays from his romantic sources-a separation that until now has gone unquestioned. Newcomb undermines this assumption, providing a fascinating account of an early bestseller's incarnations over 250 years of literary history.

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‘Enchanting’ - Simon Russell Beale ‘Remarkable’ - James Shapiro‘Wonderful . . . compulsively readable’ - Nicholas HytnerWhy do the collected works of an Elizabethan writer continue to speak to us as if they were written yesterday?When Robert McCrum began his recovery from a life-changing stroke, described in My Year Off, he discovered that the only words that made sense to him were snatches of Shakespeare. Unable to travel or move as he used to, McCrum found the First Folio became his ‘book of life’, an endless source of inspiration through which he could embark on ‘journeys of the mind’, and see a reflection of our own disrupted times.An acclaimed writer and journalist, McCrum has spent the last twenty-five years immersed in Shakespeare’s work, on stage and on the page. During this prolonged exploration, Shakespeare’s poetry and plays, so vivid and contemporary, have become his guide and consolation. In Shakespearean he asks: Why is it that we always return to Shakespeare, particularly in times of acute crisis and dislocation? What is the key to his hold on our imagination? And why do the collected works of an Elizabethan writer continue to speak to us as if they were written yesterday?Shakespearean is a rich, brilliant and superbly drawn portrait of an extraordinary artist, one of the greatest writers who ever lived. Through an enthralling narrative, ranging widely in time and space, McCrum seeks to understand Shakespeare within his historical context while also exploring the secrets of literary inspiration, and examining the nature of creativity itself. Witty and insightful, he makes a passionate and deeply personal case that Shakespeare’s words and ideas are not just enduring in their relevance – they are nothing less than the eternal key to our shared humanity.

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Was the experience of poetry--or a cultural practice we now call poetry--continuously available across the two-and-a-half millennia from the composition of the Homeric epics to the publication of Ben Jonson's Works and the death of Shakespeare in 1616? How did the pleasure afforded by the crafting of language into memorable and moving rhythmic forms play a part in the lives of hearers and readers in Ancient Greece and Rome, Europe during Late Antiquity and the Middle Ages, and Britain during the Renaissance? In tackling these questions, this book first examines the evidence for the performance of the Iliad and the Odyssey and of Ancient Greek lyric poetry, the impact of the invention of writing on Alexandrian verse, the performances of poetry that characterized Ancient Rome, and the private and public venues for poetic experience in Late Antiquity. It moves on to deal with medieval verse, exploring the oral traditions that spread across Europe in the vernacular languages, the place of manuscript transmission, the shift from roll to codex and from papyrus to parchment, and the changing audiences for poetry. A final part investigates the experience of poetry in the English Renaissance, from the manuscript verse of Henry VIII's court to the anthologies and collections of the late Elizabethan era. Among the topics considered in this part are the importance of the printed page, the continuing significance of manuscript circulation, the performance of poetry in pageants and progresses, and the appearance of poets on the Elizabethan stage. In tracking both continuity and change across these many centuries, the book throws fresh light on the role and importance of poetry in western culture.

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A deeply researched, analytically rich, and vivid account of England's early maritime empire Drawing on a wealth of understudied sources, historian Eleanor Hubbard explores the labor conflicts behind the rise of the English maritime empire. Freewheeling Elizabethan privateering attracted thousands of young men to the sea, where they acquired valuable skills and a reputation for ruthlessness. Peace in 1603 forced these predatory seamen to adapt to a radically changed world, one in which they were expected to risk their lives for merchants' gain, not plunder. Merchant trading companies expected sailors to relinquish their unruly ways and to help convince overseas rulers and trading partners that the English were a courteous and trustworthy "nation." Some sailors rebelled, becoming pirates and renegades; others demanded and often received concessions and shares in new trading opportunities. Treated gently by a state that was anxious to promote seafaring in order to man the navy, these determined sailors helped to keep the sea a viable and attractive trade for Englishmen.

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Rochester's position on the River Medway, near where it joins the Thames, has meant that it has played an important historical role for centuries. Beyond its Norman castle and cathedral and many ancient buildings, the town is surrounded by fortifications as it was a potential target for invaders, although in 1667 the Dutch were able to raid Rochester and set fire to a large number of English naval ships. The historic character of Rochester remains today with its annual Sweeps Festival and two festivals a year celebrating Dickens, who had lived nearby. The town has the only museum in the country celebrating the Huguenots.AZ of Rochester reveals the history behind the town, its streets and buildings, businesses and the people connected with it. Alongside the famous historical connections are unusual characters, tucked-away places and unique events that are less well known. Readers will discover tales of a Victorian botanical illustrator, a Saxon saint and a celebrated Elizabethan Clerk o

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William Shakespeare's comic encore for one of his best-loved characters - the rascally Falstaff from Henry IV and Henry V - The Merry Wives of Windsor is edited by G.R. Hibbard with an introduction by Catherine Richardson in Penguin Shakespeare.'We'll leave a proof, by that which we will do,Wives may be merry, and yet honest too'In need of money, the fat and foolish Falstaff devises a scheme to seduce two married women and steal their husbands' wealth. By talking to each other, however, the wives soon discover his plan and begin to plot their own revenge. Relentlessly inventive, this comic humiliation of a foolish would-be seducer is a lively, compelling and ultimately joyous celebration of the all-conquering power of laughter.This book contains a general introduction to Shakespeare's life and Elizabethan theatre, a separate introduction to The Merry Wives of Windsor, a chronology, suggestions for further reading, an essay discussing performance options on both stage and screen, and a commentary.'It never yet had reader or spectator, who did not think it too soon at end'Samuel Johnson

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With the expansion of the publishing industry between the sixteenth and eighteenth centuries, reading for pleasure became possible for an increasing number of people, not just the wealthy and educated. The growth of the book trade produced, alongside elite literature, a parallel popular literature. Lori Humphrey Newcomb examines the proliferation of romances in early modern England, as well as their vilification by elite writers. Using as her case study Robert Greene's Pandosto (1585), an Elizabethan prose romance that inspired Shakespeare's late play, The Winter's Tale, she shows that the two forms of literature influenced each other profoundly. Because Shakespeare's works are considered timeless literary achievements, critics have distanced his plays from his romantic sources-a separation that until now has gone unquestioned. Newcomb undermines this assumption, providing a fascinating account of an early bestseller's incarnations over 250 years of literary history.

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In this book Bryan Reynolds argues that early modern England experienced a sociocultural phenomenon, unprecedented in English history, which has been largely overlooked by historians and critics. Beginning in the 1520s, a distinct "criminal culture" of beggars, vagabonds, confidence tricksters, prostitutes, and gypsies emerged and flourished. This community defined itself through its criminal conduct and dissident thought and was, in turn,officially defined by and against the dominant conceptions of English cultural normality. Examining plays, popular pamphlets, laws, poems, and scholarly work from the period, Reynolds demonstrates that this criminal culture, though diverse, was united by its own ideology, language, and aesthetic. Using his transversal theory, he shows how the enduring presence of this criminal culture markedly influenced the mainstream culture's aesthetic sensibilities, socioeconomic organization, and systems of belief. He maps the effects of the public theater's transformative force of transversality, such as through the criminality represented by Shakespeare, Jonson, Middleton, and Dekker, on both Elizabethan and Jacobean society and the scholarship devoted to it.

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Renaissance Drama provides a comprehensive and engaging new account of one of the richest periods of theatre history: the drama of early modern England produced for the professional theatre. It brings new insights to bear by exploring the plays in their relation to the culture and society of the period. Sandra Clark takes the reader through a compelling examination of how plays participate in and respond to changing anxieties, for instance about English nationhood, the monarchy, or the role of the family, sometimes raising difficult questions or offering challenges to accepted views. Unlike many books on Elizabethan drama, the book is organized so as to cover a wide range of plays, some familiar, many less so, by many playwrights, from Lyly in the 1580s to Shirley in the 1640s. Shakespeare is not foregrounded, but neither is he excluded; a chapter considers his dialogue with contemporaries and also the ways in which later playwrights wrote back to his work. Renaissance Drama will become standard reading for all students and scholars of English literature or the early modern period.

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**A Sunday Times top ten bestseller****Shortlisted for the Sunday Times Young Writer of the Year Award 2023****Shortlisted for the Duff Cooper Prize for Non-Fiction 2023****Shortlisted for the Slightly Foxed First Biography Prize 2023**'Masterly.' Observer'Wonderful, joyous.' Maggie O'Farrell'Frankly brilliant.' Sunday Times'Unmissable.' Simon Jenkins'Every page sparkles.' Claire Tomalin'A triumph.' Matt Haig'Stylish, scholarly and gripping.' Rose TremainJohn Donne lived myriad lives. Sometime religious outsider and social disaster, sometime celebrity preacher and establishment darling, Donne was incapable of being just one thing.He was a scholar of law, a sea adventurer, an MP, a priest, the Dean of St Paul's Cathedral - and perhaps the greatest love poet in the history of the English language.In Super-Infinite, Katherine Rundell shows us the many sides of Donne's extraordinary life, his obsessions, his blazing words, and his tempestuous Elizabethan times - unveiling Donne as the most remarkable mind and as a lesson in living.

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Renaissance Drama provides a comprehensive and engaging new account of one of the richest periods of theatre history: the drama of early modern England produced for the professional theatre. It brings new insights to bear by exploring the plays in their relation to the culture and society of the period. Sandra Clark takes the reader through a compelling examination of how plays participate in and respond to changing anxieties, for instance about English nationhood, the monarchy, or the role of the family, sometimes raising difficult questions or offering challenges to accepted views. Unlike many books on Elizabethan drama, the book is organized so as to cover a wide range of plays, some familiar, many less so, by many playwrights, from Lyly in the 1580s to Shirley in the 1640s. Shakespeare is not foregrounded, but neither is he excluded; a chapter considers his dialogue with contemporaries and also the ways in which later playwrights wrote back to his work. Renaissance Drama will become standard reading for all students and scholars of English literature or the early modern period.

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'One of the most productive, imaginative and risk-taking of writers... It is a clever, sexually explicit, fast-moving, full blooded yarn'Irish TimesA Dead Man in Deptford re-imagines the riotous life and suspicious death of Christopher Marlowe. Poet, lover and spy, Marlowe must negotiate the pressures placed upon him by theatre, Queen and country. Burgess brings this dazzling figure to life and pungently evokes Elizabethan England.

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From the Royal Shakespeare Company – a modern, definitive edition of Shakespeare's bittersweet comedy of courtship and ethnic tension. With an expert introduction by Sir Jonathan Bate, this unique edition presents a historical overview of The Merchant of Venice in performance, takes a detailed look at specific productions, and recommends film versions. Included in this edition are interviews with two leading directors and two actors – Darko Tresjnak, David Thacker, Anthony Sher and Henry Goodman – providing an illuminating insight into the extraordinary variety of interpretations that are possible. This edition also includes an essay on Shakespeare’s career and Elizabethan theatre, and enables the reader to understand the play as it was originally intended – as living theatre to be enjoyed and performed. Ideal for students, theatre-goers, actors and general readers, the RSC Shakespeare editions offer a fresh, accessible and contemporary approach to reading and rediscovering Shakespeare’s works for the twenty-first century.

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ARDEN RENAISSANCE DRAMA GUIDES offer students and academics practical and accessible introductions to the critical and performance contexts of key Elizabethan and Jacobean plays. Essays from leading international scholars provide invaluable insights into the text by presenting a range of critical perspectives, making the books ideal companions for study and research. Key features include: Essays on the play’s critical and performance history A keynote essay on current research and thinking about the play A selection of new essays by leading scholars A survey of resources to direct students’ further reading about the play in print and online Regularly performed and studied, Macbeth is not only one of Shakespeare's most popular plays but also provides us with one of the literary canon's most compellingly conflicted tragic figures. This guide offers fresh new ways into the play.

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Peter Hennessy brings his deep political and historical understanding to this study of two of the most turbulent and disruptive years experienced by Britain in peacetime. As the protracted withdrawal from the EU and the disruption caused by the Covid-19 pandemic dragged on, a series of unprecedented challenges - some global, some domestic - laid bare the fragility of Britain and the Union. Beginning with the chaotic Fall of Kabul, which exposed Britain's military dependence on the United States, through the protracted, unedifying removal of a prime minister - and the economically catastrophic, short-lived tenure of his successor - that further exposed the vulnerabilities of an unwritten constitution; to the country sweltering in record breaking temperatures amid dire warnings of climate catastrophe; and finally to the death of a much-loved monarch, a point of constancy during decades of tremendous social and technological change. In his final chapter, Hennessy considers the continuities and upheavals of the last seventy years, asking whether there can be said to have been a second 'Elizabethan Age', and lamenting that the post-war period came to its close amid such upheaval and loss.

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Shakespeare’s most spirited play, adapted for new audiences by Jeffrey Whitty. Tony Award–winning and Oscar-nominated storyteller Jeffrey Whitty offers his adaptation of A Midsummer Night’s Dream, mindfully adapted into modern language. Matching the Bard line for line, rhyme for rhyme, Whitty illuminates Shakespeare’s meaning for modern audiences while maintaining the play’s storytelling architecture, emotional texture, and freewheeling humor. Designed to supplement, not supplant, the original, Whitty’s Midsummer cuts through the centuries to bring audiences a fresh, moment-by-moment take, designed to flow as effortlessly for modern audiences as Shakespeare’s beloved classic played to the Elizabethans. ​ This translation was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. These volumes make these works available for the first time in print—a new First Folio for a new era.

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A survey of the changes in medical care for those approaching death in the early modern period. From the sixteenth century onwards, medical strategies adopted by the seriously ill and dying changed radically, decade by decade, from the Elizabethan age of astrological medicine to the emergence of the general practitioner in the early eighteenth century. It is this profound revolution, in both medical and religious terms, as whole communities' hopes for physical survival shifted from God to the doctor, that this book charts. Drawing on more than eighteen thousand probate accounts, it identifies massive increases in the consumption of medicines and medical advice by all social groups and in almost all areas. Most importantly, it examines the role of the towns in providing medical services to rural areas and hinterlands [using the diocese of Canterbury as a particular focus], and demonstrates the extending ranges of physicians', surgeons' and apothecaries' businesses. It also identifies a comparable revolution in community nursing, from its unskilled status in 1600 to a more exclusive one by 1700. IAN MORTIMER is an independent historian and Honorary Research Fellow at the University of Exeter.

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Built to last, built to impress, built with style and grandeur – it is all the more remarkable when the most ostentatious of buildings fall into disrepair and become ruins. From imperial residences and aristocratic estates to hotels and urban mansions, Abandoned Palaces tells the stories behind dilapidated structures from all around the world. From ancient Roman villas to the French colonial hill station in Cambodia that was one of the final refuges of the Khmer Rouge, the book charts the fascinating decline of what were once the homes and holiday resorts of the most wealthy. Ranging from crumbling hotels in the Catskill Mountains or in Mozambique to grand mansions in Taiwan, and from an unfinished Elizabethan summerhouse to a modern megalomaniac’s estate too expensive ever to be completed, the reasons for the abandonment of these buildings include politics, bankruptcy, personal tragedies, natural and man-made disasters, as well as changing tastes and fashions. With 150 outstanding colour photographs exploring more than 100 hauntingly beautiful locations, Abandoned Palaces is a brilliant and moving pictorial examination of worlds we have left behind.

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This dictionary is the first comprehensive description of Shakespearean original pronunication (OP), enabling practitioners to deal with any queries about the pronunciation of individual words. It includes all the words in the First Folio, transcribed using IPA, and the accompanying website hosts sound files as a further aid to pronunciation. It also includes the main sources of evidence in the texts, notably all spelling variants (along with a frequency count for each variant) and all rhymes (including those occurring elsewhere in the canon, such as the Sonnets and long poems). An extensive introduction provides a full account of the aims, evidence, history, and current use of OP in relation to Shakespeare productions, as well as indicating the wider use of OP in relation to other Elizabethan and Jacobean writers, composers from the period, the King James Bible, and those involved in reconstructing heritage centres. It will be an invaluable resource for producers, directors, actors, and others wishing to mount a Shakespeare production or present Shakespeare's poetry in original pronunciation, as well as for students and academics in the fields of literary criticism and Shakespeare studies more generally.

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A young man from a small provincial town moves to London in the late 1580s and, in a remarkably short time, becomes the greatest playwright not of his age alone but of all time. How is an achievement of this magnitude to be explained? Stephen Greenblatt brings us down to earth to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life, could have become the world’s greatest playwright.

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For all that we love and admire Shakespeare, he is not that easy to grasp. He may have written in Elizabethan English, but when we read him, we can't help but understand his words, metaphors, and syntax in relation to our own. Until now, explaining the powers and pleasures of the Bard's language has always meant returning it to its original linguistic and rhetorical contexts. Countless excellent studies situate his unusual gift for words in relation to the resources of the English of his day. They may mention the presumptions of modern readers, but their goal is to correct and invalidate any false impressions. Shakesplish is the first book devoted to our experience as modern readers of Early Modern English. Drawing on translation theory and linguistics, Paula Blank argues that for us, Shakespeare's language is a hybrid English composed of errors in comprehension—and that such errors enable, rather than hinder, some of the pleasures we take in his language. Investigating how and why it strikes us, by turns, as beautiful, funny, sexy, or smart, she shows how, far from being the fossilized remains of an older idiom, Shakespeare's English is also our own.

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For all that we love and admire Shakespeare, he is not that easy to grasp. He may have written in Elizabethan English, but when we read him, we can't help but understand his words, metaphors, and syntax in relation to our own. Until now, explaining the powers and pleasures of the Bard's language has always meant returning it to its original linguistic and rhetorical contexts. Countless excellent studies situate his unusual gift for words in relation to the resources of the English of his day. They may mention the presumptions of modern readers, but their goal is to correct and invalidate any false impressions. Shakesplish is the first book devoted to our experience as modern readers of Early Modern English. Drawing on translation theory and linguistics, Paula Blank argues that for us, Shakespeare's language is a hybrid English composed of errors in comprehension—and that such errors enable, rather than hinder, some of the pleasures we take in his language. Investigating how and why it strikes us, by turns, as beautiful, funny, sexy, or smart, she shows how, far from being the fossilized remains of an older idiom, Shakespeare's English is also our own.

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Now in its third edition, Reformation England 1480-1642 provides a clear and accessible narrative account of the English Reformation, explaining how historical interpretations of its major themes have changed and developed over the past few decades, where they currently stand, and where they seem likely to go. This new edition brings the text fully up-to-date with description and analysis of recent scholarship on the pre-Reformation Church, the religious policies of Henry VIII, Edward VI and Mary I, the impact of Elizabethan and Jacobean Puritanism, the character of English Catholicism, the pitfalls of studying popular religion, and the relationship between the Reformation and the outbreak of civil war in the seventeenth century. With a significant amount of fresh material, including maps, illustrations and a substantial new Afterword on the Reformation's legacies in English (and British) history, Reformation England 1480-1642 will continue to be an indispensable guide for students approaching the complexities and controversies of the English Reformation for the first time, as well as for anyone wishing to deepen their understanding of this fascinating and formative chapter in the history of England.

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Essays exploring medieval castration, as reflected in archaeology, law, historical record, and literary motifs. Castration and castrati have always been facets of western culture, from myth and legend to law and theology, from eunuchs guarding harems to the seventeenth- and eighteenth-century castrati singers. Metaphoric castration pervadesa number of medieval literary genres, particularly the Old French fabliaux - exchanges of power predicated upon the exchange or absence of sexual desire signified by genitalia - but the plain, literal act of castration and its implications are often overlooked. This collection explores this often taboo subject and its implications for cultural mores and custom in Western Europe, seeking to demystify and demythologize castration. Its subjects includearchaeological studies of eunuchs; historical accounts of castration in trials of combat; the mutilation of political rivals in medieval Wales; Anglo-Saxon and Frisian legal and literary examples of castration as punishment; castration as comedy in the Old French fabliaux; the prohibition against genital mutilation in hagiography; and early-modern anxieties about punitive castration enacted on the Elizabethan stage. The introduction reflects on these topics in the context of arguably the most well-known victim of castration in the middle ages, Abelard. Larissa Tracy is Associate Professor of Medieval Literature at Longwood University. Contributors: Larissa Tracy, Kathryn Reusch, Shaun Tougher, Jack Collins, Rolf H. Bremmer Jr, Jay Paul Gates, Charlene M. Eska, Mary A. Valante, Anthony Adams, Mary E. Leech, Jed Chandler, Ellen Lorraine Friedrich, Robert L.A. Clark, Karin Sellberg, LenaWånggren

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The history of the town of Bolsover and neighbouring parishes, from prehistory to the present day. The history and topography of the small market town of Bolsover in north-east Derbyshire and four parishes immediately to its north (Barlborough, Clowne, Elmton - including Creswell - and Whitwell) are covered in this volume. Alllie mainly on a magnesian limestone ridge, rather than the exposed coalfield, and therefore only became mining communities late in the nineteenth century. Since the end of deep mining in Derbyshire all have faced a difficult period of economic and social adjustment. As well as the general development of the five parishes, the book includes detailed accounts of the medieval castle at Bolsover, the mansion built on the site of the castle by the Cavendish family of Welbeck in the seventeenth century, and Barlborough Hall, a late sixteenth-century prodigy house built by a successful Elizabethan lawyer. Philip Riden teaches in the Department of History at the University of Nottingham; he has been the editor of the Victoria County History of Derbyshire since 1996, when he re-established the VCH in the county.

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Inspire your teaching with Key Stage 3 English Anthology: Shakespeare, a themed anthology for Year 7 through to Year 9. Featuring key extracts from A Midsummer Night's Dream, Romeo and Juliet and Macbeth, the Anthology guides students through each play, encouraging them to engage with the text to gain a thorough understanding of the context and literary techniques underpinning Shakespeare's work. Each extract is supported by Teaching and Learning Resources, including quizzes, lesson plans and PowerPoint slides to help you implement the content of the book. Each extract includes:- A context panel to provide key information to set the scene of Elizabethan England- Glossaries and annotations to help students work through each extract confidently - Look closely: key questions for students to consider as they work through the extracts- Now try this: writing and speaking activities to encourage students to get creative and actively engage with the text- Fast finisher tasks to support students who race ahead- A practice question to familiarise students with the command words they will see at GCSE

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The first of Shakespeare's four plays about the Wars of the Roses, dramatizing the rivalry between power-hungry noble houses, divided by grievances inherited from the past. This Penguin Shakespeare edition is edited by Norman Sanders with an introduction by Jane Kingsley-Smith.'Send between the red rose and the whiteA thousand souls to death and deadly night'After the death of Henry V, the French revolt and threaten to reclaim their country from English rule. Guided by his Lord Protector, the young King Henry VI journeys to Paris to reaffirm his rule over France. But while the British battle Joan of Arc abroad, discontent is also breeding at home between the two ancient Houses of York and Lancaster.This book contains a general introduction to Shakespeare's life and Elizabethan theatre, a separate introduction to the play, a chronology, suggestions for further reading, an essay by Rebecca Brown discussing performance options on both stage and screen, and a commentary.Shakespeare's first tetralogy, about the Wars of the Roses, is continued by Henry VI, Parts II and III, and Richard III, all available in Penguin Classics.

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A key anthology for students of English literature, Metaphysical Poetry is a collection whose unique philosophical insights are some of the crowning achievements of Renaissance verse, edited with an introduction and notes by Colin Burrow in Penguin Classics.Spanning the Elizabethan age to the Restoration and beyond, Metaphysical poetry sought to describe a time of startling progress, scientific discovery, unrivalled exploration and deep religious uncertainty. This compelling collection of the best and most enjoyable poems from the era includes tightly argued lyrics, erotic and libertine considerations of love, divine poems and elegies of lament by such great figures as John Donne, George Herbert, Andrew Marvell and John Milton, alongside pieces from many other less well known but equally fascinating poets of the age, such as Anne Bradstreet, Katherine Philips and Thomas Traherne. Widely varied in theme, all are characterized by their use of startling metaphors, imagery and language to express the uncertainty of an age, and a profound desire for originality that was to prove deeply influential on later poets and in particular poets of the Modernist movement such as T. S. Eliot.In his introduction, Colin Burrow explores the nature of Metaphysical poetry, its development across the seventeenth century and its influence on later poets and includes A Very Short History of Metaphysical Poetry from Donne to Rochester. This edition also includes detailed notes, a chronology and further reading.Colin Burrow is Reader in Renaissance and Comparative Literature at Gonville and Caius College, Cambridge. He has edited Shakespeare's Sonnets for OUP and The Complete Works of Ben Jonson, and is working on the Elizabethan volume of the Oxford English Literary History.If you enjoyed Metaphysical Poetry, you might like John Donne's Selected Poems, also available in Penguin Classics.

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George Puttenham's Art of English Poesy is a foundational work of English Renaissance criticism and literary theory. Rich in detail about the nature, purpose, and functions of poetry as well as the poet's character and goals, it is also a valuable historical document, offering generous insight into Elizabethan court culture, implicitly on display in the attitudes and values of the writer. His illustrative anecdotes enable us to watch European courtiers negotiating their social and political relationships with one another as well as with rulers and social inferiors. This new critical edition of The Art of English Poesy contains the first modernized and fully annotated edition of Puttenham's 1589 text; a substantial introductory essay by Frank Whigham and Wayne A. Rebhorn; a comprehensive bibliography; several glossaries and appendixes; and an index. The editors' masterly essay introduces Puttenham to modern readers and situates The Art of English Poesy in the context of the rhetorical theory, poetics, and courtly conduct of its time. The introduction also includes a concise biography of Puttenham based on a variety of new and unfamiliar data: he married an older and much richer woman whom he badly mistreated; indulged habitually in a life of sexual predation; was repeatedly sued, arrested, and imprisoned; survived several supposed attempts on his life; and died, nearly indigent, in 1591. For scholars and students of the English Renaissance, the Cornell edition of The Art of English Poesy should prove the definitive edition of Puttenham's major work.

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Night Became Years is poetry in the sauntering tradition of the flâneur. Stefanik loafers his way over sacred geography and explores his own mixed heritage through the lexicon of Elizabethan canting language. Comparing the terminology of fifteenth-­century English beggar vernacular with a contemporary Canadian inner­-city worldview, the poems in Night Became Years unfold as separate entities while at the same time forming a larger narrative on the possibilities of poetry today and the nature of mixed­-blood identity.

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The Historical Renaissance both exemplifies and examines the most influential current in contemporary studies of the English Renaissance: the effort to analyze the interplay between literature, history, and politics. The broad and varied manifestations of that effort are reflected in the scope of this collection. Rather than merely providing a sampler of any single critical movement, The Historical Renaissance represents the range of ways scholars and critics are fusing what many would once have distinguished as "literary" and "historical" concernsThe volume includes studies of mid-Tudor culture as well as of Elizabethan and Stuart periods. The scope of the collection is also manifest in its list of contributors. They include historians and literary critics, and their work spans he spectrum from more traditional methods to those characteristic of what has been termed "New Historicism."One aim of the book is to investigate the apparent division between these older and more current approaches. Heather Dubrow and Richard Strier evaluate the contemporary interest in historical studies of the Renaissance, relating it to previous developments in the field, surveying its achievements and limitations, and suggesting new directions for future work.

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He is one of the most reviled English kings in history. He drove his kingdom to the brink of civil war a dozen times in less than twenty years. He allowed his male lovers to rule the kingdom. He led a great army to the most ignominious military defeat in English history. His wife took a lover and invaded his kingdom, and he ended his reign wandering around Wales with a handful of followers, pursued by an army. He was the first king of England forced to abdicate his throne. Popular legend has it that he died screaming impaled on a red-hot poker, but in fact the time and place of his death are shrouded in mystery. His life reads like an Elizabethan tragedy, full of passionate doomed love, bloody revenge, jealousy, hatred, vindictiveness and obsession. He was Edward II, and this book tells his story. Using almost exclusively fourteenth-century sources and Edward’s own letters and speeches wherever possible, Kathryn Warner strips away the myths which have been created about him over the centuries, and provides a far more accurate and vivid picture of him than has previously been seen.

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Bibliographers have been notoriously 'hesitant to deal with liturgies', and this volume bridges an important gap with its authoritative examination of how the Book of Common Prayer came into being. The first edition of 1549, the first Grafton edition of 1552 and the first quarto edition of 1559 are now correctly identified, while Peter W. M. Blayney shows that the first two editions of 1559 were probably finished on the same day. Through relentless scrutiny of the evidence, he reveals that the contents of the 1549 version continued to evolve both during and after the printing of the first edition, and that changes were still being made to the Elizabethan revision weeks after the Act of Uniformity was passed. His bold reconstruction is transformative for the early Anglican liturgy, and thus for the wider history of the Church of England. This major, revisionist work is a remarkable book about a remarkable book.

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Windsor Castle. 1714. Queen Anne is nearing the end of a life filled with tragedy and grief: plagued by illness and cursed by her father to lose all 17 of her children, she now lies dying with no living heir.The question of succession is thick in the air. Will it be James Stuart, the half-brother she has always refused to acknowledge? Or George of Hanover, the cousin who once turned her down for marriage?Neither is ideal: she hates them both.Over the course of one night at the Queen’s Elizabethan ball, courtiers, politicians and ladies’ maids alike seize the opportunity to steer the succession to their own advantage, changing the course of history forever. Meanwhile, unbeknownst to them, imperial spy Daniel Defoe creeps through the castle gathering intelligence on their every move for the Earl of Oxford.Before the night is over, Queen Anne will finally have to face the past—for nothing can be resolved until she comes to terms with her children’s deaths and repairs the terrible wrong she committed many years before…

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February 1574 and London is in a fervour of paranoia, superstition and rumour. Mob violence is commonplace. A whispered word is all it takes to condemn a woman to burn as a witch.Having foiled the 'Incendium' plot against the Queen, intelligencer Dr Christopher Radcliff's standing within court is high. However, he has no time to reap any reward. Counterfeit coins bearing the likeness of his master, Robert Dudley, Earl of Leicester, are circulating on London's streets. This in itself is a treasonous offence, but now slogans have begun to appear on walls and doorways, implying that Leicester harbours treacherous intent. So Radcliff and his team of informants and amateur spies are sent out into the city's markets, drinking dens and brothels to track down who might be behind such outrageous and subversive acts. It will take them down a murderous path in pursuit of an elusive foe with an extraordinary agenda. And time is running out: for when rumour and fear catch fire, then surely violent insurrection and bloody chaos will follow . . . 'A fantastic tale of spies, deceit and murder in the Elizabethan age'S. D. SYKES

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Based on a lifetime's work in the field, Sir Roy Strong offers an expert and engaging new look at portrait painting in Stuart England, studying the sitters as much as the artists. Sir Roy Strong has been writing for over half a century on the painters of the courts of James I and Charles I. While taking account of the mass of scholarly work that has appeared during that time, this book offers a very different approach to the subject. Until now, the universal method has been to look at the artists, in particular van Dyck, and to see half a century of painting through the six years when the latter was in England. Instead, we are offered a view based on portraits and their sitters, and particularly on the dramatic change in their attitudes, from the still medieval (if Protestant) aesthetic of the Elizabethan age to the ambiguity of one which replaced that aesthetic by one based on the Catholic baroque of European art. Portraits after all are permanent records of how a sitter wished to be seen by posterity as well as in his or her own period. The obsession with the painter and with attribution has tended to obscure that very basic fact. They are inevitably self-fashioning images that chart the new mythology not only of a new dynasty, the Stuarts, but also of a burgeoning and assertive aristocracy. Unlike their spectacular court masques, however, which were gone in an evening of glory, the portraits are still with us - or, rather, those that have survived. Through them we are able to trace a new iconography for a new dynasty and also an aesthetic revolution which moved away from the Elizabethan world of ambiguity and hieroglyphs to one set in space defined by the new optics of the Renaissance. But the title, The Stuart Image, is designed to emphasise that above all what we see is the image and not the reality.

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In Imitatio Christi: The Poetics of Piety in Early Modern England, Nandra Perry explores the relationship of the traditional devotional paradigm of imitatio Christi to the theory and practice of literary imitation in early modern England. While imitation has long been recognized as a central feature of the period’s pedagogy and poetics, the devotional practice of imitating Christ’s life and Passion has been historically regarded as a minor element in English Protestant piety. Perry reconsiders the role of the imitatio Christi not only within English devotional culture but within the broader culture of literary imitation. She traces continuities and discontinuities between sacred and secular notions of proper imitation, showing how imitation worked in both contexts to address anxieties, widespread after the Protestant Reformation, about the reliability of “fallen” human language and the epistemological value of the body and the material world. The figure of Sir Philip Sidney—Elizabethan England’s premier defender of poetry and internationally recognized paragon of Christian knighthood—functions as a nexus for Perry’s treatment of a wide variety of contemporary literary and religious genres, all of them concerned in one way or another with the ethical and religious implications of imitation. Throughout the Elizabethan and early Stuart periods, the Sidney legacy was appropriated by men and women, Catholics and Protestants alike, making it an especially useful vehicle for tracing the complicated relationship of imitatio Christi to the various literary, confessional, and cultural contexts within and across which it often operated. Situating her project within a generously drawn version of the Sidney “circle” allows Perry to move freely across the boundaries that often delimit treatments of early modern English piety. Her book is a call for renewed attention to the imitation of Christ as a productive category of literary analysis, one that resists overly neat distinctions between Catholic and Protestant, sacred and secular, literary art and cultural artifact.

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Among Shakespeare's many biographers none brings to his subject more passion and feeling for the creative act than Anthony Burgess. He breathes life into Shakespeare the man and invigorates his times. His portrait of the age builds upon an almost personal tenderness for Shakespeare and his contemporaries (especially Ben Jonson), and on a profound sense of literary and theatrical history. Anthony Burgess's well-known delight in language infuses his own writing about Shakespeare's works. And in the verve of his biography he conveys the energy of the Elizabethan age.

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