Search results for ""author elizabeth"

Nikolaus Pevsner described Berwick-upon-Tweed as ‘one of the most exciting towns in England’ [Nikolaus Pevsner, Buildings of England: Northumberland (1957), 88] – a place where an absorbing historical tale can still be read in the dense fabric of its old streets and buildings. It attracts not only day-trippers and holidaymakers but also new residents who have learnt to appreciate the spirit of the place. But outsiders all too easily confine their attention to the space within the impressive Elizabethan ramparts, while local people are sometimes unaware or dismissive of the wider significance of the very things that they know so intimately. Berwick deserves to be known better, and to be celebrated not just as a vivid reminder of what many other towns were once like, but more especially as something unique and distinctive, shaped by a peculiar combination of historical and geographical circumstances. This distinctiveness is acutely apparent as one passes between Berwick and the contrasting, but historically intertwined, settlements of Tweedmouth and Spittal. This book presents something of the wealth of historic interest encapsulated in Berwick, Tweedmouth and Spittal, and explains how these places came to assume such varied and distinctive forms. Above all, it urges that a town anxious for stability and prosperity in the future must know where it has come from as well as where it is going.

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In 1970 Roger Deakin acquired Walnut Tree Farm, a semi-ruined Elizabethan farmhouse deep in the countryside of northern Suffolk, on the edge of Mellis Green, the largest area of common grazing land in England. The house's thatch and roof beams were rotting; pigs and hens had been its last occupants and the floors were ankle deep in shit. Leaving swinging London behind, Deakin bought the farm in a spirit of 'back to the land' fervour; and, in the coming decades, lovingly restored it. Deakin lived here until his death in 2006, dredging the moat (in which he swam daily), planting woods and buying more of the surrounding fields, where he grew hay and wild flowers. Walnut Tree Farm became a place of pilgrimage and inspiration for nature-lovers, writers, intellectuals and artists, while Deakin's Waterlog has become a much-loved classic of nature writing and gave impetus to the wild swimming movement. Rufus Deakin and Titus Rowlandson offer a beautifully illustrated and designed record of the development of Deakin's rural paradise, centred on a series of photographs taken by Roger Deakin himself, which record both the rebuilding of Walnut Tree Farm, the unique character of a remarkable building, and the seasonal cycle of nature in the land and countryside that surround it.

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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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If you loved The Midnight Library, read How to Stop Time next!HOW MANY LIFETIMES DOES IT TAKE TO LEARN HOW TO LIVE?Tom Hazard has a dangerous secret. He may look like an ordinary 41-year-old history teacher, but he's been alive for centuries. From Elizabethan England to Jazz-Age Paris, from New York to the South Seas, Tom has seen it all. As long as he keeps changing his identity, he can stay one step ahead of his past - and stay alive. The only thing he must not do is fall in love.But what if the one thing he can't have just happens to be the one thing that might save him?

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The Jew of Malta, written around 1590, can present a challenge for modern audiences. Hugely popular in its day, the play swings wildly and rapidly in genre, from pointed satire, to bloody revenge tragedy, to melodramatic intrigue, to dark farce and grotesque comedy. Although set in the Mediterranean island of Malta, the play evokes contemporary Elizabethan social tensions, especially the highly charged issue of London's much-resented community of resident merchant foreigners. Barabas, the enormously wealthy Jew of the play's title, appears initially victimized by Malta's Christian Governor, who quotes scripture to support the demand that Jews cede their wealth to pay Malta's tribute to the Turks. When he protests, Barabas is deprived of his wealth, his means of livelihood, and his house, which is converted to a nunnery. In response to this hypocritical extortion, Barabas launches a horrific (and sometimes hilarious) course of violence that goes well beyond revenge, using murderous tactics that include everything from deadly soup to poisoned flowers. The play's sometimes complex treatment of anti-Semitism and its relationship to Shakespeare's Merchant of Venice remain matters of continuing scholarly reflection. This new edition is expertly edited with an accompanying introduction that addresses issues of performance, cultural and historical context, interpretation and the key themes explored by the play. Arden Early Modern Drama editions offer the best in contemporary scholarship, providing a wealth of helpful and incisive commentary and guiding the reader to a deeper understanding and appreciation of the play. This edition provides: A clear and authoritative text Detailed on-page commentary notes A comprehensive, illustrated introduction to the play’s historical, cultural and performance contexts A bibliography of references and further reading

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On Magnetism contains poems about loss and remembrance, about the relation of the Renaissance and the Classical worlds to our own, about locales within lives. They are about sounding the world, and about measuring our responses to it through its various musics. The poems in the book resonate out from the title sonnet sequence, a capricious tribute to Elizabethan ‘magnetism man’ William Gilbert. Their themes and language echo compellingly back and forth across its different occasions and inspirations.‘These are poems that are deeply informed by the music of the classical lyrical tradition, but which speak to readers everywhere in clear and compelling ways. Moving, delicate on the surface but packing punch after punch, some of these poems will move you to tears.’ – Naomi Wolf‘On Magnetism is a sustained meditation on magnetism in all its senses. This is a life-enhancing book, a compellingly eloquent compilation of elegies, and of love-poems addressed to people and to the world.’ – Bernard O’Donoghue‘This collection, as Steven Matthews puts it, is a long walk in his “dad’s boots” around familiar landmarks: family, flowers, artistic and scientific artefacts. The poems are illuminated by the changing light of the seasons, by the poet’s tender, steady, considering gaze, and by an intellectual patience that allows us to see things as they were, as they are, and, slowly, anew.’ – Kate Clanchy

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This book looks at the musical culture of death in early modern England. This book looks at the musical culture of death in early modern England. In particular, it examines musical funeral elegies and the people related to commemorative tribute - the departed, the composer, potential patrons, and friends and family of the deceased - to determine the place these musical-poetic texts held in a society in which issues of death were discussed regularly, producing a constant, pervasive shadow over everyday life. The composition of these songs reached a peak at the end of the sixteenth and the beginning of the seventeenth centuries. Thomas Weelkes and Thomas Morley both composed musical elegies, as did William Byrd, Thomas Campion, John Coprario, and many others. Like the literary genre from which these musical gems emerged, there was wide variety in form, style, length, and vocabulary used. Embedded within them are clear messages regarding the social expectations, patronage traditions, and class hierarchy of late Elizabethan and early Jacobean England. En masse, they offer a glimpse into the complex relationship that existed between those who died, those who grieved, and attitudes toward both death and life. K. DAWN GRAPES is Assistant Professor of Music History at Colorado State University.

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Men and women in early modern Europe experienced their bodies very differently from the ways in which contemporary men and women do. In this challenging and innovative book, Gail Kern Paster examines representations of the body in Elizabethan-Jacobean drama in the light of humoral medical theory, tracing the connections between the history of the visible social body and the history of the subject's body as experienced from within. Focusing on specific bodily functions and on changes in the forms of embarrassment associated with them, Paster extends the insights of such critics and theorists as Mikhail Bakhtin, Norbert Elias, and Thomas Laqueur. She first surveys comic depictions of incontinent women as "leaky vessels" requiring patriarchal management and then considers the relation between medical bloodletting practices and the gender implications of blood symbolism. Next she relates the practice of purging to the theme of shame and assays ideas about pregnancy, childbirth, and nursing in medical and other nonliterary texts. Paster then turns to the use of reproductive processes in the plot structures of key Shakespeare plays and in Dekker's, Ford's, and Rowley's Witch of Edmonton. Including twelve vivid illustrations, The Body Embarrassed will be fascinating reading for students and scholars in the fields of Renaissance studies, gender studies, literary theory, the history of drama, and cultural history.

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A public and highly popular literary form, English Renaissance drama affords a uniquely valuable index of the process of cultural transformation. The Expense of Spirit integrates feminist and historicist critical approaches to explore the dynamics of cultural conflict and change during a crucial period in the formation of modern sexual values. Comparing Elizabethan and Jacobean dramatic representations of love and sexuality with those in contemporary moral tracts and religious writings on women, love, and marriage, Mary Beth Rose argues that such literature not only interpreted sexual sensibilities but also contributed to creating and transforming them.

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Described in the Radio Times (27 July 2015) as 'A remarkable, unique institution lying at the heart of British life', the Three Choirs Festival celebrated its three-hundred-year anniversary in 2015. Described in the Radio Times (27 July 2015) as 'A remarkable, unique institution lying at the heart of British life', the Three Choirs Festival celebrated its three-hundred-year anniversary in 2015. Rotating each summer between the English cathedral cities of Hereford, Gloucester and Worcester, the Festival is a week-long programme of choral and orchestral concerts, cathedral services, solo and chamber music recitals, master classes, talks, theatre and exhibitions. At the heart of the modern festival are the daily services of Choral Evensong, representing the tradition of Anglican music and liturgy, and the large-scale evening concerts featuring established favourites of the British classical choral tradition with works drawn from a broader, more international musical canvas. Many special commissions and other works, including compositions by British composers such as Jonathan Harvey, James Macmillan, Judith Bingham and John McCabe, and composers from abroad, such as Gerard Schurmann, Jackson Hill and Torsten Rasch, have received their first performances at Three Choirs. Originally published in 1992, this revised edition bringsthe history of the oldest surviving non-competitive music festival in Britain thoroughly up to date. It traces the development of the Festival from its origins in the early eighteenth century to its tercentenary in 2015, along the way touching on many musical milestones - premieres by Parry, Elgar, Vaughan Williams, Saint-Saëns, Holst, and Howells, among others - and luminaries - Sullivan, Stanford, Dvorák, Delius, Bax, and Britten, to name but a few - associated with it. British music enthusiasts especially will find this new edition invaluable. ANTHONY BODEN is a writer with particular interests in music and literature. In 1989 he was appointed as Administrator of theGloucester Three Choirs Festival, a post he held until his retirement in 1999. In 1995 he became the founding Chairman of the Ivor Gurney Society, of which he was elected President in 2015. His other books include Thomas Tomkins: The Last Elizabethan (2004) and The Parrys of the Golden Vale (1998). PAUL HEDLEY is a partner in Exart Performances, an Associate Fellow at the Saïd Business School, University of Oxford, has a PhD in theoretical linguistics, and spent five years as Chief Executive of the Three Choirs Festival.

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Outlandish alchemist and magician, political intelligencer, apocalyptic prophet, and converser with angels, John Dee (1527–1609) was one of the most colorful and controversial figures of the Tudor world. In this fascinating book—the first full-length biography of Dee based on primary historical sources—Glyn Parry explores Dee’s vast array of political, magical, and scientific writings and finds that they cast significant new light on policy struggles in the Elizabethan court, conservative attacks on magic, and Europe's religious wars. John Dee was more than just a fringe magus, Parry shows: he was a major figure of the Reformation and Renaissance.

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First masculine, then feminine, Orlando is a young sixteenth-century nobleman who gallops through the centuries, from Elizabethan England and imperial Turkey to Virginia Woolf's own time. Will he find happiness with the exotic Russian princess Sasha? Or is the dashing explorer Shelmerdine the ideal man? And what form will Orlando take on the journey a nobleman, traveller, writer? Man or . . . woman?Written for the charismatic, bisexual writer Vita Sackville-West, Orlando is one of Woolf's most popular and accessible novels, a playful mock biography of a chameleon-like historical figure that is both a wry commentary on gender and, in Woolf's own words, a ''writer's holiday'' that delights in its ambiguity and capriciousness.

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Every period in history has its classic hairstyles: the bob cut for Twenties elegance, the flip hairstyle for the Fifties and the long, centre-parted mane of the Seventies. If you need to create a period hairstyle for a film, stage production or fashion shoot, this book is a most trusted companion. Its coverage is broad: from ancient priestesses and Egyption queens, via Elizabethan courtiers, to the classic styles of all decades in the twentieth century. With clear instructions and close-up photography showing how to create more than a hundred vintage styles this is a welcome resource for the dressing room. 'There is a real wealth of information here - and it couldn't be clearer to read.' Reviewsgate.com

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In the tenth installment of this dramatic Elizabethan series, Westfield's Men are flying high after a celebrated performance of The Insatiate Duke at the Queen's Head. However, victory is bittersweet as the company is soon faced with dissolution and the loss of their theatre; were it not for one of the company's rising stars. After acquiring a new benefactor, the company plan to build their own theatre. However, before they have the chance to find out who this guardian angel is, one of the group is found brutally murdered. Cue Nicholas Bracewell to uncover not one, but two hidden identities, of both the murderer and the anonymous benefactor, before the company gets disbanded.

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What happens when we consider Shakespeare's The Merchant of Venice as a play with real Jewish characters who are not mere ciphers for anti-Semitic Elizabethan stereotypes? Is Shylock Jewish studies Shakespeare's extensive use of stories from the Hebrew Bible in The Merchant of Venice, and argues that Shylock and his daughter Jessica draw on recognizably Jewish ways of engaging with those narratives throughout the play. By examining the legacy of Jewish exegesis and cultural lore surrounding these biblical episodes, this book traces the complexity and richness of Merchant's Jewish aspect, spanning encounters with Jews and the Hebrew Bible in the early modern world as well as modern adaptations of Shakespeare's play on the Yiddish stage.

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A page-turning story of the Pilgrims, the courageous band of freedom-seekers who set out for a new life for themselves and forever changed the course of history.Once a year at Thanksgiving, we encounter Pilgrims as folksy people in funny hats before promptly forgetting them. In the centuries since America began, the Pilgrims have been relegated to folklore and children’s stories, fairy-tale mascots for holiday parties and greeting cards.The true story of the Pilgrim Fathers could not be more different. Beginning with the execution of two pastors deviating from the Elizabethan Church of England, the Pilgrims’ great journey was one of courageous faith, daring escape, and tenuous survival. Theirs is the story of refugees who fled intense religious persecution; of dreamers who voyaged the Atlantic and into the unknown when all other attempts had led to near-certain death; of survivors who struggled with newfound freedom. Loneliness led to starvation, tension gave way to war with natives, and suspicion broke the back of the very freedom they endeavored to achieve.Despite the pain and turmoil of this high stakes triumph, the Pilgrim Fathers built the cornerstone for a nation dedicated to faith, freedom, and thankfulness. This is the epic story of the Pilgrims, an adventure that laid the bedrock for the Founding Fathers, the Constitution, and the American identity.

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'Making a garden together, in which to live and work, through thick and thin, fair and foul, is what we like to do best. Everything else is a sideshow. Since spring 2019 Julian and I have been making a garden at Ashington Manor Farm, a garden that we think of as our last principal private escapade, but you never know . . .' Isabel and Julian Bannerman have made scores of lauded gardens for a host of famous clients, and three special, much-loved gardens of their own surrounding the houses which they have restored and lived in since they married, starting at The Ivy, Chippenham, in 1982; then Hanham Court, Bristol, in 1993; and Trematon Castle, Cornwall, in 2012. Now as they embark on a new adventure, creating a garden at their Elizabethan farmhouse in Somerset, Isabel reflects on the garden they are making and the others they have made as a couple, about the 'thousand tiny decisions about which we fight like hooting chimpanzees' and, especially, the fundamentals of what Julian, Mr B, thinks about the key things that go into making a garden for living in – a jumble of eating, drinking and sitting places, fruit cages, vegetable and cutting gardens, pelargoniums in giant pots, rose arches, tools and sheds, fences, formality and topiary, pools and meadows, and not least the importance of one's peripheral vision of how the garden joins on to the landscape.

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Philosophy was not an idle venture in the Renaissance. There were no clear-cut boundaries between theory and the practice. Theologians, jurists and humanists gave opinions on practical matters from within some larger intellectual context, and many held high office. Among the writers represented here are Pope Pius II (1458-1464), Nicholas of Cusa (d. 1464) and Juan de Torquemada OP (d. 1468). All of them, and the other writers dealt with, addressed the issues of their day creatively but from within different traditions, scholastic or humanistic. The present studies deal with issues of Reform, Ecclesiology [theories about the church and its mission] and the living of the Christian life. Among the specific issues covered are the canonization of Birgitta of Sweden, the status of converts from Judaism in Spain, acceptable forms of dress for clergy and laity, and the obedience due the pope. Also studied in this collection are the writings of Spanish theologians about the indigenous populations of the New World and the use of the name of Nicholas of Cusa by Elizabethan and Jacobean writers, both Catholic and Protestant, in polemics concerning right religious teaching and submission to the English crown, a paper hitherto unpublished.

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The Jew of Malta, written around 1590, can present a challenge for modern audiences. Hugely popular in its day, the play swings wildly and rapidly in genre, from pointed satire, to bloody revenge tragedy, to melodramatic intrigue, to dark farce and grotesque comedy. Although set in the Mediterranean island of Malta, the play evokes contemporary Elizabethan social tensions, especially the highly charged issue of London's much-resented community of resident merchant foreigners. Barabas, the enormously wealthy Jew of the play's title, appears initially victimized by Malta's Christian Governor, who quotes scripture to support the demand that Jews cede their wealth to pay Malta's tribute to the Turks. When he protests, Barabas is deprived of his wealth, his means of livelihood, and his house, which is converted to a nunnery. In response to this hypocritical extortion, Barabas launches a horrific (and sometimes hilarious) course of violence that goes well beyond revenge, using murderous tactics that include everything from deadly soup to poisoned flowers. The play's sometimes complex treatment of anti-Semitism and its relationship to Shakespeare's Merchant of Venice remain matters of continuing scholarly reflection. This new edition is expertly edited with an accompanying introduction that addresses issues of performance, cultural and historical context, interpretation and the key themes explored by the play. Arden Early Modern Drama editions offer the best in contemporary scholarship, providing a wealth of helpful and incisive commentary and guiding the reader to a deeper understanding and appreciation of the play. This edition provides: A clear and authoritative text Detailed on-page commentary notes A comprehensive, illustrated introduction to the play’s historical, cultural and performance contexts A bibliography of references and further reading

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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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HarperCollins is proud to present its incredible range of best-loved, essential classics. Power, corruption and betrayal are at the heart of Shakespeare’s most well-known historical and political drama. As Julius Caesar moves closer to securing power for himself and is perceived by some as a threat to Roman citizens, his senators plot to bring about his downfall. Caesar’s assassination leads to civil war rather than peace and the play explores the subsequent deaths of the conspirators Brutus and Cassius. Shakespeare’s contemporaries would have spotted the playwright’s attempts to use the shift from republican to imperial Rome to highlight the political situation of the Elizabethans at the time. Featuring some of the most powerfully resonant and rousing speeches of any of Shakespeare’s plays, Julius Caesar remains one of his most well-loved historical tragedies.

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This is a collection of forty-one sonnets together with twenty examples of villanelles, pantoum, Spenserian stanza, various ballad and rhyming couplet verses alongside free verse but the abiding focus is the sonnet both in Petrarchan and Elizabethan form.The book's introduction provides a concise account of the sonnet's history with examples. Between each section of poems there are brief contextual comments.From puppy training to philosophy, from self-pity to dancing, from AI to Wet Sand, from the Goodies to Shoe cleaning, the poems share immediate experiences and conjure magic from them. Day by day thoughts expand into polemics, the natural world, links to other poets and thinkers. The technical skills needed in poetic forms create strong structures through which powerful thoughts and emotions are distilled.

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A Book of Secrets is the story of a woman named Susan Charlewood living in Elizabethan England. Born in what is now Ghana, Susan is enslaved by the Portuguese but later rescued by British sailors, who bring her to England. Once in England, she is raised and educated in an English Catholic household.When Susan comes of age, the family marry her off to an older Catholic man, John Charlewood. Charlewood runs a printing press and uses it to supply the Papist nobility with illegal Catholic texts and foment rebellion amongst the Catholic underclass. When Charlewood dies, Susan takes over the business and uses her new position to find out more about her origins.A look at racial relationships on the eve of the beginning of the transatlantic slave trade, A Book of Secrets is a revealing and compelling glimpse into a fraught time.

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A delicious collection of great British puddings from the National Trust, this new edition has been updated and expanded to include more mouthwatering colour photography. A delicious collection of great British puddings from the National Trust, this new edition has been updated and expanded to include more mouthwatering colour photography. The traditional pudding has always been an integral part of Britain's culinary heritage. This collection of established favourites and little-known but great recipes traces the history of the pudding from the earliest medieval jellies through the elaborate fruit pies of the Elizabethans, the elegant ice creams and custards of the Georgians, and the substantial puddings of the Victorians. All the best recipes that have stood the test of time are featued here, from Chocolate Puddle Pudding, Icky Sticky Toffee Sponge and Jam Roly Poly to Old English Trifle, Lemon Meringue Pie and Eton Mess. Bursting with delicious baked puddings, fools and syllabubs, ice creams,custards and trifles, pies and tarts and of course, steamed puddings that have been served over the centuries, this book will tempt anyone who enjoys a healthy dose of our great British puddings.

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From heart-stopping accounts of apparitions, manifestations and supernatural phenomena, to first-hand encounters with phantoms and spirits, this collection of spooky sightings from around the city of Plymouth is guaranteed to make your blood run cold. Richly illustrated with over 100 pictures, Haunted Plymouth contains a chilling range of tales. From the ghost of Sir Francis Drake on Plymouth Hoe, poltergeist activity in one of the city’s Elizabethan inns and the shade of a lady in white at Widey Court, to French prisoners of war at Devonport Dockyard and a phantom pair legs at a Mutley house, this gathering of ghostly goings-on is bound to captivate everyone interested in the paranormal history of Plymouth and will chill all but the sturdiest of hearts.

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HarperCollins is proud to present its new range of best-loved, essential classics. ‘Orlando had become a woman – there is no denying it. But in every other respect, Orlando remained precisely as he had been. The change of sex, though it altered their future, did nothing whatever to alter their identity.’ Boisterous and defiant, Virginia Woolf’s queer classic subverts restraints of genre, time and gender. Traversing the complexities of human emotion and society’s obsession with conformity, the wild adventures of Woolf’s gender fluid hero begin in Elizabethan England and end in 1928 – yet Orlando ages just 36 years. A satirical romp that spans over three hundred years of history, Woolf’s fantastical biography was decades ahead of its time.

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A practical approach to breaking through the barriers of restraint and incomprehension when faced with Shakespeare. Taking many of the techniques explored in her international bestseller Freeing The Natural Voice, in this companion volume Kristin Linklater shows how to apply them to the exploration and speaking of Shakespeare’s language. Beginning with exercises designed to break long-held habits and allow an emotional rather than intellectual relationship to Elizabethan language, she analyses Shakespeare's strategies for creating character, story and meaning through figures of speech, iambic pentameter, rhyme and the alternation of verse and prose. Using copious examples from the plays, Linklater offers her readers the tools to increase understanding and make Shakespeare's words their own.

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Last Acts argues that the Elizabethan and Jacobean theater offered playwrights, actors, and audiences important opportunities to practice arts of dying. Psychoanalytic and new historicist scholars have exhaustively documented the methods that early modern dramatic texts and performances use to memorialize the dead, at times even asserting that theater itself constitutes a form of mourning. But early modern plays also engage with devotional traditions that understand death less as an occasion for suffering or grief than as an action to be performed, well or badly. Active deaths belie narratives of helplessness and loss through which mortality is too often read and instead suggest how marginalized and constrained subjects might participate in the political, social, and economic management of life. Some early modern strategies for dying resonate with descriptions of politicized biological life in the recent work of Giorgio Agamben and Roberto Esposito, or with ecclesiastical forms. Yet the art of dying is not solely a discipline imposed upon recalcitrant subjects. Since it offers suffering individuals a way to enact their deaths on their own terms, it discloses both political and dramatic action in their most minimal manifestations. Rather than mournfully marking what we cannot recover, the practice of dying reveals what we can do, even in death. By analyzing representations of dying in plays by Marlowe, Shakespeare, and Jonson, alongside devotional texts and contemporary biopolitical theory, Last Acts shows how theater reflects, enables, and contests the politicization of life and death.

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In Printing the Middle Ages Siân Echard looks to the postmedieval, postmanuscript lives of medieval texts, seeking to understand the lasting impact on both the popular and the scholarly imaginations of the physical objects that transmitted the Middle Ages to the English-speaking world. Beneath and behind the foundational works of recovery that established the canon of medieval literature, she argues, was a vast terrain of books, scholarly or popular, grubby or beautiful, widely disseminated or privately printed. By turning to these, we are able to chart the differing reception histories of the literary texts of the British Middle Ages. For Echard, any reading of a medieval text, whether past or present, amateur or academic, floats on the surface of a complex sea of expectations and desires made up of the books that mediate those readings. Each chapter of Printing the Middle Ages focuses on a central textual object and tells its story in order to reveal the history of its reception and transmission. Moving from the first age of print into the early twenty-first century, Echard examines the special fonts created in the Elizabethan period to reproduce Old English, the hand-drawn facsimiles of the nineteenth century, and today's experiments with the digital reproduction of medieval objects; she explores the illustrations in eighteenth-century versions of Guy of Warwick and Bevis of Hampton; she discusses nineteenth-century children's versions of the Canterbury Tales and the aristocratic transmission history of John Gower's Confessio Amantis; and she touches on fine press printings of Dante, Froissart, and Langland.

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In this study, Michael Ullyot makes two new arguments about the rhetoric of exemplarity in late Elizabethan and Jacobean culture: first, that exemplarity is a recursive cycle driven by rhetoricians' words and readers' actions; and second, that positive moral examples are not replicable, but rather aspirational models of readers' posthumous biographies. For example, Alexander the Great envied Achilles less for his exemplary life than for Homer's account of it. Ullyot defines the three types of decorum on which exemplary rhetoric and imitation rely, and charts their operations through Philip Sidney's poetics, Edmund Spenser's poetry, and the dedications, sermons, elegies, biographies, and other occasional texts about Robert Devereux, second earl of Essex, and Henry, Prince of Wales. Ullyot expands the definition of occasional texts to include those that criticize their circumstances to demand better ones, and historicizes moral exemplarity in the contexts of sixteenth-century Protestant memory and humanist pedagogy. The Rhetoric of Exemplarity in Early Modern England concludes that all exemplary subjects suffer from the problem of metonymy, the objection that their chosen excerpts misrepresent their missing parts. This problem also besets historicist literary criticism, ever subject to corrections from the archive, so this study concedes that its own rhetorical methods are exemplary.

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A study of clerical reaction to the sizeable number of Catholics who outwardly conformed to Protestantism in late 16c England. An important and satisfying monograph... Many insights emerge from this rich and original study, whichwhets the appetite for more. ENGLISH HISTORICAL REVIEW [Diarmaid MacCulloch] `Church Papist' was a nickname, a term of abuse, for those English Catholics who outwardly conformed to the established Protestant Church and yet inwardly remained Roman Catholics. The more dramatic stance of recusancy has drawn historians' attention away from this sizeable, if statistically indefinable, proportion of Church of England congregations, but its existence and significance is here clearly revealed through contemporary records, challenging the sectarian model of post-Reformation Catholicism perpetuated by previous historians. Alexandra Walsham explores the aggressive reaction of counter-Reformation clergy to the compromising conduct of church papists and the threat theyposed to Catholicism's separatist image; alongside this she explains why parish priests simultaneously condoned qualified conformity. This scholarly and original study thus draws into focus contemporary clerical apprehensions andanxieties, as well as the tensions caused by the shifting theological temper ofthe late Elizabethan and early Stuart church.ALEXANDRA WALSHAM is Lecturer in History at the University of Exeter.

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At the cutting edge of 'the new social and demographic history', this book provides a detailed picture of the most comprehensive system of poor relief operated by any Elizabethan town. Well before the Poor Laws of 1598 and 1601, Hadleigh, Suffolk - a thriving woollen cloth centre with 2,500-3,000 people - offered a complex array of assistance to many of its residents who could not provide for themselves: orphaned children, married couples with more offspring than they could support or supervise, widows, people with physical or mental disabilities, some of the unemployed, and the elderly. Hadleigh's leaders also attempted to curb idleness and vagrancy and to prevent poor people who might later need relief from settling in the town. Based upon uniquely full records, this study traces 600 people who received help, including their family situation, and explores the social, religious, and economic considerations that made more prosperous people willing to run and pay for this system. Relevant to contemporary debates over assistance to the poor, the book provides a compelling picture of a network of care and control that integrated public and private forms of aid.

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Demonstrates how Purcell, Berlioz, Verdi, and Britten, responding to Shakespeare's juxtaposition of contrasting theatrical styles, devised music dramas that call opera into question. In this book, Daniel Albright, one of today's most intrepid and vividly communicative explorers of the border territory between literature and music, offers insights into how composers of genius can help us to understand Shakespeare. Musicking Shakespeare demonstrates how four composers -- Purcell, Berlioz, Verdi, and Britten -- respond to the distinctive features of Shakespeare's plays: their unwieldiness, their refusal to fit into interpretive boxes, their ranting quality, their arbitrary bursts of gorgeousness. The four composers break the normal forms of opera -- of music altogether -- in order to come to terms with the challenges that Shakespeare presents to the music dramatist. Musicking Shakespeare begins with an analysis of Shakespeare's play The Tempest as an imaginary Jacobean opera and as a real Restoration opera. It then discusses works that respond with wit and sophistication to Shakespeare's irony, obscurity, contortion, and heft: Berlioz's Roméo et Juliette, Verdi's Macbeth, Purcell's The Fairy Queen, and Britten's A Midsummer Night's Dream. These works are problematic in the ways that Shakespeare's plays are problematic. Shakespeare's favorite dramatic device is to juxtapose two kinds of theatres within a single play, such as the formal masque and the loose Elizabethan stage. Thefour composers studied here respond to this aspect of Shakespeare's art by going beyond the comfort zone of the operatic medium. The music dramas they devise call opera into question. Daniel Albright is the Ernest Bernbaum Professor of Literature at Harvard University.

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Last Acts argues that the Elizabethan and Jacobean theater offered playwrights, actors, and audiences important opportunities to practice arts of dying. Psychoanalytic and new historicist scholars have exhaustively documented the methods that early modern dramatic texts and performances use to memorialize the dead, at times even asserting that theater itself constitutes a form of mourning. But early modern plays also engage with devotional traditions that understand death less as an occasion for suffering or grief than as an action to be performed, well or badly. Active deaths belie narratives of helplessness and loss through which mortality is too often read and instead suggest how marginalized and constrained subjects might participate in the political, social, and economic management of life. Some early modern strategies for dying resonate with descriptions of politicized biological life in the recent work of Giorgio Agamben and Roberto Esposito, or with ecclesiastical forms. Yet the art of dying is not solely a discipline imposed upon recalcitrant subjects. Since it offers suffering individuals a way to enact their deaths on their own terms, it discloses both political and dramatic action in their most minimal manifestations. Rather than mournfully marking what we cannot recover, the practice of dying reveals what we can do, even in death. By analyzing representations of dying in plays by Marlowe, Shakespeare, and Jonson, alongside devotional texts and contemporary biopolitical theory, Last Acts shows how theater reflects, enables, and contests the politicization of life and death.

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"Upon a rock sat a maiden of such inexpressible beauty as to be supposed divine. . . . Her head inclined forward without moving, for she was looking fixedly at a young man who lay at her feet. The man was disfigured with wounds, but seemed to rouse himself a little as from a deep sleep, almost of death itself. Pain had clenched his eyes, but the sight of the maiden drew them toward her. He collected his breath, heaved a deep sigh, and murmured faintly. "My sweet," said he, "are you truly safe, or are you too a casualty of the war?" The Romance novel didn't begin with Kathleen Woodiwiss or even with the Bronte sisters. By the time Heliodorus wrote his Aethiopica—or Ethiopian Romance—in the third century, the genre was already impressively developed. Heliodorus launches his tale of love and the quirks of fate with a bizarre scene of blood, bodies, and booty on an Egyptian beach viewed through the eyes of a band of mystified pirates. The central love-struck characters are Charicles, the beautiful daughter of the Ethiopian queen, and Theagenes, a Thessalian aristocrat. The story unfolds with all the twists and devices any writer would employ today, with the added attractions of dreams, oracles, and exotic locales in the ancient Mediterranean and Africa. Hadas's was the first modern English-language translation of this story, which was first translated into English in 1587 and was a favorite among the Elizabethans. His version of this earliest extant Greek novel remains accessible and appealing.

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After the dramatic events of the last few weeks, Greer Macdonald is trying to concentrate on her A levels. Stuck for a play to direct for her drama exam, she gets help from an unexpected quarter . . .A priceless lost play, buried by time, is pushed under her door. It is Ben Jonson's The Isle of Dogs, a play considered so dangerous in Elizabethan times that every copy was burned . . . except one. As the students begin to rehearse, events become increasingly dark and strange, and they lead Greer back to where she never thought she would return - Longcross Hall.There she discovers that not only is the Order of the Stag alive and well, but that a ghost from the past might be too . . .

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From two of the world's leading experts on watch collecting, this supremely elegant and informative selection of one hundred watches traces the timepiece's evolution as it highlights unusual, important, and beautifully crafted watches of the past half a millennium. For centuries people have been captivated by watches-whether for their technical precision, their unique design, or their historic importance. Each of the one hundred watches profiled in this elegant book stands out for one or more of these qualities. Organized chronologically and divided by century, the watches are presented in spacious, double-page spreads, featuring exquisite photography with engaging, incisive texts. Readers will discover examples of the earliest watch forms; an astonishing Elizabethan-era watch with astrolabic dial; an early 17th century watch encased in a single emerald; two of the earliest watches to incorporate the balance spring-a feature that revolutionized the portable timekeeper; and some of the first repeating and perpetual calendar watches. These are followed by the first lever watch, invented by Thomas Mudge; important precision watches; early 19th century enamel and automaton watches; highly complex watches by Breguet and Patek Philippe; Sir Winston Churchill's yellow gold World Time Victory watch; a Rolex wristwatch made to commemorate Indian Republic Day; an Omega Speedmaster that went into space; and a Roger Smith wristwatch completed in 2023. Featuring exquisitely reproduced photographs that are appearing for the first time together in book form, this historic collection will appeal to sophisticated collectors, amateur watch enthusiasts, and anyone with an interest in the art and science of horology.

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Shortlisted for the 2017 Theatre Book PrizeWhat is it about theatre, compared to other kinds of cultural representation, which provokes such a powerful reaction? Theatrical Unrest tells the compelling tales of ten riots whose cause lies on stage. It looks at the intensity and evanescence of the live event and asks whether theatre shares its unrepeatable quality with history.Tracing episodes of unrest in theatrical history from an Elizabethan uprising over Shakespeare's Richard II to Sikhs in revolt at Gurpreet Kaur Bhatti's Behzti, Sean McEvoy chronicles a selection of extreme public responses to this inflammatory art form. Each chapter provides a useful overview of the structure and documentation of one particular event, juxtaposing eyewitness accounts with newspaper reports and other contemporary narratives. Theatrical Unrest is an absorbing account of the explosive impact of performance, and an essential read for anyone interested in theatre’s often violent history.

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This is an edition of Christopher Marlowe’s play Dr Faustus as it was printed in its revised and augmented form in 1616. It follows the publication of the Malone Society edition of the 1604 text in 2018. This is one of the most celebrated of all Elizabethan plays, famous for its treatment of the damnation of Faustus and his struggles with his divided conscience. It combines spectacular visual effects with sophisticated theological discussion.The edition reproduces in facsimile the only surviving copy of the play, which is held in the British Library. The differences from the 1604 text, including revisions and additional passages, are fully described and analysed, and placed in the context of changing theatre practices at the time. A major feature of the edition is that it identifies the printer of the 1616 text, whose name has been hitherto unknown.

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Two-thirds of Shakespeare’s plays have trial scenes, and many deal specifically with lawyers, courts, judges, and points of law. Daniel Kornstein, a practicing attorney, looks at the legal issues and aspects of Shakespeare’s plays and finds fascinating parallels with many legal and social questions of the present day. The Elizabethan age was as litigious as our own, and Shakespeare was very familiar with the language and procedures of the courts. Kill All the Lawyers? examines the ways in which Shakespeare used the law for dramatic effect and incorporated the passion for justice into his great tragedies and comedies and considers the modern legal relevance of his work. This is a ground-breaking study in the field of literature and the law, ambitious and suggestive of the value of both our literary and our legal inheritance.

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The fascinating story of America's oldest thriving heritage language.Winner of the Dale W. Brown Book Award by the Young Center for Anabaptists and Pietist Studies at Elizabethtown CollegeWhile most world languages spoken by minority populations are in serious danger of becoming extinct, Pennsylvania Dutch is thriving. In fact, the number of Pennsylvania Dutch speakers is growing exponentially, although it is spoken by less than one-tenth of one percent of the United States population and has remained for the most part an oral vernacular without official recognition or support. A true sociolinguistic wonder, Pennsylvania Dutch has been spoken continuously since the late eighteenth century despite having never been "refreshed" by later waves of immigration from abroad.In this probing study, Mark L. Louden, himself a fluent speaker of Pennsylvania Dutch, provides readers with a close look at the place of the language in the life and culture of two major subgroups of speakers: the "Fancy Dutch," whose ancestors were affiliated mainly with Lutheran and German Reformed churches, and traditional Anabaptist sectarians known as the "Plain people"—the Old Order Amish and Mennonites.Drawing on scholarly literature, three decades of fieldwork, and ample historical documents—most of which have never before been made accessible to English-speaking readers—this is the first book to offer a comprehensive look at this unlikely linguistic success story.

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In this new book, Arthur F. Marotti analyzes some of the rhetorical and imaginative means by which the Catholic minority and the Protestant majority defined themselves and their religious and political antagonists in early modern England. He considers Catholic writings that have been relatively neglected, as well as the discourse of anti-Catholicism. Straddling the boundary of history and literature, this study offers an intriguing cultural history that focuses on the ideologized fantasies and language found on both sides of the early modern Christian religious divide. Marotti focuses on the period between the arrival of the first Jesuit missionaries in England in 1580 and the climax of ongoing religious conflict in the Restoration-era Popish Plot and the 1688 Glorious Revolution. In a series of thematically focused essays, he covers such issues as the relationship of print culture to the residual Catholic culture in Elizabethan England; recusant women, Jesuits and the cultural othering of Catholics, martyrdom accounts, the manuscript circulation of Catholic martyrdom accounts; polemically charged Catholic and Protestant narratives of conversion; and the depiction of Catholic plots or outrages and providential Protestant deliverances in the construction of Protestant English history and identity. This important and eagerly anticipated book makes a substantial contribution to our understanding of Catholicism and anti-Catholicism in the early modern period. It also points to a cultural dynamic in Anglo-American history that persisted far into the modern era.

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By examining representations of women on stage and in the many printed materials aimed at them, Karen Newman shows how female subjectivity—both the construction of the gendered subject and the ideology of women's subjection to men—was fashioned in Elizabethan and Jacobean England. Her emphasis is not on "women" so much as on the category of "femininity" as deployed in the late sixteenth and early seventeenth centuries. Through the critical lens of poststructuralism, Newman reads anatomies, conduct and domesticity handbooks, sermons, homilies, ballads, and court cases to delineate the ideologies of femininity they represented and produced. Arguing that drama, as spectacle, provides a peculiarly useful locus for analyzing the management of femininity, Newman considers the culture of early modern London to reveal how female subjectivity was fashioned and staged in the plays of Shakespeare, Jonson, and others.

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Playing Shakespeare’s Monarchs and Madmen is the third volume in the Peter Lang series, Playing Shakespeare’s Characters. As in the previous volumes, a broad range of contributors (actors, directors, scholars, educators, etc.) analyze the concepts of monarchy, leadership, melancholy and madness with not only references to Elizabethan and Jacobean studies, but also to Trump, Brexit, cross-gender and multi-cultural casting. What does it mean to “play the king” in the 21st century? What is the role of an “all-licensed” Fool in the age of spin? Who gets to represent the power dynamics in Shakespeare’s plays? This volume looks at the Henrys, Richards, Hamlets, Lears and various other dukes and monarchs and explores the ways in which men—and women—approach these portrayals of power and the lessons they hold for us today.

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Sir Thomas Stukeley, the notorious English courtier, pirate, adventurer and soldier, died at the Battle of Alcazar in Morocco in 1578, while serving in the army of King Sebastian of Portugal. This volume comprises the first modern-spelling, annotated edition of two plays in which he is a major character: George Peele's 'The Battle of Alcazar' (c.1588), and the anonymous 'Famous History of the Life and Death of Captain Thomas Stukeley' (c.1596).In his extensive introduction and commentary, Charles Edelman discusses the plays' authorship, their many textual problems, and what they reveal about Elizabethan performance practices. He also challenges most of the traditional assumptions about them. This edition shows that both works, long held to be unperformable, are instead fascinating and worthwhile representatives of the most exciting age in the history of the theatre.

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