This is the third and final volume of plays representing the only modern edition of Fielding's dramatic works. Most have not appeared in print for a century, and never previously in fully-edited form. Fielding is best known as a novelist but, like his great model Cervantes, he came to novel-writing from an important first career in professional theatre. He wrote twenty-eight plays, including comedies, satiric extravaganzas, and ballad operas. He was the leading playwright of his generation, an experimentalist and entrepreneur of dramatic form who sometimes also brought contemporary politics and public figures onto his stage with results even more dramatic off stage.
This volume presents nine plays from the final and most controversial years of his theatre career. The first, Don Quixote in England, is a ballad opera homage to Quixotic idealism played out against rustic English opportunism. Two other plays, including the long-running favourite The VirginUnmask'd, were written as star vehicles for Fielding's brilliant colleague Catherine Clive. The Universal Gallant is another of Fielding's ventures in serious social comedy, but the heart of the volume, as of this concluding period of Fielding's dramatic career, is the group of audacious satirical plays he wrote when he was running his own makeshift company at the Little Haymarket Theatre, including Pasquin and The Historical Register. Audiences flocked to these productions to see the cultural and political life of the moment ridiculed in Aristophanic explicitness, notoriously in one case (Eurydice Hiss'd) including a mocking stage caricature of the prime minister himself. That unamused minister, Sir Robert Walpole, shortly after saw through the 1737 Licensing Act which put an end to unsanctioned playhouses and plays, and to Fielding's own career in theatre.
The plays are given in critical unmodernized texts based on careful collation of the original editions, with explanatory notes and commentary on sources, stage history, and critical reception. All music is included, with appendices giving complete accounts of textual variation and bibliographic history for each play.

It takes a strong woman to secure bookish remembrance in future times; to see her life becoming a life. David Wallace explores the lives of four Catholic women - Dorothea of Montau (1347-1394) and Margery Kempe of Lynn (c. 1373-c. 1440); Mary Ward of Yorkshire (1585-1645) and Elizabeth Cary of Drury Lane (c. 1585-1639) and and the fate of their writings. All four shock, surprise, and court historical danger. Dorothea of Montau punishes her body and spends all day in church; eight of her nine neglected children die. Kempe, mother of fourteen, empties whole churches with a piercing cry learned at Jerusalem. Ward, living holily but un-immured, is denounced as an Amazon, a chattering hussy, an Apostolic Virago, and a galloping girl. Cary, having left her husband torturing Catholics in Dublin castle, converts to Roman Catholicism in Irish stables in London. Each of these women is mulier fortis, a strong woman: had she been otherwise, Wallace argues, her life would never have been written. The earliest texts of these lives are mostly near-contemporaneous with the women they represent, but their public reappearances have been partial and episodic, with their own complex histories.
The lives of these strong women continue to be rewritten long after this premodern period. Incipient European war determines what Kempe must represent between her first discovery in 1934 and full publication in 1940. Dorothea of Montau, first promoted to counter eastern paganism, becomes a bastion against Bolshevism in the 1930s; her cult's meaning is fought out between Gunter Grass and Josef Ratzinger. Cary's Catholic daughters, Benedictine nuns, must write of their mother as if she were a saint. Ward's work is not yet done: her followers, having won the right not to be enclosed, must now enter the closed spaces of Roman clerical power.

The notions of virtue and vice are essential components of the Western ethical tradition. But in early modern France they were called into question, as writers, most famously La Rochefoucauld, argued that what appears as virtue is in fact disguised vice: people carry out praiseworthy deeds because they stand to gain in some way; they deserve no credit for their behaviour because they have no control over it; they are governed by feelings and motives of which they may not be aware. Disguised Vices analyses the underlying logic of these arguments, and investigates what is at stake in them. It traces the arguments back to their sources in earlier writers, showing how ancient philosophers, particularly Aristotle and Seneca, formulated the distinction between behaviour that counts as virtuous and behaviour that only seems so. It explains how St Augustine reinterpreted the distinction in the light of the difference between pagans and Christians, and how medieval and early modern theologians strove to reconcile Augustine's position with that of Aristotle. It examines the restatement of Augustine's position by his hard-line early modern followers (especially the Jansenists), and the controversy to which this gave rise. Finally, it examines La Rochefoucauld's critique of virtue and assesses the extent of its links with the Augustinian current of thought.

Essays on a wide range of topics including the role of early modern chess in upholding Aristotelian virtue; readings of Sidney, Wroth, Spenser, and Shakespeare; and several topics involving the New World. Renaissance Papers collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The present volume opens with an essay on early modern chess, arguing that it covertly upheld an Aristotelian concept of virtue against the destabilizing ethical views of writers such as Machiavelli. This provocative opening is followed by iconoclastic discussions of Sidney's Astrophil and Stella, Wroth's Urania, and Spenser's Fairie Queen. The next essay investigates the mystery surrounding editorship of the 1571 printing of The Mirror for Magistrates. The essays then pivot into the exotic world of Hermetic "statue magic" in Shakespeare's Winter's Tale and the even more exotic worlds of alchemy, Aztec war gods, and conversion in sixteenth-century Mexico. Two further essays remain in the New World, the first examining the representational connections between the twelve Caesars and the twelve Inca kings, the second taking stock of Thomas Harriot's contribution to the understanding of Amerindian languages. The penultimate essay looks at Holbein's depiction of Henry VIII's ailing body, and the volume concludes with a complex analysis of guilt and shame in Moliere's L'Ecole des Femmes. Contributors: Jean Marie Christensen, William Coulter, Christopher Crosbie, Shepherd Aaron Ellis, Scott Lucas, Fernando Martinez-Periset, Timothy Pyles, Rachel Roberts, Jesse Russell, Janet Stephens, Weiao Xing. The journal is edited by Jim Pearce of North Carolina Central University and Ward Risvold of Georgia College and State University.

Early modern books were not stable or settled outputs of the press but dynamic shape-changers, subject to reworking, re-presentation, revision, and reinterpretation. Their history is often the history of multiple, sometimes competing, agencies as their texts were re-packaged, redirected, and transformed in ways that their original authors might hardly recognize. Processes of editing, revision, redaction, selection, abridgement, glossing, disputation, translation, and posthumous publication resulted in a textual elasticity and mobility that could dissolve distinctions between text and paratexts, textuality and intertextuality, manuscript and print, author and reader or editor, such that title and author's name are no longer sufficient pointers to a book's identity or contents. This collection brings together original essays by an international team of eminent scholars in the field of book history that explore these various kinds of textual inconstancy and variability. The essays are alive to the impact of commercial and technological aspects of book production and distribution (discussing, for example, the career of the pre-eminent bookseller John Nourse, the market appeal of abridgements, and the financial incentives to posthumous publication), but their interest is also in the many additional forms of agency that shaped texts and their meanings as books were repurposed to articulate, and respond to, a variety of cultural and individual needs. They engage with early modern religious, political, philosophical, and scholarly trends and debates as they discuss a wide range of genres and kinds of publication including fictional and non-fictional prose, verse miscellanies, abridgements, sermons, religious controversy, and of authors including Lucy Hutchinson, Richard Baxter, John Dryden, Thomas Burnet, John Tillotson, Henry Maundrell, Jonathan Swift, Samuel Richardson, John Wesley, and Samuel Taylor Coleridge. The result is a richly diverse collection that demonstrates the embeddedness of the book trade in the cultural dynamics of early modernity.

Mirigavati or The Magic Doe is the work of Shaikh Qutban Suhravardi, an Indian Sufi master who was also an expert poet and storyteller attached to the glittering court-in-exile of Sultan Husain Shah Sharqi of Jaunpur. Composed in 1503 as an introduction to mystical practice for disciples, this powerful Hindavi or early Hindi Sufi romance is a richly layered and sophisticated text, simultaneously a spiritual enigma and an exciting love-story full of adventures. The Mirigavati is both an excellent introduction to Sufism and one of the true literary classics of pre-modern India, a story that draws freely on the large pool of Indian, Islamic, and European narrative motifs in its distinctive telling of a mystical quest and its resolution. Adventures from the Odyssey and the voyages of Sindbad the Sailor-sea voyages, encounters with monstrous serpents, damsels in distress, flying demons and cannibals in caves, among others-surface in Suhravardi's rollicking tale, marking it as first-rate entertainment for its time and, in private sessions in Sufi shrines, a narrative that shaped the interior journey for novices. Before his untimely death in 2009, Aditya Behl had completed this complete blank verse translation of the critical edition of the Mirigavati, which reveals the precise mechanism and workings of spiritual signification and use in a major tradition of world and Indian literature.

A lively collection of essays from scholars from across Europe, North America and Australia. The book ranges from Shakespeare's use of manuals on war written for the sixteenth-century English public by an English mercenary, to reflections on the ways in which Shakespeare has been represented in Nazi Germany, wartime Denmark, or cold war Romania.

Situated within the Oxford Handbooks to Literature series, the group of Oxford Handbooks to Shakespeare are designed to record past and present investigations and renewed and revised judgments by both familiar and younger Shakespearean specialists. Each of these volumes is edited by one or more internationally distinguished Shakespeareans; together, they comprehensively survey the entire field.
An essential resource for the study of Shakespeare, The Oxford Handbook to Shakespeare is edited by esteemed scholar Arthur Kinney and contains forty specially written essays. It provides fresh and imaginative readings of his plays and poems, reflects on the current state of Shakespeare Studies, and suggests the likely future directions it will take. The Handbook is divided into five sections: 'Texts' explores how Shakespeare wrote, who he collaborated with, the ways in which his works were transmitted, and the reactions of his early readers; 'Conditions' examines the economic, social, artistic, and linguistic forces at play on Shakespeare; 'Works' discusses the various stages of his career; 'Performances' is concerned with issues such as the reception of his plays, the theatre business, and film adaptations; and 'Current Speculations' includes essays on topics ranging from the role of philosophical thought and the influence of classical sources to the relevance of empire, technology, religion, and law. By covering the range of Shakespeare's work in his time and ours, this myriad-minded book deepens and enriches our understanding of the great poet and unparalleled playwright's accomplishments.

Explores the political meanings that Italian opera - its composers, agents and institutions - had for audiences in eighteenth-century Britain. The reign of Queen Anne (1702-1714) was pivotal for both politics and opera in Britain. In this study, Thomas McGeary brings together a wide range of sources to show how the worlds of politics and opera were entwined. The associations that Italian singing and singers acquired by the 1690s were used in partisan Whig-Tory writings. Rather than a foreign invasion, McGeary shows how the introduction of Italian-style opera was a native product that grew out of plans for a new theatre in the Haymarket. A crucial event for opera was Handel's arrival in London in 1710. While the criticism of opera by Whig writers such as Richard Steele and Joseph Addison is well known, McGeary uncovers how the early promotion and sponsorship of opera was, in fact, largely a Whig enterprise and cultural program. Indeed, major political figures (mostly Whigs) participated in the support and patronage of opera. Opera and Politics in Queen Anne's Britain will be required reading for opera scholars and cultural and political historians of eighteenth-century Britain, as well those interested in the vibrant literature culture of the period.

To call something 'monstrueux' in the mid-sixteenth century is, more often than not, to wonder at its enormous size: it is to call to mind something like a whale. By the late seventeenth 'monstrueux' is more likely to denote hidden intentions, unspoken desires. Several shifts are at work in this word history, and in what Othello calls the 'mighty magic' of monsters; these shifts can be described in a number of ways. The clearest, and most compelling, is the translation or migration of the monstrous from natural history to moral philosophy, from descriptions of creatures found in the external world to the drama of human motivation, of sexual and political identity.
This interdisciplinary study of monsters and their meanings advances by way of a series of close readings supported by the exploration of a wide range of texts and images, from many diverse fields, which all concern themselves with illicit coupling, unarranged marriages, generic hybridity, and the politics of monstrosity. Engaging with recent, influential accounts of monstrosity - from literary critical work (Huet, Greenblatt, Thomson Burnett, Hampton), to histories of science and 'bio-politics' (Wilson, Ceard, Foucault, Daston and Park, Agamben) - it focusses on the ways in which monsters give particular force, colour, and shape to the imagination; the image at its centre is the triangulated picture of Andromeda, Perseus and the monster, approaching.
The centre of the book's gravity is French culture, but it also explores Shakespeare, and Italian, German, and Latin culture, as well as the ways in which the monstrous tales and images of Antiquity were revived across the period, and survive into our own times.

Romantic Writing and Pedestrian Travel is an exploration of the relationship between walking and writing. Robin Jarvis here reconstructs the scene of walking, both in Britain and on the Continent, in the 1790s, and analyses the mentality and motives of the early pedestrian traveller. He then discusses the impact of this cultural revolution on the creativity of major Romantic writers, focusing especially on William and Dorothy Wordsworth, Coleridge, Clare, Keats, Hazlitt and Hunt. In readings which engage current debates around literature and travel, landscape aesthetics, ecocriticism, the poetics of gender, and the materiality of Romantic discourse, Jarvis demonstrates how walking became not only a powerful means of self-enfranchisement but also the focus of restless textual energies.

The late D. F. McKenzie worked on this comprehensive edition of the works of the playwright, poet, librettist, and novelist William Congreve for more than twenty years, until his sudden death in 1999. This was a task he had taken over from Herbert Davis, to whom this edition is dedicated. During that time McKenzie uncovered new verse and letters, collated Congreve's texts, recorded their complicated textual history, constructed appendices that shed light on the dramatic context in which Congreve worked, and examined how his contemporaries received Congreve's work. More importantly, McKenzie has convincingly re-evaluated Congreve's works and life to transform our image of the man and his reputation.
McKenzie here follows the editorial practice suggested in two early editions of the Works published by Congreve's friend, the bookseller Jacob Tonson, in 1710 and 1719. These three volumes follow a plan similar to that in the Tonson edition, with The Old Batchelor, The Double-Dealer, and Love for Love collected in the first, a central volume with The Way of the World, and a final volume with Congreve's novel Incognita, some of his prose works, letters, and later verse. In each case, Congreve's work is left to speak for itself, unencumbered by intrusive notes, textual apparatus, or collations, which are gathered instead near the end of each volume.
This edition will be an invaluable resource for scholars for many years to come. It is a monument to McKenzie's own scholarship as well as to the integrity of William Congreve.

Shows that the work of Wilhelm von Humboldt (1767-1835) forms a philosophy of dialogue and communication that is crucially relevant to contemporary debates in the Humanities. Wilhelm von Humboldt (1767-1835) is the progenitor of modern linguistics and the originator of the modern teaching and research university. However, his work has received remarkably little attention in the English-speaking world. Humboldt conceives language as the source of cognition as well as communication, both rooted in the possibility of human dialogue. In the same way, his idea of the university posits the free encounter between radically different personalities as the source of education for freedom. For Humboldt, both linguistic and intellectual communication are predicated firstly on dialogue between persons, which is the prerequisite for all intercultural understanding. Linking Humboldt's concept of dialogue to his idea of translation between languages, persons, and cultures, this book shows how Humboldt's thought is of great contemporary relevance. Humboldt shows a way beyond the false alternatives of "culturalism" (the demand that a plurality of cultural and faith-based traditions be recognized as sources of ethical and political legitimacy in the modern world) and "universalism" (the assertion of the primacy of a universal culture of human rights and the renewal of the European Enlightenment project). John Walker explains how Humboldt's work emerges from the intellectual conflicts of his time and yet directly addresses the concerns of our own post-secular and multicultural age.

There has been a dramatic resurgence of interest in early African American writing. Since the accidental rediscovery and republication of Harriet Wilson's "Our Nig" in 1983, the works of dozens of 19th and early 20th century black writers have been recovered and reprinted. There is now a significant revival of interest in the Harlem Renaissance of the 1920s; and in the last decade alone, several major assessments of 18th and 19th century African American literature have been published. Early African American literature builds on a strong oral tradition of songs, folktales, and sermons. Slave narratives began to appear during the late 18th and early 19th century, and later writers began to engage a variety of themes in diverse genres.

A central objective of this reference book is to provide a wide-ranging introduction to the first 200 years of African American literature. Included are alphabetically arranged entries for 78 black writers active between 1745 and 1945. Among these writers are essayists, novelists, short story writers, poets, playwrights, and autobiographers. Each entry is written by an expert contributor and provides a biography, a discussion of major works and themes, an overview of the author's critical reception, and primary and secondary bibliographies. The volume concludes with a selected, general bibliography.

This book shows that the sounds of the early modern stage do not only signify but are also significant. Sounds are weighted with meaning, offering a complex system of allusions. Playwrights such as Jonson and Shakespeare developed increasingly experimental soundscapes, from the storms of King Lear (1605) and Pericles (1607) to the explosive laboratory of The Alchemist (1610). Yet, sound is dependent on the subjectivity of listeners; this book is conscious of the complex relationship between sound as made and sound as heard. Sound effects should not resound from scene to scene without examination, any more than a pun can be reshaped in dialogue without acknowledgement of its shifting connotations. This book listens to sound as a rhetorical device, able to penetrate the ears and persuade the mind, to influence and to affect. -- .

When Lord Byron toasted Napoleon for executing a bookseller, and when American satirist Fitz-Greene Halleck picketed his New York publisher for trying to starve him, both writers were taking part in a time-honored tradition-styling publishers as unregenerate capitalists. However apocryphal, both stories speak to the longstanding feud between writers and publishers over how the book business ought to be conducted. Such grumblings were so constant throughout the nineteenth century that Horace Greeley wearily referred to them collectively as "the grand chorus of complaint."
Ranging from the Revolution to the Civil War, The Grand Chorus of Complaint explores moral propriety in American literary culture, arguing that debates over the business of authorship and publishing in the United States were simultaneously debates over the ethics and character of capitalism. Michael Everton shows that the moral discourse authors and publishers used in these debates was not intended as a distraction from debates over economics, intellectual property, or gender in American literary culture. Instead, morality was itself at issue. With case studies of the fraught publication experiences of authors including Thomas Paine, Hannah Adams, Herman Melville, Fanny Fern, and Gail Hamilton, Everton argues that in their business correspondence and fiction, in their diaries and essays, authors and publishers talked so much about ethics not to obfuscate their convictions but to clarify them in a commercial world preoccupied by the meanings and efficacy of moral beliefs. The Grand Chorus of Complaint illustrates that ethics should matter as much to book historians as much as it has come to matter-again-to literary critics and theorists.
Through wide-ranging primary-source research backed by a nuanced layering of historical detail, The Grand Chorus of Complaint dissects the role of morality in the print culture of eighteenth- and nineteenth-century America, providing a valuable new perspective on formative forces in the publishing trade.

This book is about a mad king and a mad duke. With original and iconoclastic readings, Richard van Oort pioneers the reading of Shakespeare as an ethical thinker of the "originary scene," the scene in which humans became conscious of themselves as symbol-using moral and narrative beings. Taking King Lear and Measure for Measure as case studies, van Oort shows how the minimal concept of an anthropological scene of origin-the "originary hypothesis"-provides the basis for a new understanding of every aspect of the plays, from the psychology of the characters to the ethical and dialogical conflicts upon which the drama is based. The result is a gripping commentary on the plays. Why does Lear abdicate and go mad? Why does Edgar torture his father with non-recognition? Why does Lucio accuse the Duke in Measure for Measure of madness and lechery, and why does Isabella remain silent at the end? In approaching these and other questions from the perspective of the originary hypothesis, van Oort helps us to see the ethical predicament of the plays, and, in the process, makes Shakespeare new again.

This book explores how human interaction in the frontier zones of the early modern Mediterranean was represented during the period, across genres and languages. The Muslim-Christian divide in the region produced an unusual kind of slavery, fostered a surge in conversion to Islam and offered an ideal habitat for Catholic martyrdom. The book argues that identities and alterities were multiple, that there was no war between Christianity and Islam and that commerce prevailed over ideology and dogma. Inspired by Braudel, who asserts that 'the Mediterranean speaks with many voices; it is a sum of individual histories', it endeavors to allow the people of the early modern Mediterranean to speak for themselves. -- .

Through an incisive analysis of the emerging debates surrounding urbanization in the Romantic period, together with close readings of poets including William Blake, William Wordsworth and Samuel Taylor Coleridge, Stephen Tedeschi explores the notion that the Romantic poets criticized the historical form that the process of urbanization had taken, rather than urbanization itself. The works of the Romantic poets are popularly considered in a rural context and often understood as hostile to urbanization - one of the most profound social transformations of the era. By focusing on the urban aspects of such writing, Tedeschi re-orientates the relationship between urbanization and English Romantic poetry to deliver a study that discovers how the Romantic poets examined not only the influence of urbanization on poetry but also how poetry might help to reshape the form that urbanization could take.

The life of Cervantes, author of Don Quixote, has always posed a puzzle to scholars: a tantalizing patchwork of myth, fact, and conjecture. We know that he was a soldier and later a tax collector; that he was maimed in battle at Lepanto and held prisoner of war by the Turks; that he was thrown in jail, and later excommunicated; that he vanished from view for years at a time; and that at the age of 57, in 1605, he published the masterpiece that was both the first modern novel and the first best seller.

This edited collection aims at highlighting the various uses of water in sixteenth, seventeenth, and eighteenth-century England, while exploring the tensions between those who praised the curative virtues of waters and those who rejected them for their supposedly harmful effects. Divided into three balanced sections, the collection includes contributions from renowned specialists of early modern culture and literature as well as rising young scholars as it seeks to establish a dialogue between different methodologies, and explain why the spa-related issues examined still resonate in today's society.

Waiting for the millennium was a major feature of British society at the endof the 18th century. But how exactly did this preoccupation shape—and how was it shaped by—the literature, art, and politics of the period we now call Romantic? These essays investigate a series of millenarians both famous and forgotten, from Coleridge to Cowper, Blake to Byron; and explore the artistic and political subcultures of radical London; the religious sects surrounding Richard Brothers and Joanna Southcott, and the poetics of feminism and Orientalism. Romanticism and Millenarianism presents an expanded and rehistoricized canon of writers and artists who shaped key debates about revolution, empire, gender, and sexuality.

An assessment of the life, work and reputation of Spain's leading Golden Age dramatist A Companion to Lope de Vega brings together work by leading international scholars on the life and writing of Lope de Vega Carpio, the 'fenix de los ingenios', a 'monstruo de la naturaleza', as he was described by his rival, Miguel de Cervantes. Spain's foremost Golden Age playwright was in addition a major artist in prose and poetry, genres also covered by the Companion. The contributions evaluate current critical debates and issues in Lopede Vega studies, as well as providing new readings of key texts. The volume attempts to do justice to the variety, profusion and originality of Lope's output, and to outline the contours of his reputation as an artist in literaryhistory, as well as firmly contextualising his life and work. The variety of critical perspectives reflects the liveliness of debate surrounding this enduringly popular figure whose drama has recently enjoyed a renaissance in theatres around the globe. ALEXANDER SAMSON lectures in Golden Age literature at University College London and JONATHAN THACKER is a Fellow in Spanish at Merton College, Oxford. Contributors: Frederick De Armas, ElaineCanning, Geraldine Coates, Victor Dixon, Geraint Evans, Tyler Fisher, Edward H. Friedman, Alejandro Garcia Reidy, Esther Gomez, David Johnston, Arantza Mayo, David McGrath, Barbara Mujica, Ali Rizavi, Jose Maria Ruano de la Haza, Alexander Samson, Jonathan Thacker, Isabel Torres, Xavier Tubau, Duncan Wheeler.

A lively and far-ranging interest in place(s), space(s), and situation characterizes the writing of the British Romantic-era author Charlotte Smith (1749-1806). Smith repeatedly questions what it means to be British in her literature. In an era of intense nationalism, Smith explores her world in cosmopolitan terms. Placing Charlotte Smith offers new insights into how Smith utilized the idea of place in multiple ways, such as a theme, an idea, a principle, or a metaphor. Several chapters in the collection examine of Smith's own frequent change of location and the effect on these moves had on her conceptions of home and well-being. Other chapters analyze Smith's accounts of radicalism and patriotism in terms of family and locate Smith's literature within comedic, aesthetic, and scientific traditions. This volume of original essays advances contemporary understanding of two overarching themes in Smith studies: her place as a writer central to her period, and her contribution to the creation of "place" as a thing of social and literary importance.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Troilus and Cressida, a play that has long been considered difficult but is now popular both on the stage and in criticism, features an expanded and updated introduction and reading list. The first edition has been praised for its careful rethinking of the text, excellent annotation, lively attention to performance and extensive coverage of the play's major concerns. This updated edition retains these characteristics. In addition, Gretchen Minton and Anthony B. Dawson have provided a new account of the critical and theatrical treatment of Troilus and Cressida over the last fifteen years, showing how modern audiences have become attuned to the play's sardonic undercutting of both the medieval romance of the title characters and the Homeric tale of the Trojan War. Recent performance history is placed against a broader background of social change, including shifting attitudes towards war, political decision-making, gender politics, and fear of disease and contagion.