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.

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. -- .

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.

Enlightened War investigates the multiple and complex interactions between warfare and Enlightenment thought. Although the Enlightenment is traditionally identified with the ideals of progress, eternal peace, reason, and self-determination, Enlightenment discourse unfolded during a period of prolonged European warfare from the Seven Years' War to the Napoleonic conquest of Europe. The essays in this volume explore the palpable influence of war on eighteenth-century thought and argue for an ideological affinity among war, Enlightenment thought, and its legacy. The essays are interdisciplinary, engaging with history, art history, philosophy, military theory, gender studies, and literature and with historical events and cultural contexts from the early Enlightenment through German Classicism and Romanticism. The volume enriches our understanding of warfare in the eighteenth century and shows how theories and practices of war impacted concepts of subjectivity, national identity, gender, and art. It also sheds light on the contemporary discussion of the legitimacy of violence by juxtaposing theories of war, concepts of revolution, and human rights discourses. Contributors: Johannes Birgfeld, David Colclasure, Sara Eigen Figal, Ute Frevert, Wolf Kittler, Elisabeth Krimmer, Waltraud Maierhofer, Arndt Niebisch, Felix Saure, Galili Shahar, Patricia Anne Simpson, Inge Stephan. Elisabeth Krimmer is Professor of German at the University of California, Davis, and Patricia Anne Simpson is Associate Professor of German Studies at Montana State University.

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.

This book foregrounds the pressures that three transformative technologies in the long sixteenth century-the printing press, gunpowder, and the magnetic compass-placed on long-held literary practices, as well as on cultural and social structures. Sheila J. Nayar disinters the clash between humanist drives and print culture; places the rise of gunpowder warfare beside the equivalent rise in chivalric romance; and illustrates fraught attempts by humanists to hold on to classicist traditions in the face of seismic changes in navigation. Lively and engaging, this study illuminates not only how literature responded to radical technological changes, but also how literature was sometimes forced, through unanticipated destabilizations, to reimagine itself. By tracing the early modern human's inter-animation with print, powder, and compass, Nayar exposes how these technologies assisted in producing new ways of seeing, knowing, and being in the world.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. From providential apocalypticism to climate change, this ground-breaking ecocritical study traces the performance history of the storm scene in King Lear to explore our shifting, fraught and deeply ideological relationship with stormy weather across time. This Contentious Storm offers a new ecocritical reading of Shakespeare's classic play, illustrating how the storm has been read as a sign of the providential, cosmological, meteorological, psychological, neurological, emotional, political, sublime, maternal, feminine, heroic and chaotic at different points in history. The big ecocritical history charted here reveals the unstable significance of the weather and mobilises details of the play's dramatic narrative to figure the weather as a force within self, society and planet.

Morte Darthur is investigated for its reflection of the contemporary political concerns Malory shared with the gentry class for whom he wrote. This book sets Malory's Morte Darthur in the context of the political concerns that he shared with the fifteenth-century gentry readers for whom he wrote his book; the author draws widely on their correspondence and readingmaterial, but looks particularly at the political content of contemporary miscellanies owned, commissioned and read by the gentry. She shows how the themes of political governance and royal succession, which are of primary importance in contemporary historical chronicles and genealogies, informed the political thinking of Malory's readers; and demonstrates how debates over ideas of worship, fellowship, lordship, and counselling indicate a process of changes in the gentry's political attitudes and values, their sense of identity, and also their response to the Arthurian story. Dr RALUCA L. RADULESCU is Lecturer in English at Bangor University.

In 1589 the Privy Council encouraged the Archbishop of Canterbury to take steps to control the theatres, which had offended authority by putting on plays which addressed 'certen matters of Divinytie and of State unfitt to be suffred'.
How had questions of divinity and state become entangled? The Reformation had invested the English Crown with supremacy over the Church, and religious belief had thus been transformed into a political statement. In the plentiful chronicle literature of the sixteenth-century, questions of monarchical legitimacy and religious orthodoxy became intertwined as a consequence of that demand for a usable national past created by the high political developments of the 1530s.
Divinity and State explores the consequences of these events in the English historiography and historical drama of the sixteenth century. It is divided into four parts. In the first, the impact of reformed religion on narratives of the national past is measured and described. Part II examines how the entanglement of the national past and reformed religion was reflected in historical drama from Bale to the early years of James I, and focuses on two paradigmatic characters: the sanctified monarch and the martyred subject. Part III considers Shakespeare's history plays in the light of the preceding discussion, and finds that Shakespeare's career as a historical dramatist shows him eventually re-shaping the history play with great audacity. Part IV corroborates this reading of Shakespeare's later history plays by reference to the dramatic ripostes they provoked.

This is the first edition of the complete works of Gerrard Winstanley (1609-76), the foremost radical English thinker and activist of the English Revolution. It is the only edition to observe the standards of modern scholarly editing. The editorial team combines the expertise of acclaimed prize-winning literary scholars and a leading historian of seventeenth-century England. It sets a new standard in the presentation of controversial prose of the period of the English Civil War. Its substantial introduction establishes Winstanley's distinctive contributions to political thought and radical religion and elucidates his literary achievements, while the annotation elucidates the wealth of his biblical allusion and his engagement with the politics of his day. This edition ensures Winstanley's standing as one of the most significant prose writers and radical thinkers of early modern England. All scholars and students of English literature, history, religion, and political thought will want to use this book.

This book was written over a period of six years and looks at the Romantic Movement, 1770-1848, as it featured in English literature. Chapters one and three were given as lectures to the Charles Lamb Society in 1984 and 1987, chapters five and six were first represented, repectively, at the Romanticism and Revolution Conference at Lancaster University and at the French Revolution and British Culture Conference at Leicester University. Such writers as John Augustus Bonney, Wordsworth, George Dyer and Southey are examined.

This book is a critical study of the ancestors of contemporary poetry anthologies: the poetic miscellanies of the late seventeenth and eighteenth centuries. It argues that miscellanies are a distinctive kind of literary collection and that their popularity in the period 1680-1800 had a far-reaching impact on authors, publishers, and readers of poetry. This study expands the definition of miscellanies to include single-author collections called miscellanies as well as the multiple-author collections that have traditionally been the focus of scholarly attention. It shows how multiple-author miscellanies fostered different kinds of literary community and explores the neglected role of single-author miscellanies in the self-fashioning of eighteenth-century writers. Later chapters examine miscellanies' relationships with periodicals, their contribution to the formation of the literary canon, and their reception and transformation in the hands of readers. The book draws on newly available digital data as well as evidence from hundreds of printed miscellanies to shed new light on how poetry was written, published, and read in the long eighteenth century.

This volume covers a broad range of everyday private and public, touristic, commercial and fictional encounters between Britons and continental Europeans, in a variety of situations and places: moments that led to a meaningful exchange of opinions, practices, or concepts such as friendship or politeness. It argues that, taken together, travel accounts, commercial advice, letters, novels and philosophical works of the long eighteenth century, reveal the growing impact of British sociability on the sociable practices on the continent, and correspondingly, the convivial turn of the Enlightenment. In particular, the essays collected here discuss the ways and means - in conversations, through travel guides or literary works - by which readers and writers grappled with their cultural differences in the field of sociability. The first part deals with travellers, the second section with the spreading of various cultural practices, and the third with fictional encounters in philosophical dialogues and novels.

Shakespeare's tutor: The influence of Thomas Kyd adds to the critical and scholarly discussion that seeks to establish the early modern playwright Thomas Kyd's dramatic canon, and indicates where and how Kyd contributed to the development of Shakespeare's drama through influence, collaboration, revision and adaptation. A further, complementary aim of the book is to demonstrate various ways in which it is possible to combine statistical analysis with reading plays as literary and performative works. The book summarises, extends, and corrects all of the scholarship on Kyd's authorship of anonymous plays, and reveals the remarkable extent to which Shakespeare was influenced by his dramatic predecessor. The book represents a significant intervention in the field of early modern authorship studies and aims to revolutionise our understanding of Shakespeare's dramatic development. -- .

This companion volume to The Return of Theory in Early Modern English Studies: Tarrying with the Subjunctive exemplifies the new directions in which the field is going as well as the value of crossing disciplinary boundaries within and beyond the humanities. Topics studied include posthumanism, ecological studies, and historical phenomenology.

A reissue of the E. K. Chambers's seminal four-volume account of the private, public, and court stages, together with other forms of drama and spectacle surviving from earlier times, from the beginning of the reign of Elizabeth until the death of Shakespeare. Haled in its day as a comprehensive compendium of 'practically all the discoverable evidence upon the various parts of the subject, collected, weighed, sorted, classified and built up with immense care into a logical and beautiful structure' (New Statesman), the work is still much consulted by by today's scholars and historians.
From the author's Preface:
'My First Book is devoted to a description, perhaps disproportionate, of the Elizabethan Court, and of the ramifications in pageant and progress, tilt and mask, of that instinct for spectacular mimesis, which the Renaissance inherited from the Middle Ages, and of which the drama is itself the most important manifestation. The Second Book gives an account of the settlement of the players in London, of their conflict, backed by the Court, with the tendencies of Puritanism, and of the place which they ultimately found in the monarchical polity. To the Third and Fourth belong the more pedestrian task of following in detail the fortunes of the individual playing companies and the individual theatres, with such fullness as the available records permit. The Fifth deals with the surviving plays, not in their literary aspect, which lies outside my plan, but as documents helping to throw light upon the history of the institution which produced them.'

This collection focuses on a woman's point of view in love poetry, and juxtaposes poems by women and poems about women to raise questions about how femininity is constructed. Although most medieval "woman's songs" are either anonymous or male-authored lyrics in a popular style, the term can usefully be expanded to cover poetry composed by women, and poetry that is aristocratic or learned rather than popular. Poetry from ancient Greece and Rome that resonates with the medieval poems is also included here. Readers will find a range of voices, often echoing similar themes, as women rejoice or lament, praise or condemn, plead or curse, speak in jest or in earnest, to men and to each other, about love.

Most of us have, at one time, been obsessed with something, but how did obsession become a mental illness? This book examines literary, medical, and philosophical texts to argue that what we call obsession became a disease in the Romantic era and reflects the era's anxieties. Using a number of literary texts, some well-known (like Mary Shelley's 1818 Frankenstein and Edgar Allan Poe's 1843 "The Tell Tale Heart") and some not (like Charlotte Dacre's 1811 The Passions and Charles Brockden Brown's 1787 Edgar Huntly), the book looks at "vigilia", an overly intense curiosity, "intellectual monomania", an obsession with study, "nymphomania" and "erotomania", gendered forms of desire, "revolutiana", an obsession with sublime violence and military service, and "ideality," an obsession with an idea. The coda argues that traces of these Romantic constructs can be seen in popular accounts of obsession today.

Striking new readings of Montaigne's works, focussing on such concepts as scepticism and tolerance. Montaigne's Essais (1580-1592) are one of the most remarkable works of the European Renaissance. The Essais' innovative open-mindedness is at odds with the dogmatism and intolerance of their times, the decades of civil and religious wars in France, and their tolerant and searching human questions and ethics of difference remain compelling for twenty-first century readers. But the sceptical open-endedness that vitalizes this writing is also often troubled and troubling: personal losses and the collapse of cultural ideals moved Montaigne to write, and their attendant anxieties are not resolved into tranquil reflection. Unsettling Montaigne reassesses Montaigne's scepticism. Informed by psychoanalytic and related theory, its close attention to Montaigne's complex uses of metaphor illuminates the psychic economy of his scepticism and tolerance and their poetics, while new readings ofhis Essais and other texts reveal the significance of disquieting questions, thought and affect for the ethos his writing fosters. The analysis deals with figures such as cannibals and cannibalism, hunger, shaking, tickling, place, the brother, and haunting in Montaigne's exploration of concepts which tested his understanding and self-understanding. The volume also demonstrates how figuration supports openness to difference for both writer and readers, and is fundamental to this writing's aesthetic, psychic and ethical creativity. Elizabeth Guild lectures in French at the University of Cambridge, and is a Fellow of Robinson College.

This concise collection of Renaissance poetry includes selections from the works of Wyatt, Sidney, Marlow, Shakespeare, Jonson, Donne, Herbert and Milton.
Contains a selection of the most significant Renaissance Poetry.
Places traditional favourites are alongside less well-known titles, reflecting the ways in which the literary canon has changed in recent years.
Includes a succinct introduction, which gives readers a sense of how poetry developed during the period.
Ideal for readers seeking a first introduction to the classic texts of English literature.

This is the first critical anthology of writings about memory in Renaissance England. Drawing together excerpts from more than seventy writers, poets, physicians, philosophers and preachers, and with over twenty illustrations, the anthology offers the reader a guided exploration of the arts of memory. The introduction outlines the context for the tradition of the memory arts from classical times to the Renaissance and is followed by extracts from writers on the art of memory in general, then by thematically arranged sections on rhetoric and poetry, education and science, history and philosophy, religion, and literature, featuring texts from canonical, non-canonical and little-known sources. Each excerpt is supported with notes about the author and about the text's relationship to the memory arts, and includes suggestions for further reading. The book will appeal to students of the memory arts, Renaissance literature, the history of ideas, book history and art history.