In their lively and engaging edition of this sometimes neglected early play, Cox and Rasmussen make a strong claim for it as a remarkable work, revealing a confidence and sureness that very few earlier plays can rival. They show how the young Shakespeare, working closely from his chronicle sources, nevertheless freely shaped his complex material to make it both theatrically effective and poetically innovative. The resulting work creates, in Queen Margaret, one of ShakespeareAEs strongest female roles and is the source of the popular view of Richard Neville, Earl of Warwick as aekingmakerAE. Focusing on the history of the play both in terms of both performance and criticism, the editors open it to a wide and challenging variety of interpretative and editorial paradigms."

Written by a distinguished international team of contributors, this volume explores Shakespeare's vivid depictions of moral deliberation and individual choice in light of Renaissance debates about ethics. Examining the intellectual context of Shakespeare's plays, the essays illuminate Shakespeare's engagement with the most pressing moral questions of his time, considering the competing claims of politics, Christian ethics and classical moral philosophy, as well as new perspectives on controversial topics such as conscience, prayer, revenge and suicide. Looking at Shakespeare's responses to emerging schools of thought such as Calvinism and Epicureanism, and assessing comparisons between Shakespeare and his French contemporary Montaigne, the collection addresses questions such as: when does laughter become cruel? How does style reflect moral perspective? Does shame lead to self-awareness? This book is of great interest to scholars and students of Shakespeare studies, Renaissance studies and the history of ethics.

John Cox tells the intriguing story of stage devils from their earliest appearance in English plays to the closing of the theatres by parliamentary order in 1642. The book represents a major revision of E. K. Chambers' ideas of stage devils in The Medieval Stage (1903), arguing that this is not a history of gradual secularization, as scholarship has maintained for the last century, but rather that stage devils were profoundly shaped from the outset by the assumptions of sacred drama and retained this shape virtually unchanged until the advent of permanent commercial theatres near London. The book spans both medieval and Renaissance drama including the medieval Mystery cycles on the one hand, through to plays by Greene, Marlowe, Shakespeare (1 and 2 Henry VI), Jonson, Middleton and Davenant. An appendix lists all known devil plays in English from the beginning to 1642.

A lively, inspiring account of the pioneers who sought to accurately predict the weather

Benjamin Franklin . . . James P. Espy . . . Cleveland Abbe . . . Carl-Gustaf Rossby . . . Jule G. Charney . . . just a few of the remarkable individuals who struggled against formidable odds to understand the atmosphere and predict the weather. Where they saw patterns and processes, others saw randomness and tumult–and yet they strove to make their voices heard, often saving lives in the process.

Storm Watchers takes you on a fascinating journey through time that captures the evolution of weather forecasting. From the age when meteorology was considered one step removed from sorcery to the modern-day wizardry of supercomputers, John Cox introduces you to the pioneering scientists whose work fulfilled an ancient dream and made it possible to foretell the future. He tells the little-known stories of these weathermen, such as Ptolemy’s weather predictions based on astrology, John Finley’s breakthrough research in identifying tornadoes, and Tor Bergeron’s new techniques of weather forecasting, which contributed to its final worldwide acceptance.

Filled with extraordinary tales of bravery and sacrifice, Storm Watchers will make you think twice the next time you turn on the local news to catch the weather report.

Written by a distinguished international team of contributors, this volume explores Shakespeare's vivid depictions of moral deliberation and individual choice in light of Renaissance debates about ethics. Examining the intellectual context of Shakespeare's plays, the essays illuminate Shakespeare's engagement with the most pressing moral questions of his time, considering the competing claims of politics, Christian ethics and classical moral philosophy, as well as new perspectives on controversial topics such as conscience, prayer, revenge and suicide. Looking at Shakespeare's responses to emerging schools of thought such as Calvinism and Epicureanism, and assessing comparisons between Shakespeare and his French contemporary Montaigne, the collection addresses questions such as: when does laughter become cruel? How does style reflect moral perspective? Does shame lead to self-awareness? This book is of great interest to scholars and students of Shakespeare studies, Renaissance studies and the history of ethics.

Seeming Knowledgerevisits the question of Shakespeare and religion by focusing on the conjunction of faith and skepticism in Shakespeare's writing. Cox argues that the relationship between faith and skepticism is not an invented conjunction. The recognition of the history of faith and skepticism in the sixteenth century illuminates a tradition that Shakespeare inherited and represented more subtly and effectively than any other writer of his generation.

John Cox tells the intriguing story of stage devils from their earliest appearance in English plays to the closing of the theaters by parliamentary order in 1642. The book spans both medieval and Renaissance drama and includes the medieval Mystery cycles on the one hand, through to plays by Greene, Marlowe, Shakespeare (Henry VI Parts 1 and 2), Jonson, Middleton and Davenant.

Ranging over all the dramatic genres in the Shakespearean canon, this book focuses on plays where medieval drama most clearly illuminates Shakespeare's treatment of political power and social privilege. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Ranging over all the dramatic genres in the Shakespearean canon, this book focuses on plays where medieval drama most clearly illuminates Shakespeare's treatment of political power and social privilege.

Originally published in 1989.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Julius Caesar is a key link between Shakespeare's histories and his tragedies. Unlike the Caesar drawn by Plutarch in a source text, Shakespeare's Caesar is surprisingly modern: vulnerable and imperfect, a powerful man who does not always know himself. The open-ended structure of the play insists that revealing events will continue after the play ends, making the significance of the history we have just witnessed impossible to determine in the play itself. John D. Cox's introduction discusses issues of genre, characterisation, and rhetoric, while also providing a detailed history of criticism of the play. Appendices provide excerpts from important related works by Lucretius, Plutarch, and Montaigne.

Seeming Knowledge revisits the question of Shakespeare and religion by focusing on the conjunction of faith and skepticism in his writing. Cox argues that the relationship between faith and skepticism is not an invented conjunction. The recognition of the history of faith and skepticism in the sixteenth century illuminates a tradition that Shakespeare inherited and represented more subtly and effectively than any other writer of his generation.

Traveling South is the first major study of how narratives of travel through the antebellum South helped construct an American national identity during the years between the Revolutionary War and the Civil War. John Cox makes his case on the basis of a broad range of texts that includes slave narratives, domestic literature, and soldiers' diaries, as well as more traditional forms of travel writing. In the process he extends the boundaries of travel literature both as a genre and as a subject of academic study. The writers of these intranational accounts struggled with the significance of travel through a region that was both America and "other." In writings by J. Hector St. John de Crevecoeur and William Bartram, for example, the narrators create personal identities and express their Americanness through travel that, Cox argues, becomes a defining aspect of the young nation. In the narratives of Frederick Douglass and Solomon Northup, the complex relationship between travel and slavery highlights contemporary debates over the meaning of space and movement. Both Fanny Kemble and Harriet Jacobs explore the intimate linkings of women's travel and the construction of an ideal domestic space, whereas Frederick Law Olmsted seeks, through his travel writing, to reform the southern economy and expand a New England yeoman ideology throughout the nation. The Civil War diaries of Union soldiers, written during the years that witnessed the largest movement of travelers through the South, echo earlier themes while concluding that the South should not be transformed in order to become sufficiently "American"; rather, it was and should remain a part of the American nation, regardless of perceiveddifferences. "Travel made the United States," says Cox. Travelers from the northern states who ventured south during the early national period encountered within their nation's borders a place so different from their own as to raise basic questions about nationhood. Our national culture would develop, in large part, out of the struggle to reconcile regional differences over citizenship, race, gender, and class.

In their lively and engaging edition of this sometimes neglected early play, Cox and Rasmussen make a strong claim for it as a remarkable work, revealing a confidence and sureness that very few earlier plays can rival. They show how the young Shakespeare, working closely from his chronicle sources, nevertheless freely shaped his complex material to make it both theatrically effective and poetically innovative. The resulting work creates, in Queen Margaret, one of Shakespeareas strongest female roles and is the source of the popular view of Richard Neville, Earl of Warwick as akingmakera. Focusing on the history of the play both in terms of both performance and criticism, the editors open it to a wide and challenging variety of interpretative and editorial paradigms.