In this useful guide, Leah Scragg indicates some of the ways in which meaning is generated in Shakespearian drama and the kinds of approaches that might lead to a fuller understanding of the plays. Each chapter focuses on one aspect of the dramatic composition, such as verse and prose, imagery and spectacle, and the use of soliloquy, and explores how this contributes to the overall meaning. Written in a clear and helpful style, Discovering Shakespearian Meaning enables students to discover the meaning for themselves.

A knowledge of the history and evolution of the tales on which Shakespeare drew in the composition of his plays is essential for the understanding of his work. In re-telling a particular story, a Renaissance writer was not simply reshaping the structure of the narrative but participating in a species of debate with earlier writers and the meanings their tales had accrued. The stories upon which Shakespeare's plays are constructed did not descend to him as innocent collections of incidents, but brought with them considerable cultural baggage, substantially lost to the modern spectator but an essential component, for a contemporary audience, of the meaning of the work.Shakespeare's Alternative Tales explores this literary dialogue, focusing on those plays in which the expectations generated by an inherited story are in some way overthrown, setting up a tension for a Renaissance spectator between 'received' and 'alternative' readings of the text. Each chapter opens with a familiar story, supplying a context for the subsequent discussion, and exhibits the way in which the dramatist's reworking of a traditional motif interrogates the assumptions implicit in his source.While offering the twentieth-century reader a fresh perspective from which to view the plays, the approach also supplies an introduction to contemporary readings of the Shakespearean canon. The tales Leah Scragg considers may be seen as 'alternative' in more than one sense: they radically rework conventional situations, while lending themselves to analysis in terms of new critical methodologies.The text will be of interest to both students of Shakespeare and the general reader. In conjunction with the author's companion volume, Shakespeare's Mouldy Tales, it provides an ideal introduction to contemporary developments in source studies.

Devised as an entertainment for a Tudor monarch, Galatea might be seen, paradoxically, as a parable for our time. Inhabiting a world engaged in a process of change, the characters find themselves locked in a series of transgressive situations that speak directly to contemporary experience and twenty-first-century critical concerns. Same-sex relationships, shifts of authority, and the destabilization of meaning all lend the play a surprising modernity, making it at once the most accessible of Lyly's plays and the one most frequently performed today.
Designed for the student reader, Leah Scragg's edition offers a range of perspectives on the work. An extensive introduction locates the play in the context of the Elizabethan court, opening a window onto a kind of drama very different from that of more familiar sixteenth-century writers, such as Marlowe and Shakespeare. The latter's indebtedness to the play is fully documented, while detailed critical and performance histories allow an insight into the work's susceptibility to reinterpretation.

A knowledge of the history and evolution of the tales on which Shakespeare drew in the composition of his plays is essential for the understanding of his work. In re-telling a particular story, a Renaissance writer was not simply reshaping the structure of the narrative but participating in a species of debate with earlier writers and the meanings their tales had accrued. The stories upon which Shakespeare's plays are constructed did not descend to him as innocent collections of incidents, but brought with them considerable cultural baggage, substantially lost to the modern spectator but an essential component, for a contemporary audience, of the meaning of the work. Shakespeare's Alternative Tales explores this literary dialogue, focusing on those plays in which the expectations generated by an inherited story are in some way overthrown, setting up a tension for a Renaissance spectator between 'received' and 'alternative' readings of the text. Each chapter opens with a familiar story, supplying a context for the subsequent discussion, and exhibits the way in which the dramatist's reworking of a traditional motif interrogates the assumptions implicit in his source. While offering the twentieth-century reader a fresh perspective from which to view the plays, the approach also supplies an introduction to contemporary readings of the Shakespearean canon. The tales Leah Scragg considers may be seen as 'alternative' in more than one sense: they radically rework conventional situations, while lending themselves to analysis in terms of new critical methodologies. The text will be of interest to both students of Shakespeare and the general reader. In conjunction with the author's companion volume, Shakespeare's Mouldy Tales, it provides an ideal introduction to contemporary developments in source studies.

Designed to introduce the student or general reader to a largely unfamiliar area of Elizabethan theatrical activity, Five Elizabethan progress entertainments focuses on a group of entertainments mounted for the monarch in the closing years of her reign. Richly annotated, and prefaced by a substantial introduction, the texts enable an understanding of the motives underlying not only the progress itself, but the choice of locations the monarch elected to visit and the personal and political preoccupations of those with whom she determined to stay. Selected for their diversity, the entertainments exhibit the tensions underlying some royal visits, the lavish expenditure entailed for the monarch's hosts and the overlap in terms of both material and authorship between the progress entertainments and the more widely studied products of the sixteenth-century stage. -- .

In this useful guide, Leah Scragg indicates some of the ways in which meaning is generated in Shakespearian drama and the kinds of approaches that might lead to a fuller understanding of the plays. Each chapter focuses on one aspect of the dramatic composition, such as verse and prose, imagery and spectacle, and the use of soliloquy, and explores how this contributes to the overall meaning. Written in a clear and helpful style, Discovering Shakespearian Meaning enables students to discover the meaning for themselves.

Mother Bombie is unique among Lyly's comedies in its urban setting and focus upon middle and lower class concerns. The play turns on the tissue of misconceptions surrounding the efforts of four fathers to secure socially advantageous marriages for their heirs, and the determination of their young servants to exploit their masters' misguided aspirations for their own advantage. A theatrical success in its own day, the play is of particular interest to twenty-first century criticism for its focus upon those situated on the margins of the social group, notably Mother Bombie herself, thought by some to be a witch, and the two simpletons whose marital prospects lie at the heart of the action. This fully annotated, modern-spelling edition of the play, now available in paperback, is re-edited from the earliest witnesses; the quartos of 1594 and 1598, and incorporates the songs first published by Blount in his collected edition of Lyly's works in 1632 -- .

The first fully annotated, modern-spelling edition of Lyly's Pap with an Hatchet, this volume in the Revels Plays Companion Library series opens a window on the most neglected item in the Lylian canon. A response to a series of late sixteenth-century anti-episcopalian pamphlets issued under the pseudonym 'Martin Marprelate', Pap with an Hatchet seeks to beat Martin at his own game, employing all the devices deployed in the tracts to deride and subvert the Martinist position. Written in a racy, colloquial style, and at variance in its format with twenty-first century printing conventions, the pamphlet has remained difficult to access for the modern reader, and it is this barrier to a fuller understanding that the present edition has been designed to overcome. Re-edited from the earliest witnesses, brought into line with contemporary printing practice, richly annotated, and equipped with a substantial introduction, it enables a new insight into the witty interaction between the work and the Martinist tracts, the care underlying its composition, and the relish that Lyly brought to his task. -- .

John Lyly's Euphues: The Anatomy of Wit and Euphues and his England, created a literary sensation in their own age, and had a profound influence on Elizabethan prose. This modern-spelling edition of the two works, the first for nearly a century, is designed to allow the twenty-first century reader access to this culturally significant text and to explore the fascination that it exerted. Attuned to the needs of both students and specialists, the text is edited from the earliest complete witnesses, is richly annotated, and facilitates an understanding of Lyly's narrative technique by distinguishing typographically between narrative levels. The introduction explores the relationship between the dramatic and non-dramatic work, locating Lyly's highly influential plays in a wider context and Euphues' Latin poem in praise of Elizabeth I, translated for the first time, is discussed in an Appendix. A work of primary importance for students of Renaissance prose, this edition complements the on-going publication of Lyly's dramatic works in The Revels Plays. -- .

Preface - Acknowledgements - Verse and Prose - Imagery and Spectacle - Shakespeare's Expositions - Plays within Plays - Parallel Actions - The Treatment of Character - The Use of the Soliloquy - Art and Artifice - Conclusion: Discovering Shakespeare's Meaning - Index

Designed to introduce the student or general reader to a largely unfamiliar area of Elizabethan theatrical activity, Five Elizabethan progress entertainments focuses on a group of entertainments mounted for the monarch in the closing years of her reign. Richly annotated, and prefaced by a substantial introduction, the texts enable an understanding of the motives underlying not only the progress itself, but the choice of locations the monarch elected to visit and the personal and political preoccupations of those with whom she determined to stay. Selected for their diversity, the entertainments exhibit the tensions underlying some royal visits, the lavish expenditure entailed for the monarch's hosts and the overlap in terms of both material and authorship between the progress entertainments and the more widely studied products of the sixteenth-century stage. -- .

First performed in the 1580s, Love's Metamorphosis is widely regarded as the most elegantly structured of Lyly's plays. The plot looks back to the account of Erisichthon's punishment for the desecration of Ceres' grove in Ovid's Metamorphosis, but the Ovidian story is woven into a wider network of interests turning upon aspects of love. A series of allusions to earlier Lylian compositions allows the play to be viewed in terms of a continuum of work, exploring the status of Cupid and the nature and extent of his power. The play is notable for the articulate resistance offered by the female characters towards the desires of their lovers and the wishes of authority figures, while Protea, is of particular interest to feminist criticism as a striking example of a woman empowered rather than marginalised by the loss of her virgin state. Revived towards the close of the sixteenth century, the play is of importance to theatre historians in that it is the only one of Lyly's comedies known to have passed from Paul's to a different troupe. It is newly edited here from the sole early witness, the quarto of 1601. -- .

"This thoroughly annotated volume provides a detailed study of the play's sources. " Patrick Richards, Day by Day His last known work and the only one to be written primarily in verse, The Woman in the Moon is among Lyly's most entertaining plays. Turning upon the construction of the female character, it has been read as highly misogynistic, and as a sixteenth-century feminist manifesto. The biblical version of the creation of woman is overturned in the first scene when the play's supreme deity, Nature, presents her ultimate creation, Pandora (memorably played in 1928 by Katharine Hepburn), to a group of Utopian shepherds, who compete for her love. Their amatory pursuit is complicated by the seven planets, whose attributes have been bestowed by Nature on her new creation, and who decide to take revenge by subjecting Pandora to their influence. The action rapidly develops into a dazzling comedy of intrigue, resulting in both an explanation for the female disposition and the creation of an 'alternative' version of the myth of the man in the moon. Newly edited from the first edition (1597), The Woman in the Moon will be of interest to all students of sixteenth-century drama. It is complemented by generous notes and commentary, as well as a full introduction and stage history.