The last twenty years have witnessed the rediscovery of a large number of women writers of the early modern period. This process of recovery has had a major impact on early modern studies for, by beginning to restore women to the history of the period, it provides new insight into the formative years of the modern era. This collection amply demonstrates the diversity as well as the literary and historical significance of early women's writing. It brings together studies by an impressive range of critics, including Elaine Hobby, Catherine Gallagher, Jane Spencer and Laura Brown, and examines the major works of five of the most important women writers of the seventeenth and early eighteenth centuries: Mary Wroth, Katherine Philips, Margaret Cavendish, Aphra Behn and Anne Finch. The range of authors it covers, and the challenging critical work it presents, make Early Women Writers: 1600-1720 essential reading for students of feminist theory, Women's Studies and Cultural Studies, as well as for all those interested in the history and literature of the early modern period.

Aphra Behn (1640-1689) is renowned as the first professional woman of literature and drama in English. Her career in the Restoration theatre extended over two decades, encompassing remarkable generic range and diversity. Her last five plays, written and performed between 1682 and 1696, include city comedies (The City-Heiress, The Luckey Chance), a farce (The Emperor of the Moon), a tragicomedy (The Widdow Ranter), and a comedy of family inheritance (The Younger Brother). These plays exemplify Behn's skills in writing for individual performers, and exhibit the topical political engagement for which she is renowned. They witness to Behn's popularity with theatre audiences during the politically and financially difficult years of the 1680s and even after her death. Informed by the most up-to-date research in computational attribution, this fully annotated edition draws on recent scholarship to provide a comprehensive guide to Behn's work, and the literary, theatrical and political history of the Restoration.

`I evidently saw that unless the great God of his infinite grace and bounty, had voluntarily chosen me to be a vessel of mercy, though I should desire, and long, and labour until my heart did break, no good could come of it . . . How can you tell you are Elected?' (GA, 47) In seventeenth-century England, the Calvinist doctrine of predestination, with its belief in the predetermined salvation of the few and damnation of the many, led many Christians to an anguished search for evidence of God's favour. John Bunyan's Grace Abounding records this spiritual crisis and its gruelling fluctuations between hope and despair in all its psychological intensity. It is a classic of spiritual autobiography - a genre which flourished in seventeenth-century England, as anxiety over one's spiritual state encouraged rigorous self-scrutiny and the sharing of spiritual experiences. This edition sets Grace Abounding alongside four of the most interesting and varied contemporary spiritual autobiographies, making its cultural milieu more meaningful to the modern reader. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

This book offers a stimulating new reading of Shakespeare’s last tragedy. It situates the play within its own historical period and presents a lucid reappraisal of its representation of class conflict. One of the book’s central arguments is that in adapting Plutarch’s ‘Life of Caius Martius Coriolanus’ for the stage, Shakespeare smoothed out the radical political edges of his source, transforming its history of ruling-class oppression into a tragedy focused on the internal contradictions of aristocratic honour. The book also provides a re-valuation of Volumnia’s role in the play, arguing that she is depicted neither as a bad mother nor an unfeminine woman but as the embodiment of a Roman ideal of aristocratic motherhood. The final chapter examines the way this most political of Shakespeare’s plays has been regularly revived and appropriated during periods of political crisis. Paying close attention to context, language, genre and dramatic structure, this lively study will appeal both to general and specialist readers.