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Twenty-two leading experts on early modern drama collaborate in
this volume to explore three closely interconnected research
questions. To what extent did playwrights represent dramatis
personae in their entertainments as forming, or failing to form,
communal groupings? How far were theatrical productions likely to
weld, or separate, different communal groupings within their target
audiences? And how might such bondings or oppositions among
spectators have tallied with the community-making or -breaking on
stage? Chapters in Part One respond to one or more of these
questions by reassessing general period trends in censorship,
theatre attendance, forms of patronage, playwrights' professional
and linguistic networks, their use of music, and their handling of
ethical controversies. In Part Two, responses arise from detailed
re-examinations of particular plays by Shakespeare, Chapman,
Jonson, Beaumont and Fletcher, Cary, Webster, Middleton, Massinger,
Ford, and Shirley. Both Parts cover a full range of early-Stuart
theatre settings, from the public and popular to the more private
circumstances of hall playhouses, court masques, women's drama,
country-house theatricals, and school plays. And one overall
finding is that, although playwrights frequently staged or alluded
to communal conflict, they seldom exacerbated such divisiveness
within their audience. Rather, they tended toward more tactful
modes of address (sometimes even acknowledging their own
ideological uncertainties) so that, at least for the duration of a
play, their audiences could be a community within which internal
rifts were openly brought into dialogue.
During a period when writing was often the only form of
self-expression for women, Her Own Life contains extracts from the
autobiographical texts of twelve seventeenth-century women
addressing a wide range of issues central to their lives.
Twenty-two leading experts on early modern drama collaborate in
this volume to explore three closely interconnected research
questions. To what extent did playwrights represent dramatis
personae in their entertainments as forming, or failing to form,
communal groupings? How far were theatrical productions likely to
weld, or separate, different communal groupings within their target
audiences? And how might such bondings or oppositions among
spectators have tallied with the community-making or -breaking on
stage? Chapters in Part One respond to one or more of these
questions by reassessing general period trends in censorship,
theatre attendance, forms of patronage, playwrights' professional
and linguistic networks, their use of music, and their handling of
ethical controversies. In Part Two, responses arise from detailed
re-examinations of particular plays by Shakespeare, Chapman,
Jonson, Beaumont and Fletcher, Cary, Webster, Middleton, Massinger,
Ford, and Shirley. Both Parts cover a full range of early-Stuart
theatre settings, from the public and popular to the more private
circumstances of hall playhouses, court masques, women's drama,
country-house theatricals, and school plays. And one overall
finding is that, although playwrights frequently staged or alluded
to communal conflict, they seldom exacerbated such divisiveness
within their audience. Rather, they tended toward more tactful
modes of address (sometimes even acknowledging their own
ideological uncertainties) so that, at least for the duration of a
play, their audiences could be a community within which internal
rifts were openly brought into dialogue.
During a period when writing was often the only form of self-expression for women, Her Own Life contains extracts from the autobiographical texts of twelve seventeenth-century women addressing a wide range of issues central to their lives. eBook available with sample pages: 0203358961
In All's Well That Ends Well, Helen, a lowly ward, risks her life
to satisfy her boundless love for Bertram, a count and ward to the
King of France. Following him to Paris, she concocts an endangering
plan to win the King of France's favour and induce Bertram's hand
in marriage. In the comprehensive introduction to this new,
fully-illustrated Arden edition, Suzanne Gossett takes a
transformative look at the play's critical and performance history
by offering fresh perspectives on the conundrum of genre, sexuality
and moral dilemmas with masculinity and the structures of family.
The authoritative play text is amply annotated to clarify its
language and allusions, and two appendices debate the play's
authorship and review its casting. Offering students and scholars
alike a wealth of insight and new research, this edition maintains
the rigorous standards of the Arden Shakespeare.
In All's Well That Ends Well, Helen, a lowly ward, risks her life
to satisfy her boundless love for Bertram, a count and ward to the
King of France. Following him to Paris, she concocts an endangering
plan to win the King of France's favour and induce Bertram's hand
in marriage. In the comprehensive introduction to this new,
fully-illustrated Arden edition, Suzanne Gossett takes a
transformative look at the play's critical and performance history
by offering fresh perspectives on the conundrum of genre, sexuality
and moral dilemmas with masculinity and the structures of family.
The authoritative play text is amply annotated to clarify its
language and allusions, and two appendices debate the play's
authorship and review its casting. Offering students and scholars
alike a wealth of insight and new research, this edition maintains
the rigorous standards of the Arden Shakespeare.
This pioneering Handbook offers a comprehensive consideration of
the dynamic relationship between English literature and religion in
the early modern period. The sixteenth and seventeenth centuries
were the most turbulent times in the history of the British church
and, perhaps as a result, produced some of the greatest devotional
poetry, sermons, polemics, and epics of literature in English. The
early-modern interaction of rhetoric and faith is addressed in
thirty-nine chapters of original research, divided into five
sections. The first analyses the changes within the church from the
Reformation to the establishment of the Church of England, the
phenomenon of puritanism and the rise of non-conformity. The second
section discusses ten genres in which faith was explored, including
poetry, prophecy, drama, sermons, satire, and autobiographical
writings. The middle section focuses on selected individual
authors, among them Thomas More, Christopher Marlowe, John Donne,
Lucy Hutchinson, and John Milton. Since authors never write in
isolation, the fourth section examines a range of communities in
which writers interpreted their faith: lay and religious
households, sectarian groups including the Quakers, clusters of
religious exiles, Jewish and Islamic communities, and those who
settled in the new world. Finally, the fifth section considers some
key topics and debates in early modern religious literature,
ranging from ideas of authority and the relationship of body and
soul, to death, judgment, and eternity. The Handbook is framed by a
succinct introduction, a chronology of religious and literary
landmarks, a guide for new researchers in this field, and a full
bibliography of primary and secondary texts relating to early
modern English literature and religion.
George Herbert (1593-1633) is widely regarded as the greatest
devotional poet in the English language. His profound influence can
be seen in the lasting popularity of his verse. This selection of
one hundred lyric poems by Herbert is designed for readers to enjoy
the beauty, spirituality, accessibility and humanity of his best
verse. Each poem uses the authoritative text from the acclaimed
Cambridge edition of Herbert's poems, presenting them in their
original spelling in a clear and elegant format. The selection
includes such well-loved lyric verses as 'Love bade me welcome',
'Let all the world in ev'ry corner sing', 'I struck the board and
cry'd, No more' and 'Sweet day, so cool, so calm, so bright'. A
preface by Helen Wilcox, editor of the Cambridge edition,
celebrates the key features of Herbert's poetry for a new
generation of readers.
George Herbert (1593-1633) is widely regarded as the greatest
devotional poet in the English language. His volume of poems, The
Temple, published posthumously in 1633, became one of the most
widely read and influential collections of the seventeenth century.
Almost 400 years after they were first published in Cambridge by
the 'printers to the Universitie', in 2007 Cambridge University
Press was pleased to present the definitive scholarly edition of
Herbert's complete English poems, accompanied by extensive
explanatory and textual apparatus. The text is meticulously
annotated with historical, literary and biblical information, as
well as the modern critical contexts which now illuminate the
poems. In addition to the lively introduction and notes, this
edition includes a glossary of key words, an index of biblical
quotations, and the authentic texts of Herbert's work.
George Herbert (1593-1633) is widely regarded as the greatest
devotional poet in the English language. His volume of poems, The
Temple, published posthumously in 1633, became one of the most
widely read and influential collections of the seventeenth century.
Almost 400 years after they were first published in Cambridge by
the 'printers to the Universitie', in 2007 Cambridge University
Press was pleased to present the definitive scholarly edition of
Herbert's complete English poems, accompanied by extensive
explanatory and textual apparatus. The text is meticulously
annotated with historical, literary and biblical information, as
well as the modern critical contexts which now illuminate the
poems. In addition to the lively introduction and notes, this
edition includes a glossary of key words, an index of biblical
quotations, and the authentic texts of Herbert's work.
This is the first comprehensive introduction to the works and social contexts of women writers in early modern Britain, a paradoxical period when it was considered unfeminine to write and yet women were the authors of many poems, translations, conduct books, autobiographies, plays, pamphlets and other texts. Leading scholars examine the history of women's role in and access to literary culture, and the work of individual women writers. A unique chronology offers a woman-centered perspective on historical and literary events, and there is a guide to further reading.
This is the first comprehensive introduction to the works and
social contexts of women writers in early modern Britain, a
paradoxical period when it was considered unfeminine to write and
yet women were the authors of many poems, translations, conduct
books, autobiographies, plays, pamphlets and other texts. Leading
scholars examine the history of women's role in and access to
literary culture, and the work of individual women writers. A
unique chronology offers a woman-centered perspective on historical
and literary events, and there is a guide to further reading.
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