Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Cavendish and Shakespeare, Interconnections explores the relationship between the plays of William Shakespeare and the writings of Margaret Cavendish, Duchess of Newcastle (1623-1673). Cavendish wrote 25 plays in the 1650s and 60s, making her one of the most prolific playwrights�man or woman�of the seventeenth century. The essays contained in this volume fit together as studies of various sorts of influence, both literary and historical, setting Cavendish's appropriation of Shakespearean characters and plot structures within the context of the English Civil Wars and the Fronde. The essays trace Shakespeare's influence on Cavendish, explore the political implications of Cavendish's contribution to Shakespeare's reputation, and investigate the politics of influence more generally. The collection covers topics ranging from Cavendish's strategic use of Shakespeare to establish her own reputation to her adaptation of Shakespeare's martial imagery, moral philosophy, and marriage plots, as well as the conventions of cross dressing on stage. Other topics include Shakespeare and Cavendish read aloud; Cavendish's formally hybrid appropriation of Shakespearean comedy and tragedy; her transformation of Shakespearean women on trial; and her re-imagining of Shakespearean models of sexuality and pleasure.

First published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

The essays in this volume analyze strategies adopted by contemporary novelists, playwrights, screenwriters, and biographers interested in bringing the stories of early modern women to modern audiences. It also pays attention to the historical women creators themselves, who, be they saints or midwives, visual artists or poets and playwrights, stand out for their roles as active practitioners of their own arts and for their accomplishments as creators. Whether they delivered infants or governed as monarchs, or produced embroideries, letters, paintings or poems, their visions, the authors argue, have endured across the centuries. As the title of the volume suggests, the essays gathered here participate in a wider conversation about the relation between biography, historical fiction, and the growing field of biofiction (that is, contemporary fictionalizations of historical figures), and explore the complicated interconnections between celebrating early modern women and perpetuating popular stereotypes about them.

Margaret Cavendish (1623-1673), Duchess of Newcastle and one of the best-known women writers of the her time, is enjoying a revival in the wake of Aphra Behn's canonization: She appears in the "Norton Anthology of English Literature," her poetry will appear in a new edition, and Penguin has recently reprinted her science-fiction novel "The Blazing World." This is an edition of her hilarious and rowdy letters, unavailable since their original publication in 1664
"Margaret Cavendish: Sociable Letters" is a window into the world of 17th-century marriage and daily life displaying a pleasing blend of the comic, the ironic, and the serious. Along the way, the author provides us with the first detailed criticism of Shakespeare's plays, which she defends against the Restoration distaste for low characters. She also comments on food, home remedies, the English Civil Wars, religious fanaticism, street entertainers, churchgoing as a way to find a husband, and winter sports
This edition offers a full introduction to Cavendish's life and works, a bibliography, and detailed notes, and takes account of hand-corrections made at the author's behest

Cavendish and Shakespeare, Interconnections explores the relationship between the plays of William Shakespeare and the writings of Margaret Cavendish, Duchess of Newcastle (1623-1673). Cavendish wrote 25 plays in the 1650s and 60s, making her one of the most prolific playwrights"man or woman"of the seventeenth century. The essays contained in this volume fit together as studies of various sorts of influence, both literary and historical, setting Cavendish's appropriation of Shakespearean characters and plot structures within the context of the English Civil Wars and the Fronde. The essays trace Shakespeare's influence on Cavendish, explore the political implications of Cavendish's contribution to Shakespeare's reputation, and investigate the politics of influence more generally. The collection covers topics ranging from Cavendish's strategic use of Shakespeare to establish her own reputation to her adaptation of Shakespeare's martial imagery, moral philosophy, and marriage plots, as well as the conventions of cross dressing on stage. Other topics include Shakespeare and Cavendish read aloud; Cavendish's formally hybrid appropriation of Shakespearean comedy and tragedy; her transformation of Shakespearean women on trial; and her re-imagining of Shakespearean models of sexuality and pleasure.