Renaissance humanists believed that if you want to build a just society you must begin with the facts of human nature. This book argues that the idea of a universal human nature was as important to Shakespeare as it was to every other Renaissance writer. In doing so it questions the central principle of post-modern Shakespeare criticism. Postmodernists insist that the notion of defining a human essence was alien to Shakespeare and his contemporaries; as radical anti-essentialists, the Elizabethans were, in effect, postmodernists before their time. In challenging this claim Shakespeare's Humanism shows that for Shakespeare, as for every other humanist writer in this period, the key to all wise action was 'the knowledge of our selves and our human condition'.

For lovers of music and poetry the legendary figure of Orpheus probably suggests a romantic ideal. But for the Renaissance he is essentially a political figure. Mythographers interpreted the Orpheus story as an allegory of the birth of civilization because they recognized in the arts in which Orpheus excelled an instrument of social control so powerful that with it you could, as one writer put it, 'winne Cities and whole Countries'. Dealing with plays, poems, songs and the iconography of musical instruments, Robin Headlam Wells re-examines the myth, central to the Orpheus story, of the transforming power of music and poetry. Elizabethan Mythologies, first published in 1994, contains numerous illustrations from the period and will be of interest to scholars and students of Renaissance poetry, drama and music, and of the history of ideas.

Masculinity was a political issue in early modern England. Phrases such as 'courage-masculine' or 'manly virtue' took on a special meaning and signified commitment to the ideals of militant Protestantism. Diplomacy and compromise were disparaged as 'feminine'. Shakespeare on Masculinity is an original study of the way Shakespeare's plays engage with this ideal and a subject that provoked bitter public dispute. Robin Headlam Wells argues that Shakespeare took a sceptical view of the militant-Protestant cult of heroic masculinity. Following a series of portraits of the dangerously charismatic warrior-hero, Shakespeare turned at the end of his writing career to a different kind of leader. If the heroes of the martial tragedies evoke a Herculean ideal of manhood, The Tempest portrays a ruler who, Orpheus-like, uses the arts of civilization to bring peace to a divided world. Other plays receiving close readings include Henry V, Troilus and Cressida, Hamlet, Othello, Macbeth and Coriolanus.

For lovers of music and poetry the legendary figure of Orpheus probably suggests a romantic ideal. But for the Renaissance he is essentially a political figure. Dealing with plays, poems, songs, and the iconography of musical instruments, Robin Headlam Wells reexamines the myth, central to the Orpheus story, of the civilizing power of music and poetry. In doing so he acknowledges a debt to the New Historicism and its recovery of political meanings that traditional historical scholarship has sometimes been guilty of obscuring. But he is also critical of certain faulty premises in New Historicist criticism that have led to some radical misinterpretations of the period.

Shakespeare on Masculinity is an important and original study of the way Shakespeare's plays engage with a subject that provoked bitter public dispute. Robin Headlam Wells argues that Shakespeare took a skeptical view of the militant-Protestant cult of heroic masculinity. Following a series of brilliant portraits of the dangerously charismatic warrior-hero, Shakespeare turned at the end of his writing career to a different kind of leader. Plays receiving close readings include The Tempest, Henry V, Troilus and Cressida, Hamlet, Othello, Macbeth, and Coriolanus.

Essays on English Renaissance culture make a major contribution to the debate on historical method. For nearly two decades, Renaissance literary scholarship has been dominated by various forms of postmodern criticism which claim to expose the simplistic methodology of `traditional' criticism and to offer a more sophisticated view of the relation between literature and history; however, this new approach, although making scholars more alert to the political significance of literary texts, has been widely criticised on both methodological and theoretical grounds. The revisionist essays collected in this volume make a major contribution to the modern debate on historical method, approaching Renaissance culture from different gender perspectives and a variety of political standpoints, but all sharing an interest in the interdisciplinary study of the past.ROBIN HEADLAM WELLS is Professor of English, University of Surrey Roehampton; GLENN BURGESS is Professor of History, University of Hull; ROWLAND WYMER is Senior Lecturer in English at the University of Hull. Contributors: GLENN BURGESS, STANLEY STEWART, BLAIR WORDEN, ANDREW GURR, KATHARINE EISAMAN MAUS, ROWLAND WYMER, GRAHAM PARRY, MALCOLM SMUTS, STEVEN ZWICKER, HEATHER DUBROW,ROBIN HEADLAM WELLS.

This title offers an introduction to the political and historical context to Shakespeare's tragedy and history plays, written in an accessible, jargon-free style."Shakespeare's Politics" is an invaluable introduction to the political world of Shakespeare's plays. It includes passages from the plays together with extracts from contemporary historical and political documents. The clear, jargon-free narrative introduces and explains the extracts and provides an overview of the key political issues that were debated in late Elizabethan and early Stuart England.The introduction outlines the historical context in which Shakespeare wrote and explains the intellectual principles that informed early modern thinking about politics. By reading Shakespeare alongside contemporary documents students will be able to develop their own informed critical interpretations of the plays. "Shakespeare's Politics" is essential for anyone studying Shakespeare while tutors and postgraduate students will find the book's up-to-date survey of modern Shakespeare criticism useful and provocative.

This title offers an introduction to the political and historical context to Shakespeare's tragedy and history plays, written in an accessible, jargon-free style."Shakespeare's Politics" is an invaluable introduction to the political world of Shakespeare's plays. It includes passages from the plays together with extracts from contemporary historical and political documents. The clear, jargon-free narrative introduces and explains the extracts and provides an overview of the key political issues that were debated in late Elizabethan and early Stuart England.The introduction outlines the historical context in which Shakespeare wrote and explains the intellectual principles that informed early modern thinking about politics. By reading Shakespeare alongside contemporary documents students will be able to develop their own informed critical interpretations of the plays. "Shakespeare's Politics" is essential for anyone studying Shakespeare while tutors and postgraduate students will find the book's up-to-date survey of modern Shakespeare criticism useful and provocative.

"Human Nature: Fact and Fiction" brings together a collection of inspiring, thought-provoking and original perspectives on human nature by ten leading writers, scientists and academics. What do we mean by 'human nature'? Is there a genetically determined core of humanity that unites us all as members of a single species? Or is the thing we call human nature a social construct? And how do we explain the mystery of human creativity? Do great writers have an intuitive grasp of what makes human beings tick, or are they merely the mouthpiece of contemporary culture? It has been claimed that 'the greatest enterprise of the mind has always been and always will be the attempted linkage of the sciences and humanities' (Edward O. Wilson). This groundbreaking book marks the beginning of a new dialogue between the two. Rather than focusing on the division between them, it shows that the sciences and humanities have much to learn from each other. Points of disagreement remain. Yet there is in this volume a genuine attempt to bridge the gulf that has traditionally separated the sciences and humanities and to reach a better understanding of what it means to be human. "Human Nature: Fact and Fiction" is a major new contribution to the debate on human nature, set to be required reading for anyone with a background in either the arts or the sciences who is interested in understanding what defines us as human beings - in what we are, and why.

Renaissance humanists believed that if you want to build a just society you must begin with the facts of human nature. This book argues that the idea of a universal human nature was as important to Shakespeare as it was to every other Renaissance writer. In doing so it questions the central principle of post-modern Shakespeare criticism. Postmodernists insist that the notion of defining a human essence was alien to Shakespeare and his contemporaries; as radical anti-essentialists, the Elizabethans were, in effect, postmodernists before their time. In challenging this claim Shakespeare's Humanism shows that for Shakespeare, as for every other humanist writer in this period, the key to all wise action was 'the knowledge of our selves and our human condition'.

"Human Nature: Fact and Fiction" brings together a collection of inspiring, thought-provoking and original perspectives on human nature by ten leading writers, scientists and academics. What do we mean by 'human nature'? Is there a genetically determined core of humanity that unites us all as members of a single species? Or is the thing we call human nature a social construct? And how do we explain the mystery of human creativity? Do great writers have an intuitive grasp of what makes human beings tick, or are they merely the mouthpiece of contemporary culture? It has been claimed that 'the greatest enterprise of the mind has always been and always will be the attempted linkage of the sciences and humanities' (Edward O. Wilson). This groundbreaking book marks the beginning of a new dialogue between the two. Rather than focusing on the division between them, it shows that the sciences and humanities have much to learn from each other. Points of disagreement remain. Yet there is in this volume a genuine attempt to bridge the gulf that has traditionally separated the sciences and humanities and to reach a better understanding of what it means to be human. "Human Nature: Fact and Fiction" is a major new contribution to the debate on human nature, set to be required reading for anyone with a background in either the arts or the sciences who is interested in understanding what defines us as human beings - in what we are, and why.