A groundbreaking new account of the author of The Spanish Tragedy that establishes him as a major Elizabethan dramatist Thomas Kyd (1558–1594) was a highly regarded dramatist and the author of The Spanish Tragedy, the first revenge tragedy and the most influential Elizabethan play. In this first full study of his life and works, Brian Vickers discusses Kyd’s accepted canon as well as three additional plays Vickers has newly identified as having been written by Kyd—exciting discoveries that establish him as a major dramatist. Thomas Dekker, a fellow Elizabethan dramatist, referred to “industrious Kyd,” which suggests a greater output than the three plays traditionally attributed to him—The Spanish Tragedy, Soliman and Perseda, and Cornelia. Kyd worked between 1585 and 1594, when the plague led to the anonymous publication of many plays because of the breakup of several London theatre companies. Researching this corpus, Vickers has identified Kyd’s authorship of three more plays: Arden of Faversham, the first domestic tragedy, King Leir and his three daughters, a tragicomedy that provided Shakespeare with his main source, and Fair Em, a love comedy. These attributions are based on two forms of evidence: unique similarities of plot between Kyd’s acknowledged and newly attributed plays and many unique phrases shared by all six plays as identified by modern software. Discussing all the plays in detail and placing them in biographical and historical context, Thomas Kyd offers a major reassessment of an underappreciated Elizabethan playwright.

Passion and Action explores the place of the emotions in seventeenth-century understandings of the body and mind, and the role they were held to play in reasoning and action. Interest in the passions pervaded all areas of philosophical enquiry, and was central to the theories of many major figures, including Hobbes, Descartes, Malebranche, Spinoza, Pascal, and Locke. Yet little attention has been paid to this topic in studies of early modern thought. Susan James surveys the inheritance of ancient and medieval doctrines about the passions, then shows how these were incorporated into new philosophical theories in the course of the seventeenth century. She examines the relation of the emotions to will, knowledge, understanding, desire, and power, offering fresh analyses and interpretations of a broad range of texts by little-known writers as well as canonical figures, and establishing that a full understanding of these authors must take account of their discussions of our affective life. Passion and Action also addresses current debates, particularly those within feminist philosophy, about the embodied character of thinking and the relation between emotion and knowledge. This ground-breaking study throws new light upon the shaping of our ideas about the mind, and provides a historical context for burgeoning contemporary investigations of the emotions.

"A literary history of the year 1922 in the lives of Virginia Woolf, D.H. Lawrence, E.M. Forster, and T.S. Eliot"--

This book comprises four lectures presented at Trinity College in 1985 concerned with the function and status of poetry in the twentieth century.

There are truth scattered everywhere. People take them according to their mind pockets. So what happens when a person tries to become a madman and pick up all the scattered truth not to fill his pocket but to implant them deep into his heart? ‘This garden grows to you’. We come here to exchange our individual truth in return of some honesty and acceptance. And of all the truths, reason being love the greatest truth is because it served itself to the rise of our own breath. One who says that this world is an illusion might be drunk or frustrated. And the one who says this reality to be the utmost truth might be intensely logical and a maniac. Three themes of this book are in general the trinity of your life’s existence. “The self, the knowledge, the ruins”