This volume forms part of the 5 volume set Early English Stages 1300-1660. This set examines the history of the development of dramatic spectacle and stage convention in England from the beginning of the fourteenth century to 1660.

This text reprints selected non-fictional works by Haywood, with particular attention to the journalism, criticism, and "conduct and advice" material. Here, Haywood explicates and defends ideas on gender and culture that she develops obliquely elsewhere.

More than fifty specialists have contributed to this new edition of volume 1 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.

The Records of Early English Drama (REED) series aims to establish the context for the great drama of Britain's past by examining material related to drama, secular music, and other communal entertainment and ceremony from the Middle Ages until the mid-seventeenth century. This latest volume in the series is a collection of documentary evidence for dramatic performance, minstrelsy, and civic ceremony in Cheshire to 1642. Editors Elizabeth Baldwin and David Mills have provided introductions detailing the historical background and significance of the documents presented, as well as a full apparatus of document descriptions, explanatory and textual notes and glossaries. Cheshire completes the series of REED volumes on the West of England, and incorporates an updated version of the early Chester volume, as well as providing extensive new material on the county of Cheshire as a whole, making it an essential addition to this much-admired series.

By analyzing appropriations of fairies, old wives, and mummers, this project explores the conflicted entanglements of early moderns leaving, or attempting to leave, a once-shared common culture behind.

This collection of essays addresses questions peculiar to the Blackfriars and indoor playing: Did the Blackfriars have its own repertory? What was the place of the Blackfriars in the urban economy? What qualities did the Blackfriars share with the long tradition of great-hall performances? The essays span a range of approaches from performative to historical to textual.--Publisher's description.