Some of Shakespeare's most memorable male characters, such as Hamlet, Prince Hal, and Edgar, are defined by their relationships with their fathers. In Fathers and Sons in Shakespeare, Fred B. Tromly demonstrates that these relationships are far more complicated than most critics have assumed. While Shakespearean sons often act as their fathers' steadfast defenders, they simultaneously resist paternal encroachment on their autonomy, tempering vigorous loyalty with subtle hostility. Tromly's introductory chapters draw on both Freudian psychology and Elizabethan family history to frame the issue of filial ambivalence in Shakespeare. The following analytical chapters mine the father-son relationships in plays that span Shakespeare's entire career. The conclusion explores Shakespeare's relationship with his own father and its effect on his fictional depictions of life as a son. Through careful scrutiny of word and deed, the scholarship in Fathers and Sons in Shakespeare reveals the complex attitude Shakespeare's sons harbour towards their fathers.

Introduction : interpreting Shakespeare's sons : ambivalence, rescue, and revenge -- Paternal authority and filial autonomy in Shakespeare's England -- Henry VI, part one : prototypical beginnings : the two John Talbots -- Richard II : patrilineal inheritance and the generation gap -- Henry IV, part one : Deep defiance and the rebel prince -- Henry IV, part two : the prince becomes the king, with a note on Henry V -- Hamlet : notes from the underground : paternal and filial subterfuge -- King Lear : the usurpation of fathers, and of fathers and sons -- Macbeth and the late plays : the disappearance of ambivalent sons -- Biographical coda : William Shakespeare, son of John Shakespeare -- Appendix 1 : Shakespearean fathers and sons in Edward III -- Appendix 2 : Thomas Plume's anecdote : the merry-cheeked, jest-cracking John Shakespeare, Sir John Mennes, and Sir John Falstaff

Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink

In this “absorbing and moving” memoir, a scholar of children’s literature considers the relationship between fathers and sons, and between literature and life (Kenneth Gross, author of Puppet). Through elliptical memories and reflections, Seth Lerer delves into his own evolution from boyhood to fatherhood, as well as his intellectual evolution through his lifelong love of reading. While presenting an intimate portrait of Lerer’s life, Prospero’s Son is about the power of books and theater, the excitement of stories in a young man’s life, and the transformative magic of words and performance. Lerer’s father, a teacher and lifelong actor, comes to terms with his life as a gay man. Meanwhile, Lerer himself grows from bookish boy to professor of literature and an acclaimed expert on the very children’s books that set him on his path. Only then does he learn how hard it is to be a father—and how much books can, and cannot, instruct him. Throughout these intertwined accounts of changing selves, Lerer returns again and again to stories—the ways they teach us about discovery, deliverance, forgetting, and remembering.

'She's like no one I've ever met... She's like fire and water all at once.' Warwickshire, 1582. Agnes Hathaway, a natural healer, meets the Latin tutor, William Shakespeare. Drawn together by powerful but hidden impulses, they create a life together and make a family. As William moves to London to discover his place in the world of theatre, Agnes stays at home to raise their three children but she is the constant presence and purpose of his life. When the plague steals 11-year-old Hamnet from his loving parents, they must each confront their loss alone. And yet, out of the greatest suffering, something of extraordinary wonder is born. This new play based on Maggie O'Farrell's best-selling novel and adapted by award-winning playwright Lolita Chakrabarti (Life of Pi, Red Velvet, Hymn), pulls back a curtain on the imagined family life of the greatest writer in the English language. Hamnet is a love letter to passion, birth, grief and the magic of nature. This updated and revised edition was published to coincide with the West End transfer of the original RSC production in October 2023.