A brilliant appraisal of the Civil War and its long-term consequences, by an acclaimed historian. The political upheaval of the mid-seventeenth century has no parallel in English history. Other events have changed the occupancy and the powers of the throne, but the conflict of 1640-60 was more dramatic: the monarchy and the House of Lords were abolished, to be replaced by a republic and military rule. In this wonderfully readable account, Blair Worden explores the events of this period and their origins - the war between King and Parliament, the execution of Charles I, Cromwell's rule and the Restoration - while aiming to reveal something more elusive: the motivations of contemporaries on both sides and the concerns of later generations.

This book charts the relationship between literary texts and their historical context from 1640-1660. Essays in the volume focus on issues of ideology and genre; the politics of the masque; lyric and devotional poetry; women's writings; attitudes towards Ireland; colonialism; madness and division; and individual writers such as Hobbes, Marvell and Milton.

This anthology brings together extensive selections of poetry by the five most prolific and prominent women poets of the English Civil War period: Anne Bradstreet, Hester Pulter, Margaret Cavendish, Katherine Philips and Lucy Hutchinson. It presents these poems in modern-spelling, clear-text versions for classroom use, and for ready comparison to mainstream editions of male poets’ work. The anthology reveals the diversity of women’s poetry in the mid-seventeenth century, across political affiliations and forms of publication. Notes on the poems and an introduction explain the contexts of Civil War, religious conflict, and scientific and literary development. The anthology enables a more comprehensive understanding of seventeenth-century women’s poetic culture, both in its own right and in relation to prominent male poets such as Marvell, Milton and Dryden.

In 1642 an ordinance closed the theatres of England. Critics and historians have assumed that the edict was to be firm and inviolate. Susan Wiseman challenges this assumption and argues that the period 1640 to 1660 was not a gap in the production and performance of drama nor a blank space between 'Renaissance drama' and the 'Restoration stage'. Rather, throughout the period, writers focused instead on a range of dramas with political perspectives, from republican to royalist. This group included the short pamphlet dramas of the 1640s and the texts produced by the writers of the 1650s, such as William Davenant, Margaret Cavendish and James Shirley. In analysing the diverse forms of dramatic production of the 1640s and 1650s, Wiseman reveals the political and generic diversity produced by the changes in dramatic production, and offers insights into the theatre of the Civil War.

Reimagining Constancy in the English Civil Wars exposes writers' reliance on conservative language during one of the most radical periods of English history. In case studies of both familiar genres (country house poem, love lyric, epic) and understudied ones (emblem book, prose romance), it shows how the conservative language of "constancy" was used to justify opposing positions in the period's most pressing controversies, including monarchical rule, ecclesiastical order, Catholicism, and England's relationship to the wider world. At the same time, writers like John Milton, Andrew Marvell, Hester Pulter, Percy Herbert, and others establish the virtue's importance to literary tradition, as they use "constancy" to retain, yet reimagine inherited formal structures and strategies. This book thus uses women's writing and non-canonical texts to highlight cross-factional conservatism and international investment in what scholars often describe as the "English Revolution".

Diane Purkiss analyses representations of masculinity in the writings of Milton, Marvell, Waller and Herrick.