Lena Orlin paints a dense picture of everyday life in Renaissance England, with an emphasis on personal privacy, the built environment, and the life story of a remarkable undiscovered woman - merchant's wife and mother of four, Alice Barnham - with a central role in some of the most important untold stories of sixteenth-century women.

'Borman approaches her topic with huge enthusiasm and a keen eye for entertaining...this is a very human story of a remarkable family, full of vignettes that sit long in the mind.' Dan Jones, The Sunday Times 'Tracy Borman's eye for detail is impressive; the book is packed with fascinating courtly minutiae... this is a wonderful book.' The Times 'Borman is an authoritative and engaging writer, good at prising out those humanising details that make the past alive to us.' The Observer 'Fascinating, detailed account of the everyday reality of the royals... This is a book of rich scholarship.' Daily Mail 'Tracy Borman's passion for the Tudor period shines forth from the pages of this fascinatingly detailed book, which vividly illuminates what went on behind the scenes at the Tudor court.' Alison Weir 'I do not live in a corner. A thousand eyes see all I do.' Elizabeth I The Tudor monarchs were constantly surrounded by an army of attendants, courtiers and ministers. Even in their most private moments, they were accompanied by a servant specifically appointed for the task. A groom of the stool would stand patiently by as Henry VIII performed his daily purges, and when Elizabeth I retired for the evening, one of her female servants would sleep at the end of her bed. These attendants knew the truth behind the glamorous exterior. They saw the tears shed by Henry VII upon the death of his son Arthur. They knew the tragic secret behind 'Bloody' Mary's phantom pregnancies. And they saw the 'crooked carcass' beneath Elizabeth I's carefully applied makeup, gowns and accessories. It is the accounts of these eyewitnesses, as well as a rich array of other contemporary sources that historian Tracy Borman has examined more closely than ever before. With new insights and discoveries, and in the same way that she brilliantly illuminated the real Thomas Cromwell - The Private Life of the Tudors will reveal previously unexamined details about the characters we think we know so well.

This book argues that the early modern public/private boundary was surprisingly dynamic and flexible in early modern literature, drawing upon authors including Shakespeare, Anne Lock, Mary Wroth, and Aphra Behn, and genres including lyric poetry, drama, prose fiction, and household orders. An epilogue discusses postmodern privacy in digital media.

This engaging collection of over 60 primary document selections sheds light on the personalities, issues, events, and ideas that defined and shaped life in England during the years of Shakespeare's life and career. Documents of Shakespeare's England contains more than 60 primary document selections that will help readers understand all aspects of life in Elizabethan and Jacobean England. The book is divided into 12 topical sections, such as Politics and Parliament, London Life, and Queen and Court, which offer five document selections each. Each document is preceded by a detailed introduction that puts the selection into historical context and explains why it is important. A general introduction and chronology help readers understand Shakespeare's England in broad terms and see connections, causes, and consequences. Bibliographies of current and useful print and electronic information resources accompany each document, and a general bibliography lists seminal works on Shakespeare's England. This is an engaging and accurate introduction to the England of William Shakespeare told in the words of those who experienced it.

Lauren Robertson's original study shows that the theater of Shakespeare and his contemporaries responded to the crises of knowledge that roiled through early modern England by rendering them spectacular. Revealing the radical, exciting instability of the early modern theater's representational practices, Robertson uncovers the uncertainty that went to the heart of playgoing experience in this period. Doubt was not merely the purview of Hamlet and other onstage characters, but was in fact constitutive of spectators' imaginative participation in performance. Within a culture in the midst of extreme epistemological upheaval, the commercial theater licensed spectators' suspension among opposed possibilities, transforming dubiety itself into exuberantly enjoyable, spectacular show. Robertson shows that the playhouse was a site for the entertainment of uncertainty in a double sense: its pleasures made the very trial of unknowing possible.

English music studies often apply rigid classifications to musical materials, their uses, their consumers, and performers. The contributors to this volume argue that some performers and manuscripts from the early modern era defy conventional categorization as "amateur" or "professional," "native" or "foreign." These leading scholars explore the circulation of music and performers in early modern England, reconsidering previously held ideas about the boundaries between locations of musical performance and practice.