This book explores how Ovid, as the poet-philosopher of the liberty of speech, galvanized poetic innovation in English Renaissance poetry.

The range of poetic invention that occurred in Renaissance English literature was vast, from the lyric eroticism of the late sixteenth century to the rise of libertinism in the late seventeenth century. Heather James argues that Ovid, as the poet-philosopher of literary innovation and free speech, was the galvanizing force behind this extraordinary level of poetic creativity. Moving beyond mere topicality, she identifies the ingenuity, novelty and audacity of the period's poetry as the political inverse of censorship culture. Considering Spenser, Marlowe, Shakespeare, Jonson, Milton and Wharton among many others, the book explains how free speech was extended into the growing domain of English letters, and thereby presents a new model of the relationship between early modern poetry and political philosophy.

Shakespeare Studies is an annual peer-reviewed volume featuring the work of performance scholars, literary critics and cultural historians. The journal focuses primarily on Shakespeare and his contemporaries, but embraces theoretical and historical studies of socio-political, intellectual and artistic contexts that extend well beyond the early modern English theatrical milieu. In addition to articles, Shakespeare Studies offers opportunities for extended intellectual exchange through its thematically-focused forums, and includes substantial reviews. An international Editorial Board maintains the quality of each volume so that Shakespeare Studies may serve as a reliable resource for all students of Shakespeare and the early modern period – for research scholars and also for teachers, actors and directors. Volume 51 includes a Forum on the work of Michael D Bristol, with contributions from J. F. Bernard, Gail Kern Paster, James Siemon, Jill Ingram, Unhae Park Langis and Julia Reinhard Lupton, Anna Lewton-Brain and Brooke Harvey, Nicholas Utzig, and Paul Yachnin. Volume 51 includes articles from the Next Generation Plenary of the Shakespeare Association of America and essays by Laurence Senelick ("A Gift to Anti-Semites: Shylock on the Pre-Revolutionary Russian Stage"), Christopher D'Addario ("Metatheater and the Urban Everyday in Ben Jonson's Epicoene and The Alchemist"), and Denise A. Walen ("Elbowing Katherine of Valois"). Book reviews consider eleven important publications on liberty of speech and female voice; theaters of catastrophe; adaptations of Macbeth; staging touch in Shakespeare's England; the criticism of Hugh Grady; Shakespeare and World War II film; Shakespeare and digital pedagogy; Shakespeare and forgetting; Shakespeare and disability studies, and Shakespeare's private life.

Patrick Cheney's new book places the sublime at the heart of poems and plays in late sixteenth- and early seventeenth-century England. Specifically, Cheney argues for the importance of an 'early modern sublime' to the advent of modern authorship in Spenser, Marlowe, Shakespeare, and Jonson. Chapters feature a model of creative excellence and social liberty that helps explain the greatness of the English Renaissance. Cheney's argument revises the received wisdom, which locates the sublime in the eighteenth-century philosophical 'subject'. The book demonstrates that canonical works like The Faerie Queene and King Lear reinvent sublimity as a new standard of authorship. This standard emerges not only in rational, patriotic paradigms of classical and Christian goodness but also in the eternizing greatness of the author's work: free, heightened, ecstatic. Playing a centralizing role in the advent of modern authorship, the early modern sublime becomes a catalyst in the formation of an English canon.

During the middle years of Queen Elizabeth’s reign, the number of books published with titles that described themselves as flowers, gardens, or forests more than tripled. During those same years, English printers turned out scores of instructional manuals on gardening and husbandry, retailing useful knowledge to a growing class of literate landowners and pleasure gardeners. Both trends, Jessica Rosenberg shows, reflected a distinctive style of early modern plant-thinking, one that understood both plants and poems as composites of small pieces—slips or seeds to be recirculated by readers and planters. Botanical Poetics brings together studies of ecology, science, literary form, and the material text to explore how these developments transformed early modern conceptions of nature, poetic language, and the printed book. Drawing on little-studied titles in horticulture and popular print alongside poetry by Shakespeare, Spenser, and others, Rosenberg reveals how early modern print used a botanical idiom to anticipate histories of its own reading and reception, whether through replanting, uprooting, or fantasies of common property and proliferation. While our conventional narratives of English literary culture in this period see reading as an increasingly private practice, and literary production as more and more of an authorial domain, Botanical Poetics uncovers an alternate tradition: of commonplaces and common ground, of slips of herbs and poetry circulated, shared, and multiplied.

The Oxford History of Poetry in English is designed to offer a fresh, multi-voiced, and comprehensive analysis of 'poetry': from Anglo-Saxon culture through contemporary British, Irish, American, and Global culture, including English, Scottish, and Welsh poetry, Anglo-American colonial and post-colonial poetry, and poetry in Canada, Australia, New Zealand, the Caribbean, India, Africa, Asia, and other international locales. The series both synthesises existing scholarship and presents cutting-edge research, employing a global team of expert contributors for each of the volumes. Sixteenth-Century British Poetry features a history of the birth moment of modern 'English' poetry in greater detail than previous studies. It examines the literary transitions, institutional contexts, artistic practices, and literary genres within which poets compose their works. Each chapter combines an orientation to its topic and a contribution to the field. Specifically, the volume introduces a narrative about the advent of modern English poetry from Skelton to Spenser, attending to the events that underwrite the poets' achievements: Humanism; Reformation; monarchism and republicanism; colonization; print and manuscript; theatre; science; and companionate marriage. Featured are metre and form, figuration and allusiveness, and literary career, as well as a wide range of poets, from Wyatt, Surrey, and Isabella Whitney to Ralegh, Drayton, and Mary Herbert. Major works discussed include Sidney's Astrophil and Stella, Spenser's Faerie Queene, Marlowe's Hero and Leander, and Shakespeare's Sonnets.

Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals' staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare's use of mythological references in an early modern context, while bringing them to life for today's audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references. Mythological figures, creatures, places and stories crowd Shakespeare's plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare's spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.