This book assesses William Shakespeare in the context of political and religious crisis, paying particular attention to his Catholic connections, which have heretofore been underplayed by much Protestant interpretation. Bourgeois Richmond's most important contribution is to study the genre of romance in its guise as a 'cover' for recusant Catholicism, drawing on a long tradition of medieval-religious plays devoted to the propagation of Catholic religious faith.

Having given the evidence for William Shakespeare's Catholicism in two previous books, literary biographer Joseph Pearce turns his attention in this work to the Bard's most famous play, Romeo and Juliet. "Star-crossed" Romeo and Juliet are Shakespeare's most famous lovers and perhaps the most well-known lovers in literary history. Though the young pair has been held up as a romantic ideal, the play is a tragedy, ending in death. What then, asks Pearce, is Shakespeare saying about his protagonists? Are they the hapless victims of fate, or are they partly to blame for their deaths? Is their love the "real thing", or is it self-indulgent passion? And what about the adults in their lives? Did they give the young people the example and guidance that they needed? The Catholic understanding of sexual desire, and its need to be ruled by reason, is on display in Romeo and Juliet, argues Pearce. The play is not a paean to romance but a cautionary tale about the naïveté and folly of youthful infatuation and the disastrous consequences of poor parenting. The well-known characters and their oft-quoted lines are rich in symbolic meaning that points us in the direction of the age-old wisdom of the Church. Although such a reading of Romeo and Juliet is countercultural in an age that glorifies the heedless and headless heart of young love, Pearce makes his case through a meticulous engagement with Shakespeare and his age and with the text of the play itself.

Whereas traditional scholarship assumed that William Shakespeare used the medieval past as a negative foil to legitimate the present, Shakespeare, Catholicism, and the Middle Ages offers a revisionist perspective, arguing that the playwright valorizes the Middle Ages in order to critique the oppressive nature of the Tudor-Stuart state. In examining Shakespeare’s Richard II, The Merchant of Venice, Hamlet, King Lear, Macbeth, and The Winter’s Tale, the text explores how Shakespeare repossessed the medieval past to articulate political and religious dissent. By comparing these and other plays by Shakespeare’s contemporaries with their medieval analogues, Alfred Thomas argues that Shakespeare was an ecumenical writer concerned with promoting tolerance in a highly intolerant and partisan age.

Shakespeare in Love meets Mr. and Mrs. Smith in this witty and thrilling story of star-crossed assassins in Elizabeth England, perfect for fans of My Lady Jane and TheGentleman's Guide to Vice and Virtue! When Lady Katherine's father is killed for being an illegally practicing Catholic, she discovers treason wasn't the only secret he's been hiding: he was also involved in a murder plot against the reigning Queen Elizabeth I. With nothing left to lose, Katherine disguises herself as a boy and travels to London to fulfill her father's mission, and to take it one step further -- kill the queen herself. Katherine's opportunity comes in the form of William Shakespeare's newest play, which is to be performed in front of Her Majesty. But what she doesn't know is that the play is not just a play. It's a plot to root out insurrectionists and destroy the rebellion once and for all. The mastermind behind this ruse is Toby Ellis, a young spy for the queen with secrets of his own. When Toby and Katherine are cast opposite each other as the play's leads, they find themselves inexplicably drawn to one another. But the closer they grow, the more precarious their positions become. And soon they learn that star-crossed love, mistaken identity, and betrayal are far more dangerous off the stage than on.

Arjan Plaisier believes audiences who view Shakespeare performances and readers who study the plays deserve better than some of the recent interpretations of the Bard's work. In their attempt to be "modern," these interpreters commit historical amnesia by slighting the Christian ethos of the early Renaissance period in which Shakespeare wrote and by riding roughshod over the religious underpinnings of his plays. This neglect skews the playwright's intentions, confuses the audience, and diminishes the full effect of the play. Plaisier, too, is modern--and in a more profound sense. He sets forth how Shakespeare shapes his plots to conform at an ultimate level to timeless biblical narrative patterns (like Northrop Frye, he regards the Bible as a "code book"), so that there is a "right" ending to the work. And in an Appendix, Plaisier provides some kindly advice to his fellow pastors. You do well, he says to them, to enrich your noble calling with attention to literature. To do this, he says, you will find Shakespeare most helpful. Yes, and Plaisier's perceptive essays point to the deep wisdom in Shakespeare by which we can all live.

Explores Shakespeare's engagement with the religious culture of his time. Through readings of a number of plays - "Romeo and Juliet", "King John", "1 Henry IV", "Henry V", and "Measure for Measure", this work explains allusions to the Bible, the Church's liturgy, and to the mystery plays performed in England in Shakespeare's boyhood.

This book throws new light on the issue of the dramatist's religious orientation by dismissing sectarian and one-sided theories, tackling the problem from the angle of the variegated Elizabethan context recently uncovered by modern historians and theatre scholars. It is argued that faith was a quest rather than a quiet certainty for the playwright.