Presents a collection of five dramatic works originally published when English was nominally a Republic. The five texts, three of which have been edited for the first time, include The Tragedy of that Famous Roman Orator Marcus Tullius Cicero (Anonymous), Cupid and Death by James Shirley; and William Davenant's The Siege of Rhodes, The Cruelty of the Spaniards in Peru, and The History of Sir Francis Drake. In her introductory piece, editor Janet Clare (English, University College, Dublin, UK) argues that theater forced into a novel state of opposition did more than survive in reduced form; it adapted, offered oblique critiques of Caroline policies, and revealed complex and shifting alliances. Distributed by Palgrave. Annotation copyrighted by Book News, Inc., Portland, OR.

Drama of the English Republic is the first modern collection of plays and entertainments which were originally published and performed when England was nominally a republic or commonwealth. The five texts, three of which have been edited here for the first time, illustrate how the dramatists devised new aesthetics in response to the ideological concerns of the Republic.

This work analyzes the diplomatic, military, political, religious and intellectual developments of the period, trying to determine the real significance of the Interegnum. The author also presents a study of Cromwell, and how contemporary research has brought more light to his life.

The book begins by introducing the complicated events leading to the execution of Charles I in 1649 and then offers a detailed analysis of the political experimentation which followed. Toby Barnard argues that although the survival of the revolutionary order was bound up with Cromwell, and collapsed after his death, the regime defeated both its domestic and foreign enemies and was more stable than has often been thought. The book also investigates changes on the structures of power, on the ruling elites and in the localities.

Many readers today associate the early modern history play with Shakespeare. While not wishing to ignore the influence of Shakespeare, this collection of essays explores other historical drama between 1500 and 1660, covering a wide range of different formats. An introduction provides a survey of current criticism, exploring both early modern and contemporary definitions of the 'history play'. Individual essays in chronological order discuss a wide variety of possible sources for historical drama, ranging from oral traditions to chronicles. They also explore genres outside the canon which think of 'history' in different ways, such as shows, moralities and closet drama.