Lord Ferdinando Stanley was the fifth earl of Derby, a leading claimant to the throne. Considered a man who had everything, he was also the patron of the company of players which was fortunate enough to include William Shakespeare. One April Fool's Day, 1594, he was reportedly approached by a witch (one of the famous legion of "Lancashire witches") and they engaged in brief conversation while strolling outside his largest palace, Lathom Hall. Four days later, he fell violently ill. For twelve days he lingered, while four of the best doctors in the country, including the famous Dr. John Case of Oxford, labored in vain to save him.Who killed Lord Stanley and why? Historians started debating that question almost as soon as he died, and outraged gossip was to be heard everywhere in England. This second edition studies the death of Lord Derby within the immediate contexts of Elizabethan power politics, succession mania, passionate religious controversy, the records of prominent families in the North, and the cult of personality just then beginning to become a major factor in the nation's social history. The book's scope also includes subcultural contexts such as Elizabethan poetry (Lord Derby was a pastoral love poet, some of whose work survives), witchcraft, medicine, spy networks, and both approved and disapproved methods of political assassination (with poison being the most frowned upon because of its disreputable "Italianate" connotations).

William Herbert, Third Earl of Pembroke, 1580-1630, was the 'uomo universale' of the Early Stuart Age. A prominent courtier in the reigns of Elizabeth I, James I and Charles I, he was the most important patron of the arts of the early seventeenth century, and almost certainly the person to whom Shakespeare dedicated his Sonnets. He was, in fact, the patron of almost every great literary and artistic figure of the period; Ben Jonson, Inigo Jones, John Donne, and George Herbert. Pembroke was an astute and powerful politician, the greatest electoral manager of the time, the wealthiest nobleman in the country, a powerful industrial entrepreneur, Chancellor of Oxford University and an indefatigable promoter of colonial enterprises. This major new work, the product of many years of research, is the first full length study of Pembroke. It has been exhaustively researched with all the extant manuscript and printed materials studied. Pembroke's poetry and patronage are fully discussed, his political life analysed, and his business activities both at home and abroad fully investigated.

The historical record for William Shakespeare being bare, The Death of Shakespeare imagines how the 17th Earl of Oxford wrote the plays, with occasional help from Shakespeare. The Reader's Companion to The Death of Shakespeare contains notes made while writing the novel that was distilled into The Reader’s Companion to help separate fact from fiction.

Presenting striking new evidence, this book shows that "William Shakespeare" was the pen name of William Stanley, son of the Earl of Derby. Born in 1561, he was educated at Oxford, travelled for three years abroad, and studied law in London, mixing with poets and playwrights. In 1592 Spenser recorded that Stanley had written several plays. In 1594 he unexpectedly inherited the earldom--hence the pen name. He became a Knight of the Garter in 1601, eligible to help bear the canopy over King James at his coronation, likely prompting Sonnet 125's "Wer't ought to me I bore the canopy?"--he is the only authorship candidate ever in a position to "bear the canopy" (which was only ever borne over royalty). Love's Labour's Lost parodies an obscure poem by Stanley's tutor, which few others would have read. Hamlet's situation closely mirrors Stanley's in 1602. His name is concealed in the list of actors' names in the First Folio. His writing habits match Shakespeare's as deduced from the early printed plays. He was a patron of players who performed several times at court, and financed the troupe known as Paul's Boys. No other member of the upper class was so thoroughly immersed in the theatrical world.

William Shakespeare lived in violent times; his death passed without comment. By the time he was adopted as the national poet of England the details of his life had been concealed. He had become an invisible man, the humble Warwickshire lad who entertained royalty and then faded into obscurity. But his story has been carefully manipulated. In reality, he was a dissident whose works were highly critical of the regimes of Elizabeth I and James I. Who Killed William Shakespeare? examines the means, motive and the opportunity that led to his murder, and explains why Will Shakespeare had to be 'stopped'. From forensic analysis of his death mask to the hunt for his missing skull, the circumstances of Shakespeare's death are reconstructed and his life reconsidered in the light of fresh discoveries. What emerges is a portrait of a genius who spoke his mind and was silenced by his greatest literary rival.

This volume explores the history and practice of historicism and its present usefulness for literary criticism, its limitations and its future.