A social history of how murder was committed, investigated, and punished in Stuart England examines a range of specific cases while discussing the seventeenth-century public's fascination with violence as reflected in its overflowing courtrooms and numerous crime-inspired works of art.

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.

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 Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death by Shakespeare, as Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Kathryn investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure.

Fledgling playwright Will Shakespeare and Symington Smythe, ostler and would-be thespian, and are now firmly ensconced in their theater company . . . But due to the plague, all of London's theaters have been closed, its players now broke, forcing our intrepid duo to seek employment in other lines of work--Smythe smithing and Will poeting. Then a murder rocks all of London. Shakespeare and Smythe decide to solve the crime, but they must rely on their wits to survive both the conspiriacies and the cutthroat business of Elizabethan theater

This “vivid” historical mystery series debut captures “the light and dark of Elizabethan England . . . its squalor and splendor, filth and riches, intrigues and delights” (New York Journal of Books). When a brutal murder threatens the sanctity of Queen Elizabeth’s court, it’s up to a hot-tempered spy to save the day. The court of Elizabeth I is no stranger to plotting and intrigue, but the royal retinue is thrown into chaos when the Queen’s youngest and sweetest lady-in-waiting is murdered, her body left on the high altar of the Chapel Royal in Whitehall Palace. Solving the murder will require the cunning and savvy possessed by only one man. Enter Nicholas Holt, younger brother of the Earl of Blackwell—spy, rake, and owner of the infamous Black Sheep tavern in the seedy district of Bankside. Nick quickly learns that working for the Queen is a mixed blessing. Elizabeth—salty-tongued, vain, and fiercely intelligent—can, with a glance, either reward Nick with a purse of gold or have his head forcibly removed. When a second lady-in-waiting is slain at Whitehall, the court once again reels with shock and dismay. On the trail of a diabolical killer, Nick and his faithful sidekick—an enormous Irish Wolfhound named Hector—are treading on treacherous ground, and only the killer’s head on a platter can keep them in the Queen’s good graces.

When a directorial debut turns deadly, it falls to costume designer Charlotte Fairfax to unmask the culprit in award-winning author Elizabeth J. Duncan’s third Shakespeare in the Catskills mystery Charlotte Fairfax has another murder on her hands as she prepares for the latest performance of the Catskills Shakespeare Theater Company, Much Ado About Nothing. The company’s steady growth enables them to cast star British actress Audrey Ashley, who arrives on scene to play the lead role of Beatrice. But things immediately get more complicated when Audrey insists the company replace the current director with new, up and coming British director Edmund Albright. Edmund plans to change the popular romantic comedy, which alienates several people associated with the production. And the list of people he upsets only grows: the laid off former director, the hotel owner’s secretary, and even Audrey herself. Just as Edmund’s plans are about to come to fruition, his body is discovered on his sofa, holding a gun in his hand. His death is quickly ruled a suicide but Charlotte thinks otherwise. Why would Edmund, on the brink of greatness, kill himself? With a whole cast of characters to investigate, Charlotte is determined to unmask each one before it’s final curtain call on the whole production.

After stumbling upon a mysterious crime, Peter Kerrigan is drawn into a web of intrigue surrounding Marsh Manor and its hidden treasure. With the librarian's murder hinting at the truth, Kerrigan becomes determined to solve the puzzle and locate the fabled riches. The key lies in deciphering a trail of Shakespearean quotes adorning the Manor's library. However, as Kerrigan races against Lord Claydon's descendants and a dangerous criminal, the treasure hunt takes a perilous turn.