Texts of the past were often not monolingual but were produced by and for people with bi- or multilingual repertoires; the communicative practices witnessed in them therefore reflect ongoing and earlier language contact situations. However, textbooks and earlier research tend to display a monolingual bias. This collected volume on multilingual practices in historical materials, including code-switching, highlights the importance of a multilingual approach. The authors explore multilingualism in hitherto neglected genres, periods and areas, introduce new methods of locating and analysing multiple languages in various sources, and review terminology, theories and tools. The studies also revisit some of the issues already introduced in previous research, such as Latin interacting with European vernaculars and the complex relationship between code-switching and lexical borrowing. Collectively, the contributors show that multilingual practices share many of the same features regardless of time and place, and that one way or the other, all historical texts are multilingual. This book takes the next step in historical multilingualism studies by establishing the relevance of the multilingual approach to understanding language history.

Twenty-two leading experts on early modern drama collaborate in this volume to explore three closely interconnected research questions. To what extent did playwrights represent dramatis personae in their entertainments as forming, or failing to form, communal groupings? How far were theatrical productions likely to weld, or separate, different communal groupings within their target audiences? And how might such bondings or oppositions among spectators have tallied with the community-making or -breaking on stage? Chapters in Part One respond to one or more of these questions by reassessing general period trends in censorship, theatre attendance, forms of patronage, playwrights’ professional and linguistic networks, their use of music, and their handling of ethical controversies. In Part Two, responses arise from detailed re-examinations of particular plays by Shakespeare, Chapman, Jonson, Beaumont and Fletcher, Cary, Webster, Middleton, Massinger, Ford, and Shirley. Both Parts cover a full range of early-Stuart theatre settings, from the public and popular to the more private circumstances of hall playhouses, court masques, women’s drama, country-house theatricals, and school plays. And one overall finding is that, although playwrights frequently staged or alluded to communal conflict, they seldom exacerbated such divisiveness within their audience. Rather, they tended toward more tactful modes of address (sometimes even acknowledging their own ideological uncertainties) so that, at least for the duration of a play, their audiences could be a community within which internal rifts were openly brought into dialogue.

The definitive biography: a masterly account of Marlowe's work and life and the world in which he lived Shakespeare's contemporary, Christopher Marlowe revolutionized English drama and poetry, transforming the Elizabethan stage into a place of astonishing creativity. The outline of Marlowe's life, work, and violent death are known, but few of the details that explain why his writing and ideas made him such a provocateur in the Elizabethan era have been available until now. In this absorbing consideration of Marlowe and his times, David Riggs presents Marlowe as the language's first poetic dramatist whose desires proved his undoing. In an age of tremendous cultural change in Europe when Cervantes wrote the first novel and Copernicus demonstrated a world subservient to other nonreligious forces, Catholics and Protestants battled for control of England and Elizabeth's crown was anything but secure. Into this whirlwind of change stepped Marlowe espousing sexual freedom and atheism. His beliefs proved too dangerous to those in power and he was condemned as a spy and later murdered. In The World of Christopher Marlowe, Riggs's exhaustive research digs deeply into the mystery of how and why Marlowe was killed.

Reginald Pole (1500-1558), cardinal and archbishop of Canterbury, was at the centre of reform controversies in the mid 16th century - antagonist of Henry VIII, a leader of the reform group in the Roman Church, and nearly elected pope (Julius III was elected in his stead). His voluminous correspondence - more than 2500 items, including letters to him - forms a major source for historians not only of England, but of Catholic Europe and the early Reformation as a whole. In addition to the insight they provide on political history, both secular and ecclesiastical, and on the spiritual motives of reform, they also constitute a great resource for our understanding of humanist learning and cultural patronage in the Renaissance. Hitherto there has been no comprehensive, let alone modern or accurate listing and analysis of this correspondence, in large part due to the complexity of the manuscript traditions and the difficulties of legibility. The present work makes this vast body of material accessible to the researcher, summarising each letter (and printing key texts usually in critical editions), together with necessary identification and comment. The first three volumes in this set will contain the correspondence; the fourth and fifth will provide a biographical companion to all persons mentioned, and will together constitute a major research tool in their own right. This first volume covers the crucial turning point in Pole’s career: his protracted break with Henry and the substitution of papal service for royal. One major dimension of this rupture was a profound religious conversion which took Pole to the brink of one of the defining moments of the Italian Reformation, the writing of the ’Beneficio di Christo’.