Memories of the man are shared by Seamus Heaney, Christopher Rush and Colin Smythe, who compiles a bibliography of Jeffares’s work. Terence Brown, Neil Corcoran, Warwick Gould, Joseph M. Hassett, Phillip L. Marcus, Ann Saddlemyer, Ronald Schuchard, Deirdre Toomey and Helen Vendler offer essays on such topics as Yeats and the Colours of Poetry, Yeats’s Shakespeare, Yeats and Seamus Heaney, Lacrimae Rerum and Tragic Joy, Raftery’s work on Yeats’s Thoor Ballylee, Edmund Dulac’s portrait of Mrs George Yeats, The Tower as an anti-Modernist monument, with close studies of ‘Vacillation’, ‘Her Triumph’, and ‘The Cold Heaven’. Throughout, the essays are inflected with memories of Jeffares and his critical methods. The volume is rounded with further essays on A Vision by Neil Mann and Matthew de Forrest, while reviews of recent editions and studies are provided by Matthew Campbell, Wayne K. Chapman, Sandra Clark, Denis Donoghue, Nicholas Grene, Joseph M. Hassett, and K.P.S. Jochum. Yeats Annual is published by Open Book Publishers in association with the Institute of English Studies, University of London.

Thomas Middleton (1580-1627) was one of the most prolific and fascinating playwrights of the Jacobean era, producing nearly fifty theatrical pieces in a quarter of a century. This collection comprises five of his most powerful plays, from the comedies satirizing city life, A Trick to Catch the Old One, and A Chaste Maid in Cheapside, to his later tragedies Women Beware Women and The Changeling, in which Middleton reveals a world dominated by the corrupting power of lust and subject to the futility of human pretensions. Also included is The Revenger's Tragedy, originally ascribed to Cyril Tourneur, a Revenge Play infused with sardonic wit and biting irony.

This New Mermaids anthology brings together the four most popular and widely studied of Thomas Middleton's plays - Women Beware Women; The Changeling; The Roaring Girl and A Chaste Maid in Cheapside - with a new introduction by William Carroll, examining the plays in the context of early modern theatre, culture and politics, as well as their language, characters and themes. On-page commentary notes guide students to a better understanding and combine to make this an indispensable student edition ideal for study and classroom use from A Level upwards.

Through short, provocative readings of unfamiliar plays, this book provides the first ever history of the canon of Renaissance drama.

Verbal brilliance, urbane sophistication and sexual conquest are the measures of success for the fashionable set who watched themselves being represented on the Restoration stage. Yet idealisation and satire, as this edition of Etherege's masterpiece shows, are flip sides of the same coin, and the play betrays deep anxieties about ridicule and social failure. Any London beau would emulate Dorimant, the unconscionable rake who loves 'em and leaves 'em, but he would also secretly fear that he in fact resembled Sir Fopling Flutter, the model of all Restoration fops, in his vanity and affectation. The women fare no better, being offered for identification Dorimant's discarded mistress Loveit, scheming for revenge, or the beautiful but hard-headed Harriet, who dares Dorimant to woo her in the country, for 'I know all beyond Hyde Park is a desert to you and that no gallantry can draw you farther'.

"This Malevole is one of the most prodigious affections that ever conversed with nature: a man, or rather a monster, more discontent than Lucifer." The Malcontent is a striking example of the new satiric tone and moral seriousness in English comedy of the early 1600s. The play's vision of a fallen humanity driven by lust and ambition is created partly by its depiction of Machiavellian intrigue in the court of Genoa, and partly by the disaffected Malevole, the malcontent of the title, who is actually the deposed Duke Altofronto in disguise. Marston's tragi-comedy is full of reversals, surprises and moral transformations and offers a thin disguise for the Jacobean court and its vices. This new student edition contains a lengthy new Introduction with background on the author, date and sources, theme, critical interpretation and stage history.

First published in 1972, this book provides a helpful introduction to burlesque literature, a term used by critics from the seventh-century onwards to describe work in which an incongruity between serious subject-matter and style is used to provoke laughter. It examines the four main types of burlesque writing: Travesty, Hudibrastic, Parody and the Mock-Poem, as well as dramatic burlesques.