Thomas North’s 1555 Travel Journal: From Italy to Shakespeare makes available a little known early modern journal kept by a member of Queen Mary’s delegation to Rome, its purpose to win papal approval of England’s return to Roman Catholicism. The book provides details of the six-month journey, a discussion of the manuscript, and an identification of the twenty-year-old Thomas North as its author. It also points to numerous connections between the journal and the plays of Shakespeare, extending the playwright’s debt beyond North’s translation of Plutarch’s Lives and revealing how the journal served as a template for The Winter’s Tale and Henry VIII. Both, the authors argue, were written by North during the Marian years (1554-58) and later adapted by Shakespeare. Like the authors’ 2018 “A Brief Discourse of Rebellion and Rebels” by George North,this book presents original work using digital research tools, including massive databases and plagiarism software. The earlier book garnered worldwide attention, with a front-page story in The New York Times.

"The Steve Jobs of the Shakespeare community… A once in a generation–or several generations–find.” –The New York Times Dennis McCarthy presents the gripping true story of Sir Thomas North, the scholar-knight who transformed the most thrilling and shocking moments of his life into plays later adapted by Shakespeare. Working from a series of manuscript discoveries that have garnered worldwide attention (including coverage in The New York Times, The Guardian, Time Magazine, Los Angeles Times, Boston Globe Magazine, U.S. News, etc.), McCarthy provides numerous proofs that North wrote more than thirty plays, mostly for the Earl of Leicester’s theater troupe, years before Shakespeare reached London. Then, in the 1590s and early 1600s, Shakespeare reworked North’s plays for the public stage. Newfound proofs of North’s authorship include Shakespearean passages and scenes found in his unpublished handwritten travel journal. North wrote the diary to record his wondrous experiences in Italy—and then transformed some of his entries into elaborate set-pieces in the plays. North also used certain texts from the North family library as a playwright’s workbook, writing out marginal comments in the books to underscore the events, characters, and speeches he intended to dramatize. One of these books includes North’s entire outline of the historical plot of a Shakespeare play. Perhaps most significantly, Thomas North demonstrates that North actually lived the plays before he wrote them and that even many of the most iconic scenes in the canon derive from striking events that North actually experienced. The book also reveals for the first time North’s historical involvement in the Essex Rebellion and why neither he nor Shakespeare was punished for the treasonous play, Richard II. Thomas North also examines many hundreds of lines and passages that have been taken from North’s published prose translations and recycled in Shakespeare’s plays, most of which are unique, occurring nowhere else in the history of English literature. As the book confirms, no one has borrowed more from an earlier writer than Shakespeare has from North, and it is not even close. Finally, Thomas North includes documentation indicating North was a playwright for Leicester’s Men and explains why so many playwrights of the era (like North) never published their plays. It also shows how, to meet increasing public demand, the commercial theater companies began to revive plays previously performed at court, private manors, and universities. As part of this London-wide pattern of revivals, Shakespeare purchased and reworked North’s old dramas, resulting in the most celebrated works of literature in English history. In truth, scholars have always known that Shakespeare frequently adapted old plays. They just never knew who had written them. With Thomas North, the mysteries that have plagued Shakespeare studies for centuries now finally have an answer.

The true story of a self-taught sleuth's quest to prove his eye-opening theory about the source of the world's most famous plays, taking readers inside the vibrant era of Elizabethan England as well as the contemporary scene of Shakespeare scholars and obsessives. What if Shakespeare wrote Shakespeare . . . but someone else wrote him first? Acclaimed author of The Map Thief, Michael Blanding presents the twinning narratives of renegade scholar Dennis McCarthy and Elizabethan courtier Sir Thomas North. Unlike those who believe someone else secretly wrote Shakespeare, McCarthy argues that Shakespeare wrote the plays, but he adapted them from source plays written by North decades before. In Shakespeare's Shadow alternates between the enigmatic life of North, the intrigues of the Tudor court, the rivalries of English Renaissance theater, and academic outsider McCarthy's attempts to air his provocative ideas in the clubby world of Shakespearean scholarship. Through it all, Blanding employs his keen journalistic eye to craft a captivating drama, upending our understanding of the beloved playwright and his "singular genius." Winner of the 2021 International Book Award in Narrative Non-Fiction

This study demonstrates not only that the devices of revenge are structurally useful in comedy, but also that there is a consistent conception of revenge as an ethical social instrument in the comedies of Shakespeare.

Why do we find polar bears only in the Arctic and penguins only in the Antarctic? Why do oceanic islands often have many types of birds but no large native mammals? As Charles Darwin and Alfred Russel Wallace travelled across distant lands studying the wildlife they both noticed that the distribution of plants and animals formed striking patterns - patterns that held strong clues to the past of the planet. The study of the spatial distribution of living things is known as biogeography. It is a field that could be said to have begun with Darwin and Wallace. In this lively book, Denis McCarthy tells the story of biogeography, from the 19th century to its growth into a major field of interdisciplinary research in the present day. It is a story that encompasses two great, insightful theories that were to provide the explanations to the strange patterns of life across the world - evolution, and plate tectonics. We find animals and plants where we do because, over time, the continents have moved, separating and coalescing in a long, slow dance; because sea levels have risen, cutting off one bit of land from another, and fallen, creating land bridges; because new and barren volcanic islands have risen up from the sea; and because animals and plants vary greatly in their ability to travel, and separation has caused the formation of new species. The story of biogeography is the story of how life has responded and has in turn altered the ever changing Earth. It is a narrative that includes many fascinating tales - of pygmy mammoths and elephant birds; of changing landscapes; of radical ideas by bold young scientists first dismissed and later, with vastly growing evidence, widely accepted. The story is not yet done: there are still questions to be answered and biogeography is a lively area of research and debate. But our view of the planet has been changed profoundly by biogeography and its related fields: the emerging understanding is of a deeply interconnected system in which life and physical forces interact dynamically in space and time.

Like a King: Casting Shakespeare’s Histories for Citizens and Subjects is a dual examination of Shakespeare’s history plays in their early modern production contexts and of the ways the histories can speak directly to twenty-first-century American political and social concerns. Author and production director Christina Gutierrez-Dennehy examines how strategic doubled and re-gendered casting can animate the underlying questions of Richard II, Henry V, and King John in vital and immediate ways for American audiences. Examining evidence from both the archive and the rehearsal room, Gutierrez-Dennehy explores the texts as repositories for dialogues about power, gender, identity, nationhood, and leadership. With the American political system as its backdrop, Like a King argues that productions of Shakespeare’s histories can interrogate and explore the relationships between citizens, subjects, and their leaders.

In the process she contributed some of the best work on Shakespeare that was then extant, as this collection demonstrates." "Searching for a principle of organization, Professor Snyder decided that it would be best to arrange the essays in chronological order. The result was a kind of "intellectual autobiography," as she calls it in her Preface, and the title she chose was Shakespeare: A Wayward Journey, since it reflects her travels over the various avenues of Shakespearean criticism."--BOOK JACKET.

From antiquity to the nineteenth century, the royal hunt was a vital component of the political cultures of the Middle East, India, Central Asia, and China. Besides marking elite status, royal hunts functioned as inspection tours and imperial progresses, a means of asserting kingly authority over the countryside. The hunt was, in fact, the "court out-of-doors," an open-air theater for displays of majesty, the entertainment of guests, and the bestowal of favor on subjects. In the conduct of interstate relations, great hunts were used to train armies, show the flag, and send diplomatic signals. Wars sometimes began as hunts and ended as celebratory chases. Often understood as a kind of covert military training, the royal hunt was subject to the same strict discipline as that applied in war and was also a source of innovation in military organization and tactics. Just as human subjects were to recognize royal power, so was the natural kingdom brought within the power structure by means of the royal hunt. Hunting parks were centers of botanical exchange, military depots, early conservation reserves, and important links in local ecologies. The mastery of the king over nature served an important purpose in official renderings: as a manifestation of his possession of heavenly good fortune he could tame the natural world and keep his kingdom safe from marauding threats, human or animal. The exchanges of hunting partners—cheetahs, elephants, and even birds—became diplomatic tools as well as serving to create an elite hunting culture that transcended political allegiances and ecological frontiers. This sweeping comparative work ranges from ancient Egypt to India under the Raj. With a magisterial command of contemporary sources, literature, material culture, and archaeology, Thomas T. Allsen chronicles the vast range of traditions surrounding this fabled royal occupation.

Double Shakespeares examines contemporary performances of Shakespeare plays that employ the “emotional realist” traditions of acting that were codified by Stanislavski over a century ago. These performances recognize the inescapable doubleness of realism: that the actor may aspire to be the character but can never fully do so. This doubleness troubled the late-nineteenth-century actors and theorists who first formulated realist modes of acting; and it equally troubles theorists and theatre practitioners today. The book first looks at contemporary performances that foreground the doubleness of the actor’s body, particularly through cross-dressing. It then examines narratives of Shakespearean rehearsal—both fictional representations of rehearsal in film and video, and eye-witness narratives of actual rehearsals—and how they show us the process by which the actor does or does not “become” the character. And, finally, it looks at modern performances that “frame” Shakespeare’s play as a play-within-a-play, showing the audience both the character in the Shakespeare play-within and the actor in the frame-play acting that character.

Can there be a virtue in vengeance? Can revenge do ethical work? Can revenge be the obligation of women? This wide-ranging literary study looks at Shakespeare's women and finds bold answers to questions such as these. A surprising number of Shakespeare's female characters respond to moral outrages by expressing a strong desire for vengeance. This book's analysis of these characters and their circumstances offers incisive critical perceptions of feminine anger, ethics, and agency and challenges our assumptions about the role of gender in revenge. In this provocative book, Marguerite A. Tassi counters longstanding critical opinions on revenge: that it is the sole province of men in Western literature and culture, that it is a barbaric, morally depraved, irrational instinct, and that it is antithetical to justice. Countless examples have been mined from Shakespeare's dramas to reveal women's profound concerns with revenge and justice, honor and shame, crime and punishment. In placing the critical focus on avenging women, this book significantly redresses a gender imbalance in scholarly treatments of revenge, particularly in early modern literature.