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Thomas Heywood was unusual in the diversity and sheer quantity of his output, and fascinatingly individual in his classicism. This volume offers a ground-breaking investigation of his engagement with the classics across a writing career that spanned more than 40 years. It is the first in-depth study of his classicism, and it features a variety of perspectives. The introduction and twelve essays trace how the classics shaped Heywood’s writing in a wide variety of genres – translation, drama, epyllic and epic verse, compendia, epigrams, panegyrics and pamphlets – and informed both his many pageants and the warship he helped design for Charles I. Close readings demonstrate the depth and breadth of his classicism, establishing the rich influence of continental editions and translations of Latin and Greek texts, early modern mythographies, chronicles and the medieval tradition of Troy as revived by the Tudors. The essays probe Heywood’s habit of juxtaposing different and often disjunctive layers of a capaciously conceived ‘classical tradition’ in thought-provoking ways, attend to his use of the multiplicitous logic of myth to interrogate gender and heroism, and consider the way he turns to antiquity not only to celebrate but also to defamiliarise the theatrical or political present. Different contributions focus on A Woman Killed with Kindness, Oenone and Paris, Loves School, The Rape of Lucrece, Troia Britanica, the Ages plays, Gynaikeion, Pleasant Dialogues and Dramma’s, Apology for Actors and Sovereign of the Seas. Classical reception thus provides an illuminating, productively cross-generic angle for approaching Heywood’s prolific output and idiosyncratic aesthetic.

Violence, masculinity, and the colonial project in Derricke’s Image of Irelande
John Soderberg

fundamentally the study of how everyday material practices are key loci from which human projects proceed. In this regard, Leland Ferguson’s Uncommon Ground: Archaeology and Early African America, 1650–1800 (1992) remains a seminal work for establishing how routine material engagements are essential for creating and contesting social identities. Ferguson rejected the prevailing consensus that enslaved populations in the ante-bellum United States lacked agency and only lived within worlds created by planters. Archaeological

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Martial identities and the subject of conquest in Derricke’s Image of Irelande
Maryclaire Moroney

John Derricke’s Image of Irelande: with a Discoverie of Woodkarne (1581) famously features a sequence of woodcuts purporting to illustrate a series of military engagements between Irish troops and the forces commanded by Sir Henry Sidney, Lord Deputy of Ireland during the later 1570s. The images have long been used by historians and literary scholars to illustrate studies of Elizabethan Ireland, and to that end, the woodcuts have been scrutinised for their accuracy in depicting Irish clothing, hairstyles

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Tanya Pollard

, however, has underscored the shaping importance of Heywood’s recurring engagement with the ancient past. 30 As titles such as Troia Britanica suggest, Heywood mingles and moves his English settings imaginatively through time and space, freely bestowing on them the literary and moral prestige of classical antiquity, and of Greece in particular. 31 For Heywood, the theatre offers an exemplary medium for this mingling. As he suggests, in acting ‘the personater’ can become ‘the man personated’: English actors can become mythic Greek heroes, even demigods like Hercules

in Thomas Heywood and the classical tradition
Mythographic complexities in 1 Iron Age
Charlotte Coffin

Thomas Heywood’s 1 Iron Age (performed c. 1613, published 1632) 1 contains evidence of the playwright’s interest in Homer and particularly in George Chapman’s translation of the Iliad . 2 However, this staging of the Trojan War also relies on non-Homeric sources, especially William Caxton’s The Recuyell of the Historyes of Troye (1473/74). Although scholars have long recognised this debt, 3 Heywood’s engagement with medieval mythography has not been analysed in detail. The electronic edition of Troia Britanica (in which Heywood also exploits Caxton

in Thomas Heywood and the classical tradition
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Thomas Heywood and ‘the antique world’
Janice Valls-Russell and Tania Demetriou

way Sextus dramaturgically absorbs the fatal danger to Anne from both seducer and ‘kind’ husband might do. In the resonance between these two plays we find not so much a common ‘template’, as a process of parallel thought in which nothing less than an ethics of gender becomes subtly sculpted. The role of parallel in Heywood’s classicism is one to which we shall return. Prolific yet ‘conspicuously neglected’ This volume thinks across the range of Heywood’s works from the perspective of his engagement with the classics, building on recent critical work on diverse

in Thomas Heywood and the classical tradition
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Homer and Ausonius in Thomas Heywood’s Various History Concerninge Women
Tania Demetriou

on the soundness of Heywood as a Greek philologist, I excavate Gynaikeion ’s engagement with the figure and works of ‘the most famous of Poets, Homer’, in the context of its aims and literary interests. 7 This essay is partly about a paradox. Heywood appears not to have come within proximity of any copy of the Iliad or the Odyssey as he composed Gynaikeion , or not to have cared if he did. Yet his various history of women repeatedly comes back to Homer, in ways that build into a response that is at once scholarly, fresh and thought-provoking. Crucially, the

in Thomas Heywood and the classical tradition
Theorising practice in Thomas Heywood’s Ages plays
Chloe Kathleen Preedy

theatre of antiquity; the quality of the plays written and performed during this period; the wealth and celebrated reputation of the playhouses; and their grand architectural proportions. The emphasis upon the physical attributes of the playhouse is especially interesting, as it facilitates a form of engagement with the past that is informed by spatial as well as temporal markers. At the same time, the venue described by Melpomene shares many of its reported design features with the theatres of early modern London, as Heywood stresses later in his Apology ; the

in Thomas Heywood and the classical tradition
Aesthetico-political misprision in Derricke’s A Discoverie of Woodkarne
Thomas Cartelli

outdoor feast in Plate III of A Discoverie of Woodkarne . But rather than seeking merely to affect the displacement of uncivil defecators by slightly more civil braigetori in Derricke’s graphic narrative, I want to explore more broadly here Derricke’s engagement in aesthetico-political misprision in his other visual (and verbal) representations of uncivil kern, Irish bards, friars, and lords alike. I especially want to address Derricke’s penchant for designing woodcuts that stage sequential actions in single and

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Scott, Small, and the Edinburgh Edition
Willy Maley and Alasdair Thanisch

interests. Three of Scott’s poems form a bridge between his antiquarian studies and editorial work and the historical novels: ‘Rokeby’ (1813), ‘The Lord of the Isles’ (1814), and ‘The Return to Ulster’ (1816). 59 The wish of Derricke – and Spenser – to keep the Scots out of Ulster (‘Fewe Scottes in North’) ended with the Ulster Plantation. Scott’s engagement with Ireland – and Ulster – arises out of that history. Somers served as President of the Royal Society from 1698 to 1703, and in April 1706 ‘was duly appointed

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne