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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.

Emulation, adaptation, and anachronism
M. L. Stapleton

Current adaptation theory devoted to poststructuralist Shakespeare, film, and popular culture could be applied to Thomas Heywood’s translation of Ovid’s Ars amatoria , sometimes known as Loves Schoole ( c . 1599–1620). Thomas Cartelli’s definition of the key term might obtain here: an author ‘adjusting or accommodating the original work to the tastes and expectations’ of his or her readers. 1 However, in this case, the interrelated concepts of imitatio and aemulatio as they were understood in the sixteenth century, which anticipated these newer ways of

in Thomas Heywood and the classical tradition
Oenone and Paris
Katherine Heavey

On 17 May 1594, an anonymous poem entitled Oenone and Paris was entered in the Stationers’ Register. The poem, bearing a preface signed by T. H., has long been attributed to Thomas Heywood. Joseph Quincy Adams cites various evidence in support of the ‘fair probability’ that T. H. is Heywood, including the obvious classical learning of the two authors, their common admiration for Ovid and Lucian as well as Shakespeare, their interest in the Troy story in particular and the various echoes of Oenone and Paris in Heywood’s later works. 1 An epyllion set after

in Thomas Heywood and the classical tradition
Ladan Niayesh

THE FOUR PRENTICES OF LONDON BY THOMAS HEYWOOD to t h e h o n e s t a n d h i g h- spir ited p re n t i c e s , t h e r e a ders To you (as whom this play most especially concerns) I thought good to dedicate this labour, which though written many years since, in my infancy of judgement in this kind of poetry and my first practice, yet understanding (by what means I know not) it was in these more exquisite and refined times to come to the press, in such a forwardness ere it came to my knowledge that it was past prevention, and knowing withal that it comes short

in Three romances of Eastern conquest
Editor: Ladan Niayesh

This volume brings together three little-known works by key playwrights from the late sixteenth-century golden age of English drama. All three convey the public theatre’s fascination with travel and adventure through the popular genre of heroic romance, while reflecting the contemporaries’ wide range of responses to cross-cultural contacts with the Muslim East and the Mediterranean challenges posed by the Ottoman empire.

The volume presents the first modern-spelling editions of the three plays, with extensive annotations catering for specialised scholars while also making the texts accessible to students and theatregoers. A detailed introduction discusses issues of authorship, dates and sources, and sets the plays in their historical and cultural contexts, offering exciting insights on Elizabethan performance strategies, printing practices, and the circulation of knowledge and stereotypes related to ethnic and religious difference.

Theorising practice in Thomas Heywood’s Ages plays
Chloe Kathleen Preedy

In a prefatory dedication to his 1612 Apology for Actors , Thomas Heywood claims that the antecedents of contemporary drama can be traced ‘from more then two thousand yeeres agoe, successively to this age’, asserting ‘the antiquity, the ancient dignity, and the true use of actors, and their quality’. 1 The importance of historical precedent to his defence of the early modern theatres is evident from the outset, as the tragic Muse Melpomene laments the contrast between the present-day abuse she suffers and the golden days of ancient Greek and Roman theatre

in Thomas Heywood and the classical tradition
Abstract only
Tanya Pollard

spectators and fashion them to the shape of any noble and notable attempt. (sig. B4r) With his attention to ordinary London citizens, domestic histories, and other quintessentially English figures and settings, Heywood is deeply embedded in his own time and place. Critical attention to Heywood typically emphasises his domestic interests; Jean Howard has titled him ‘Thomas Heywood: Dramatist of London,’ and Richard Rowland has similarly highlighted his uses of local landscapes and geography. 29 Renewed attention to the literary impact of the period’s classical debts

in Thomas Heywood and the classical tradition
Thomas Heywood and Hercules
Richard Rowland

In 1609 William Jaggard printed – very badly indeed – Thomas Heywood’s Troia Britanica . This curious epic is essentially a versification of William Caxton’s Recuyell of the Historyes of Troye (first published in 1473/74, but reissued for the fifth time by Thomas Creede in 1607), interspersed with recent episodes of English history and establishing a ‘continuity’ between the legend of Troy and the history of England, from its beginnings to the reign of James I. Unsurprisingly, given that he devastated Troy twice, Hercules features in the work regularly, but

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

Heywood's women: a classical angle ‘Look for no glorious state; our muse is bent / Upon a barren subject’. 1 Expect no grandiose spectacle, no ‘divine’ poetry, Thomas Heywood tells his audience in his prologue to A Woman Killed with Kindness , first performed in 1603, with the first quarto published in 1607. Still less, perhaps, a dazzling display of classical references. Certainly, a cursory reading of the play would seem to suggest this, for explicit mythological or other classical allusions are few and far between. This may seem unsurprising, if one

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