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A masterful, highly engaging analysis of how Shakespeare's plays intersected with the politics and culture of Elizabethan EnglandWith an ageing, childless monarch, lingering divisions due to the Reformation, and the threat of foreign enemies, Shakespeare's England was fraught with unparalleled anxiety and complicated problems. In this monumental work, Peter Lake reveals, more than any previous critic, the extent to which Shakespeare's plays speak to the depth and sophistication of Elizabethan political culture and the Elizabethan imagination. Lake reveals the complex ways in which Shakespeare's major plays engaged with the events of his day, particularly regarding the uncertain royal succession, theological and doctrinal debates, and virtue andvirtùin politics. Through his plays, Lake demonstrates, Shakespeare was boldly in conversation with his audience about a range of contemporary issues. This remarkable literary and historical analysis pulls the curtain back on what Shakespeare was really telling his audience and what his plays tell us today about the times in which they were written.

InRedeeming \"The Prince,\"one of the world's leading Machiavelli scholars puts forth a startling new interpretation of arguably the most influential but widely misunderstood book in the Western political tradition. Overturning popular misconceptions and challenging scholarly consensus, Maurizio Viroli also provides a fresh introduction to the work. Seen from this original perspective, five centuries after its composition,The Princeoffers new insights into the nature and possibilities of political liberation. Rather than a bible of unscrupulous politics,The Prince, Viroli argues, is actually about political redemption--a book motivated by Machiavelli's patriotic desire to see a new founding for Italy. Written in the form of an oration, following the rules of classical rhetoric, the book condenses its main message in the final section, \"Exhortation to liberate Italy from the Barbarians.\" There Machiavelli creates the myth of a redeemer, an ideal ruler who ushers in an era of peace, freedom, and unity. Contrary to scholars who maintain that the exhortation was added later, Viroli proves that Machiavelli composed it along with the rest of the text, completing the whole by December 1513 or early 1514. Only if we readThe Princeas a theory of political redemption, Viroli contends, can we at last understand, and properly evaluate, the book's most controversial pages on political morality, as well as put to rest the cliché of Machiavelli as a \"Machiavellian.\" Bold, clear, and provocative,Redeeming \"The Prince\"should permanently change how Machiavelli and his masterpiece are understood.

The story of a Venetian-Albanian family in the late sixteenth century forms the basis of a sweeping account of the interaction between East and West Europe and the Ottoman Empire at a pivotal moment in history.

The works of William Shakespeare vividly represent for our admiration and study a pageant of souls with longing in whose wake we ceaselessly follow. Through some of his most memorable characters, Shakespeare illuminates the nature and character—as well as consequences—of our distinctively human passions and ambition, in particular our desire for and pursuit of both honor and love. The contributors to this collaborative volume (scholars in English Literature, Political Philosophy, and the Humanities) argue that Shakespeare has much to teach us about our longing for honor and love in particular, and thus about who we are, what we desire, and why. Through sustained reflection on the Shakespearean portraits of honor and love, which are the focus of the chapters in Souls With Longing, we become more keenly aware of our own humanity and come to know ourselves more profoundly. As the abiding popularity of his works aptly demonstrates, Shakespeare’s unforgettable portraits of souls with longing—his representations of honor and love—continue to exert undeniable sway over our political, moral, and romantic imaginations.

In this study, Murakami overturns the misconception that popular English morality plays were simple medieval vehicles for disseminating conservative religious doctrine. On the contrary, Murakami finds that moral drama came into its own in the sixteenth century as a method for challenging normative views on ethics, economics, social rank, and political obligation. From its inception in itinerate troupe productions of the late fifteenth century, \"moral play\" served not as a cloistered form, but as a volatile public forum. This book demonstrates how the genre's apparently inert conventions-from allegorical characters to the battle between good and evil for Mankind's soul-veiled critical explorations of topical issues. Through close analysis of plays representing key moments of formal and ideological innovation from 1465 to 1599, Murakami makes a new argument for what is at stake in the much-discussed anxiety around the entwined social practices of professional theater and the emergent capitalist market. Moral play fostered a phenomenon that was ultimately more threatening to 'the peace' of the realm than either theater or the notorious market--a political self-consciousness that gave rise to ephemeral, non-elite counterpublics who defined themselves against institutional forms of authority.