Shakespeare S Legal Maxims Liverpool 1907

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Reprint of the original, first published in 1859. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This encyclopedia-style dicitonary explores early modern social life, legal thought, and the interactions within Shakespearean drama.

"Rushton, a barrister of Gray's Inn, was one of the first to argue that Shakespeare was trained as a lawyer, a claim he advanced in Shakespeare a Lawyer (1858), Shakespeare's Testamentary Language (1869) and Shakespeare's Legal Maxims (1859). Maxims demonstrates "the poet's correct use of law terms, and intimate acquaintance with legal customs and tenures, and the lex scripta, than by his extensive and profound knowledge of the maxims of the English law" (13-14). Rushton reviews these maxims, by which he means fundamental points, and illustrates each with a quotation from Shakespeare. Each example is paired with a statement by Coke, Littleton, or other eminent jurist that was either a direct source or proof that Shakespeare was expressing a contemporary legal principal. Whether or not you accept Rushton's thesis, his book offers an excellent selection of quotations on the primary topics of the common law."

Church and state during Shakespeare's lifetime were in significant conflict on issues stemming from Henry VIII's break with Rome, issues centering principally on questions of authority and obedience - religious conformity, the form of church government, the jurisdiction of spiritual and temporal courts, and the source and scope of the monarch's power. To what extent were these disputes present in Shakespeare's work? In her compelling reassessment of Shakespeare's historicity, Donna Hamilton rejects the notion that the official censorship of the day prevented the stage from representing contemporary debates concerning the relations among church, state, and individual. She argues instead that throughout his career Shakespeare positioned his writing politically and ideologically in relation to the ongoing and changing church-state controversies and in ways that have much in common with the shifts on these issues identified with the Leicester-Sidney-Essex-Southampton-Pembroke group. In her readings of King John, Comedy of Errors, Twelfth Night, Measure for Measure, Cymbeline and Henry VIII, Hamilton finds Shakespeare reappropriating a wide range of idioms from church-state discourse, particularly those of anti-catholicism and nonconformity. And she uses this language to broach some of the broad social and political issues involving obedience, privacy, property, and conscience - matters that were often the focus of church-state disputes and that provided this historical period with its central rhetorics of subjectivity. In this first full-scale study of Shakespeare and church politics, Hamilton also provides an important reassessment of censorship practices, of the means by which dissident views circulated, of the centrality of anti-catholic discourse for all church-state debates, and of the overwhelming significance of church-state issues as an agent for print and stage.