The Theatre Of Gods Judgements Revised And Augmented

First published in the early 17th century, this book explores the justice of God as it is revealed through history. With vivid descriptions of divine punishment and redemptive narratives, this book is both thought-provoking and inspiring. It's an essential read for anyone interested in theology or the history of religion. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is an extensive study of the 16th and 17th century belief that God actively intervened in human affairs to punish, reward, warn, try and chastise. It seeks to shed light on the reception, character and broader cultural repercussions of the Reformation.

The theater of early modern England was a disastrous affair. The scant record of its performance demonstrates as much, for what we tend to remember today of the Shakespearean stage and its history are landmark moments of dissolution: the burning down of the Globe, the forced closure of playhouses during outbreaks of the plague, and the abolition of the theater by its Cromwellian opponents. Persecution, Plague, and Fire is a study of these catastrophes and the theory of performance they convey. Ellen MacKay argues that the various disasters that afflicted the English theater during its golden age were no accident but the promised end of a practice built on disappearance and erasure—a kind of fatal performance that left nothing behind but its self-effacing poetics. Bringing together dramatic theory, performance studies, and theatrical, religious, and cultural history, MacKay reveals the period’s radical take on the history and the future of the stage to show just how critical the relation was between early modern English theater and its public.

This book examines England's plural and protracted Reformations through the novel prism of the generations. Approaching generation as a biological unit and a social cohort, it demonstrates that the tumultuous religious developments that stretched across the sixteenth and seventeenth centuries not merely transformed the generations but were also forged by them. It provides compelling new insights into how people experienced and navigated the profound challenges that the Reformations posed in everyday life. Alexandra Walsham investigates how age and ancestry were implicated in the theological and cultural upheavals of the era and how these in turn reconfigured the nexus between memory, history, and time. Generations explores the manifold ways in which the Reformations shaped the horizontal relationships that men, women, and children formed with their siblings, kin, and peers, as well as the vertical ones that tied them to their dead ancestors and their future heirs. It highlights the vital part that families bound by blood and by faith played in the making of current events and in recording the past for posterity. Drawing on previously untapped archival evidence, in tandem with a rich array of printed texts, visual images, and material objects, this study offers poignant glimpses of individual lives and casts fascinating light on how families were both torn apart and brought closer together by the English Reformations.

Greeks, Romans, and Pilgrims examines the availability, circulation, and uses of classical knowledge in the earliest period of the settlement of New England, demonstrating the surprising awareness of Greek and Roman culture by the socially humble “Pilgrims” of Plymouth Plantation.

This book is a study of shame in English society in the two centuries between c.1550 and c.1750, demonstrating the ubiquity and powerful hold it had on contemporaries over the entire era. Using insights drawn from the social sciences, the book investigates multiple meanings and manifestations of shame in everyday lives and across private and public domains, exploring the practice and experience of shame in devotional life and family relations, amid social networks, and in communities or the public at large. The book pays close attention to variations and distinctive forms of shame, while also uncovering recurring patterns, a spectrum ranging from punitive, exclusionary and coercive shame through more conciliatory, lenient and inclusive forms. Placing these divergent forms in the context of the momentous social and cultural shifts that unfolded over the course of the era, the book challenges perceptions of the waning of shame in the transition from early modern to modern times, arguing instead that whereas some modes of shame diminished or disappeared, others remained vital, were reformulated and vastly enhanced.

The great English Renaissance tragedy—violent, powerful, unforgettable—in a freshly edited and annotated student edition. “Neill’s edit of the play is very well done. … If there’s a more knowledgeable or erudite unraveling of the play, I haven’t seen it.” —Steve Sohmer, Comitatus This Norton Critical Edition of John Webster’s 1612–13 tragedy offers a newly edited and annotated text together with a full introduction and illustrative materials intended for student readers. The Duchess of Malfi’s themes of love, loyalty, and betrayal have resonated through the centuries, making this a perennially popular play with audiences and readers alike. This volume includes a generous selection of supporting materials, among them Webster’s likely sources for the play (William Painter, George Whetstone, Simon Goulart, and Thomas Beard) as well as related works by Webster and George Wither on widows, funerals, and memorializing death. A generous selection from Mark H. Curtis’s classic essay, “The Alienated Intellectuals of Early Stuart England,” tells readers as much about the character of Bosola as it does about his creator. Henry Fitzgeffrey (1617) and Horatio Busino (1618) provide early responses to the play. “Criticism” is thematically organized to provide readers with a clear sense of The Duchess of Malfi’s central themes of dramaturgy; the politics of family, court, and religion; and gender. Also included are essays on contemporary re-imaginings of the play and its critical reception over time. Contributors include Don D. Moore, Inga-Stina Ewbank, Christina Luckyj, Barbara Correll, D. C. Gunby, Lee Bliss, Rowland Wymer, Brian Chalk, Theodora Jankowski, and Pascale Aebischer. A selected bibliography is also included.