Written from the Tower of London, these letters of Thomas More still speak powerfully today. The story of Thomas More, recently told in Peter Ackroyd's bestselling biography, is well known. In the spring of 1534, Thomas More was taken to the Tower of London, and after fourteen months in prison, the brilliant author of Utopia, friend of Erasmus and the humanities, and former Lord Chancellor of England was beheaded on Tower Hill. Yet More wrote some of his best works as a prisoner, including a set of historically and religiously important letters. The Last Letters of Thomas More is a superb new edition of More's prison correspondence, introduced and fully annotated for contemporary readers by Alvaro de Silva. Based on the critical edition of More's correspondence, this volume begins with letters penned by More to Cromwell and Henry VIII in February 1534 and ends with More's last words to his daughter, Margaret Roper, on the eve of his execution. More writes on a host of topics-prayer and penance, the right use of riches and power, the joys of heaven, psychological depression and suicidal temptations, the moral compromises of those who imprisoned him, and much more. This volume not only records the clarity of More's conscience and his readiness to die for the integrity of his religious faith, but it also throws light on the literary works that More wrote during the same period and on the religious and political conditions of Tudor England.

This collection of essays is devoted to last letters : letters sent – or not – to sever a relationship, to mark the end of a phase in one’s life, or letters written by people about to be executed or commit suicide just before their deaths. Conversely, some of the letters analysed are fictional, and still other forms of texts, such as poems, are considered ultimate messages by the authors of the articles. By focussing on various forms of last letters, the contributors aim to define the influence of the epistolary context on endings and to provide an original approach to closure.

'The One More Thomas More' studies the central humanist and polemical texts written by More to illustrate a coherent development of thought. Focusing on three major works from More's humanist phase, 'The Life of Pico', 'The History of Richard III', and 'Utopia', Curtright demonstrates More's idea of humanitas and his corresponding programme of moderate political reform.

This book challenges the recently established consensus that the trial was a carefully prepared and executed judicial process in which the judges were amenable to reasonable arguments. Thomas More's treason trial in 1535 is one of history's most famous court cases, yet never before have all the major documents been collected, translated, and analyzed by a team of legal and Tudor scholars. This edition serves asan important sourcebook and concludes with a 'docudrama' reconstructing the course of the trial based on these documents. Legal experts H. A. Kelly and R. H. Helmholz take different approaches to the legalities of this trial, and four experienced judges [including Justice of the Queen's Bench Sir Michael Tugendhat] discuss the trial with some disagreements - notably on the meaning and requirement of 'malice' called for in the Parliamentary Act of Supremacy. More's own accounts of his interrogations in prison are analyzed, and the trial's procedures are compared to and contrasted with 16th-century concepts of natural law and also modern judicial practices and principles. The book is a 'must read' not only for students of law and Tudor history but also for all concerned with justice and due process. As a whole, the book challenges Duncan Derrett's conclusions that the trial was conducted in accord with contemporary legal norms and that More was convicted only on the single charge of denying Parliament the power to declare Henry VIII Supreme Head of the English Church [testified to by Richard Rich] - a position that has been uniformly accepted by historians since 1964. HENRY ANSGAR KELLY is past Director of the Center for Medieval and Renaissance Studies, UCLA. LOUIS W. KARLIN is an attorney with the California Court of Appeal and Fellow of the Center for Thomas More Studies, University of Dallas. GERARD B. WEGEMER is Director of the Center for Thomas More Studies.

Latin lives of Thomas More / Germain Marc'hadour -- Modern biographies of Sir Thomas More / Michael Ackland -- More's letters and "The comfort of the truth" / Alison V. Scott -- Humanism, female education, and myth : Erasmus, Vives, and More's To Candidus / A.D. Cousins -- Virtue, transformation, and exemplarity in The Lyfe of Johan Picus / L.E. Semmler -- Inhabiting time : Sir Thomas More's Historia Richardi Tertii / Arthur F. Kinney -- The epigrams of More and Erasmus : a literary diptych / Clarence H. Miller -- Erasmus and More : exploring vocations / Bruce Mansfield -- "Civitas philosophica" : ideas and community in Thomas More / Dominic Baker-Smith -- Utopia / Damian Grace -- The reluctant champion : More's Responsio ad Lutherum and Letter to Bugenhagen / Alistair Fox -- "The field is won" : an introduction to the Tower works / Seymour Baker House.

The 500th anniversary of the first publication of Thomas More’s Utopia invites a reappraisal of its significance, not just as an ironic and playful fiction, but as a serious contribution to social and political thought. More delivers a searing critique of the injustices of his time and imagines a radical alternative based on common ownership and representative government. In this new interpretation, Wilde surveys the context from which Utopia emerged and analyses its key themes – politics, economics, social relations, crime and punishment, war and religion. Although the society of the Utopians is created as a remedy to the ailments of the old world, there are restrictions on individual freedom which reflect More’s suspicion of human nature’s innate fragility. Wilde argues that this should not detract from the power of the book in challenging the root causes of inequality and oppression. The true legacy of Utopia lies in its plea for social justice in the face of a world driven by greed and the lust for power. A compelling case is made for the continued relevance of this masterpiece, a legacy that should not be diminished by attempts to discredit More’s character, which are dealt with here in the epilogue. Offering a new perspective on this important historical text, this book is essential reading for students and scholars working in radical politics, the history of social thought and literature, as well as anyone interested in learning more about this fascinating work.

Over the centuries, biographers of Thomas More have always praised him and made him an example for their own times. He was a man for all seasons. Truly, he was a Renaissance man with the contradictions such praise imposes on a towering figure. In Richard Marius's authoritative and engaging portrait, Sir Thomas More, the martyr and brilliant public figure, is a lesson for our season.

This book explores the conscience and motivation of one of the most admired persons in history: St. Thomas More. Most people know that Thomas More wrote a book called Utopia about a perfect society and got his head chopped off by King Henry VIII. But there was much more to the man. More not only occupied England's most powerful position under the king as Lord Chancellor, but was also a devoted family man, a Renaissance figure of renown throughout Europe, and the author of works of apologetics as well as poetry, fiction and plays. Even while awaiting execution in the Tower of London, his multi-volume "Tower writings" poured out, evidence of his deep faith and life of prayer.

John Heywood was an important literary and theatrical pioneer in his own right, but he is also a revealing lens through which to view the wider tumultuous history of the sixteenth century. He was, through the period from the mid-1520s to the 1560s, as near to a celebrity as Tudor England possessed, famed for his 'merry' persona and good humour. But his public image concealed a deeper engagement with religious and political history. Enduringly resistant to extremism, he variously entertained, counselled, and cautioned his readers and audiences through four reigns, finding himself, as regimes changed and religious policies shifted, successively celebrated, marginalised, anathematised, condemned to death, recuperated, and celebrated once more before finally retreating into exile on the Continent in 1564. He produced plays at the courts of Henry VIII, Edward VI, Mary and Elizabeth, performed and taught keyboard music, wrote lyric poetry and songs, and from the mid-sixteenth century turned to collecting and publishing highly successful volumes of proverbs and epigrams for which he was remembered well into the seventeenth century. Each of these works provides a subtle, often courageously critical engagement with the politics of its moment. To study Heywood's career takes us beyond the clichés of popular history, beyond Shakespeare and the Elizabethan playhouses, beyond the canonical Henrician court poets and the writers of the Elizabethan 'Golden Age', beyond even the experiences of the century's chief ministers, intellectuals, and martyrs, to a theatrical and literary world less visible in the conventional sources. It opens a window on a culture in which the actions of monarchs, their councillors, and their victims were witnessed and reflected upon at one remove from the centres of power. And it allows us to re-examine the significance of an individual who deserves our attention, not only for his considerable artistic achievements, but also for the determination with which, often against the odds, he used his talents in pursuit of wider humanist cultural principles for over half a century.

English law underwent rapid transformation in the sixteenth century, in response to the Reformation and also to heightened litigation and legal professionalization. As the common law became more comprehensive and systematic, the principle of jurisdiction came under particular strain. When the common law engaged with other court systems in England, when it encountered territories like Ireland and France, or when it confronted the ocean as a juridical space, the law revealed its qualities of ingenuity and improvisation. In other words, as Bradin Cormack argues, jurisdictional crisis made visible the law’s resemblance to the literary arts. A Power to Do Justice shows how Renaissance writers engaged the practical and conceptual dynamics of jurisdiction, both as a subject for critical investigation and as a frame for articulating literature’s sense of itself. Reassessing the relation between English literature and law from More to Shakespeare, Cormack argues that where literary texts attend to jurisdiction, they dramatize how boundaries and limits are the very precondition of law’s power, even as they clarify the forms of intensification that make literary space a reality. Tracking cultural responses to Renaissance jurisdictional thinking and legal centralization, A Power to Do Justice makes theoretical, literary-historical, and methodological contributions that set a new standard for law and the humanities and for the cultural history of early modern law and literature.