This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1981.

This edition celebrates King Henry VI Part 2 as one of the most exciting and dynamic plays of the English renaissance theatre, with its exploration of power politics and social revolution and its focus on the relationship between divine justice and sin. An extensive discussion of performance history traces the play's progress on stage from abridgement and adaptation to full historical epic. A survey of criticism discusses the wide range of responses provoked by the play's handling of its historical theme, and concludes by focusing on the element of burlesque in the attempted social revolution portrayed.

In this widely acclaimed biography, Bertram Wolffe challenges the traditional view of Henry VI as an unworldly, innocent, and saintly monarch and offers instead a finely drawn but critical portrait of an ineffectual ruler. Drawing on widespread contemporary evidence, Wolffe describes the failures of Henry’s long reign from 1422 to 1471, which included the collapse of justice, the loss of the French territories, and the final disintegration of his government. He argues that the posthumous cult of Henry was promoted by Henry VII as a way of excusing his uncle’s political failures while enhancing the image of the dynasty. This edition includes a new foreword by John Watts that discusses the book and its place in the evolving literature. Reviews of the earlier edition: “A brilliant biography that brings us as near as we are ever likely to come to this elusive personality.”—Sunday Times (London) “A powerful, compulsively readable portrait.”—Observer “Much learning, skillfully deployed as here, evokes pleasure as well as admiration.”—R.L. Storey, Times Literary Supplement

This collection of essays opens a new discussion about the mind, body, and spirit of the mad in medieval Europe. The authors examine a broad spectrum of mental and emotional issues, which medieval authors point out as ‘unusual’ behavior. With the emerging field of medieval disability studies in mind, the authors have carefully considered legal and cultural descriptions for insight into the perception and understanding of mental impairment. These essays on madness in the Middle Ages elucidate how medieval society conceptualized mental afflictions. Individually, the essays cover aspects of mental impairment from a variety of angles to unearth collectively medieval perspectives on mental affliction. Contributors are James R. King, Kate McGrath, Irina Metzler, Aleksandra Pfau, Cory James Rushton, Margaret Trenchard-Smith, and Wendy J. Turner.

A companion volume for the usage of medieval miracle collections as a source, offering versatile approaches to the origins, methods, and techniques of various types of miracle narratives, as well as fascinating case studies from across Europe.

Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference explores how Shakespeare’s plays dramatize key issues of the Elizabethan Reformation, the conflict between the sacred, the critical, and the disenchanted; alternatively, the Catholic, the Protestant, and the secular. Each play imagines their reconciliation or the failure of reconcilation. The Catholic sacred is shadowed by its degeneration into superstition, Protestant critique by its unintended (fissaparous) consequences, the secular ordinary by stark disenchantment. Shakespeare shows how all three perspectives are needed if society is to face its intractable problems, thus providing a powerful model for our own ecumenical dialogues. Shakespeare begins with history plays contrasting the saintly but impractical King Henry VI, whose assassination is the ”primal crime,” with the pragmatic and secular Henry IV, until imagining in the later 1590’s how Hal can reconnect with sacred sources. At the same time in his comedies, Shakespeare imagines cooperative ways of resolving the national ”comedy of errors,” of sorting out erotic and marital and contemplative confusions by applying his triple lens. His late Elizabethan comedies achieve a polished balance of wit and devotion, ordinary and the sacred, old and new orders. Hamlet is Shakespeare’s ultimate Elizabethan consideration of these issues, its so-called lack of objective correlation a response to the unsorted trauma of the Reformation.