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Published: 10 December 2022
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1

Ambition, rank, and poetry in 1590s England. Urbana: University of Illinois Press, 2001.

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2

The Elizabethan conquest of Ireland: The 1590s crisis. Manchester, UK: Manchester University Press, 1997.

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3

Sinhala consciousness in the Kandyan period, 1590s to 1815. Colombo: Vijitha Yapa Publications, 2004.

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4

1590s drama and militarism: Portrayals of war in Marlowe, Chapman, and Shakespeare's Henry V. Aldershot, Hampshire, England: Ashgate, 2001.

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5

issah. TASS: A BOOK OF fantasy: TASS!!! KLTS: issah abeebllahi issah, 2020.

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6

1960-, Currie Stephen, ed. The 1500s. San Diego, Calif: Greenhaven Press, 2001.

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7

Mota, A. Teixeira da. East of Mina: Afro-European relations on the Gold Coast in the 1550s and 1560s : an essay with supporting documents. (Madison): African Studies Program, University of Wisconsin-Madison, 1988.

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8

Mota, A. Teixeira da. East of Mina: Afro-European relations on the Gold Coast in the 1550s and 1560s : an essay with supporting documents. [Madison]: African Studies Program, University of Wisconsin-Madison, 1988.

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9

Hernández, Roger E. Early explorations: The 1500s. New York: Marshall Cavendish Benchmark, 2008.

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10

Early explorations: The 1500s. New York: Marshall Cavendish Benchmark, 2008.

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11

Ijäs, Miia. Res publica redefined?: The Polish-Lithuanian transition period of the 1560s and 1570s in the context of European state formation processes. Frankfurt am Main: Peter Lang, 2016.

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12

Khristov, Petrov Petŭr, ed. Smetkovodna kniga (1590-1605). Sofii︠a︡: Glavno upravlenie na arkhivite pri Ministerskii︠a︡ sŭvet, 2006.

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13

Khristov, Petrov Petŭr, ed. Smetkovodna kniga (1590-1605). Sofii︠a︡: Glavno upravlenie na arkhivite pri Ministerskii︠a︡ sŭvet, 2006.

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14

1590-1645, Borzone Luciano, ed. Luciano Borzone: 1590-1645. Genova: Sagep editori, 2015.

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15

English Presbyterianism, 1590-1640. Stanford, Calif: Stanford University Press, 2010.

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16

Scottish Puritanism, 1590-1638. Oxford: Oxford University Press, 2000.

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17

Hémard, Nicolas, ed. Madrigali a tre voci (1590). Liergues, France: Editions de l'Ame, 2013.

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18

J, Barro Robert. Saints marching in, 1590-2009. Cambridge, MA: National Bureau of Economic Research, 2011.

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19

Roeper, V. D. Ontdekkingsreizen van Nederlanders (1590-1650). Utrecht: Kosmos-Z&K, 1993.

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20

Fischart, Johann. Catalogus catalogorum perpetuo durabilis (1590). Tübingen: M. Niemeyer, 1993.

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21

Renaissance war galley, 1470-1590. Oxford: Osprey, 2002.

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22

Gentes, Andrew A. Exile to Siberia, 1590–1822. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583894.

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23

Catholics in Worcestershire, 1535-1590. Brentwood: Worcestershire Historical Society, 2009.

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24

Simon, Stevin. De la vie civile, 1590. Lyon: ENS éditions, 2005.

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25

Davenport, Colin. Daventry's craft companies 1590-1675. [U.K.]: [s.n.], 1996.

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26

Fischart, Johann. Catalogus Catalogorum perpetuo durabilis (1590). Edited by Michael Schilling. Berlin, Boston: DE GRUYTER, 1993. http://dx.doi.org/10.1515/9783110936605.

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27

Brian, Doolan. St. George's, Worcester 1590-1999. Birmingham: Archdiocese of Birmingham Historical Commission, 1999.

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28

Wilhelmi, Thomas. Nikodemus Frischlin, 1557-1590: Bibliographie. Leinfelden-Echterdingen: DRW-Verlag in Kommission, 2004.

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29

Pierre-Damien, Mvuyekure, ed. West African kingdoms, 500-1590. Detroit: Gale Group, 2004.

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30

Macdonald, Fiona. The world of Islam: Up to 1500s. London: Collins Educational, 1991.

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31

Wampler, Fred B. Wampfler (Wampler) family history: The 1500s-1700s. [Los Alamos, N.M.]: F.B. Wampler, 1986.

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32

Instytut ukraïnsʹkoï movy (Nat︠s︡ionalʹna akademii︠a︡ nauk Ukraïny), Z︠H︡ytomyrsʹkyĭ derz︠h︡avnyĭ pedahohichnyĭ universytet imeni Ivana Franka. Pivnichnoukraïnsʹkyĭ dialektolohichnyĭ t︠s︡entr, and T︠S︡entralʹnyĭ derz︠h︡avnyĭ istorychnyĭ arkhiv Ukraïny v m. Kyi︠e︡vi, eds. Akty Z︠H︡ytomyrsʹkoho hrodsʹkoho uri︠a︡du--1590r., 1635 r. Z︠H︡ytomyr: Polissi︠a︡, 2004.

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33

Mullen, Robert James. The architecture andsculpture of Oaxaca, 1530s-1980s. Tempe: Center for Latin American Studies, Arizona State University, 1995.

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34

Andrea, Bernadette. Islamic Communities. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.30.

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This chapter examines four ‘time-spaces’ to situate the lives of individuals from the Islamic world in early modern England and their impact on its literary imagination: 1) the presence of Tartars, Chaldeans, and scattered ‘Others’ from the Islamic world in England from the 1550s to the 1570s; 2) the letters Queen Elizabeth I issued to various Muslim sovereigns from the 1580s to the 1590s; 3) Moroccan and Persian embassies at the English court through the 1680s; and 4) Muslim converts and captives in England through the 1690s. This history of the marginal presence of individuals from the Islamic world in England prior to the eighteenth century and their disproportionate resonance in the literature of the era thus becomes one of the facilitating conditions for the emerging anglocentric discourse of empire on a global scale.
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35

Taunton, Nina. 1590s Drama and Militarism. Routledge, 2017. http://dx.doi.org/10.4324/9781315264134.

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36

Wells, Stanley. 4. Plays of the 1590s. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198718628.003.0004.

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During the first decade of Shakespeare’s career he wrote a series of closely inter-related plays based on English history drawing heavily on Holinshed’s Chronicles and other accounts. These plays show a serious concern with political problems, with the responsibilities of a king, his relationship with the people, the need for national unity, and the relationship between national welfare and self-interest. ‘Plays of the 1590s’ introduces each of these plays, sketching its origins, stories, and themes. It also touches on aspects of Shakespeare’s techniques and artistry. The plays considered are Henry VI (Parts One to Three), Richard III, Titus Andronicus, Romeo and Juliet, Richard II, Henry IV, Henry V, Edward III, and King John.
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37

Stanivukovic, Goran. Shakespeare’s Style in the 1590s. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0028.

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Shakespeare’s early style is explored from the angles of theory and dramatic practice, and in relation to the social and political contexts of the 1590s. Arguing that ornament and symmetry are the two distinct properties of Shakespeare’s early style, the essay discusses hyperbole, repetition, and parallelism as the most prominent features of that style. Claiming that Shakespeare’s use of bombast in the Henry VI trilogy and in Titus Andronicus is more sophisticated than Robert Greene and William Scott deemed it to be, the essay also explores the complex employment of symmetry, repetition and parallelism in Love’s Labour’s Lost, Richard III, A Midsummer Night’s Dream, and Richard III, and in the embedded sonnets in Romeo and Juliet and Much Ado About Nothing. In conclusion, hyperbole is linked with the period’s colonial aspirations, demonstrated in a comparative analysis of Much Ado and Richard Hakluyt’s Principal nauigations.
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38

McGurk, John. The Elizabethan Conquest of Ireland: The 1590s Crisis. Manchester Univ Pr, 1998.

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39

Winston, Jessica. Legal Satire and the Legal Profession in the 1590s. Edited by Lorna Hutson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199660889.013.13.

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This chapter argues that, in the later sixteenth century, satires and negative comments about lawyers offered a means to shape professional decorum. A signal example is John Davies’s Epigrammes (c.1592–5; pub. c.1598–9), which negatively depict lawyers, Inns-of-Court men, and their social milieu. Yet the Epigrammes differ from contemporary legal satire by presenting, in the speaker of the series, a positive ethos for legal men. In developing these points, this chapter argues for one relationship between the legal and literary cultures of the Inns of Court and rereads Davies’s Epigrammes to show how this verse is similar to and distinctive from later sixteenth-century legal satire.
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40

Maslen, R. W. Elizabethan Popular Romance and the Popular Novel. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0012.

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This chapter concerns the work of writers who proclaim their commitment to a readership of commoners: craftspeople, tradesfolk, domestic servants, and others below the rank of the gentry. In doing so, the chapter reveals the voracious appetite of the marketplace of print for copy. It draws attention to the competing interests of printers and considers the question of how to make a living by writing under these circumstances. Writers experimented with different methods of turning the copy they produced into a steady income, but many failed. However, the attempt led to the extraordinary variety of prose pamphlets (short, inexpensive books) printed in the 1580s and 1590s.
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41

1944-, Clark Peter, ed. The European crisis of the 1590s: Essays in comparative history. London: G. Allen & Unwin, 1985.

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42

Stern, Tiffany. Nashe and Satire. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0011.

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This chapter explores the story of Thomas Nashe's ‘satire’. In the 1580s and 1590s, ‘satire’ was a term conferred upon his works by admirers who sought to define — and so limit — the nature of the prose he wrote. This chapter explores what satire means to Nashe's friends and enemies, particularly in combination with ‘honey’ or ‘sweetness’. It also considers why Nashe himself avoided the word. To explore the extent to which Nashe was and was not a writer of satires, as well as where his ‘sweetness’ resides, this chapter also attempts to examine what early modern writers took satire to mean, and then to examine who was thought to be writing it.
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43

Ross, Anne Elizabeth. Hand-Me-Down-Heroics: the transmission of the heroical in the drama of the 1570s to the 1590s. 1993.

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44

Publicover, Laurence. Staging Romance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806813.003.0003.

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This chapter explores the mostly overlooked history of romance on the early modern stage. Analysing the geographies of two little-known plays, Clyomon and Clamydes (1580s?) and Guy of Warwick (early 1590s?), it argues that, in its imaginative openness and its flexible staging of space, the early modern theatre was the ideal environment in which to stage romance’s extravagant spatial and ethnographical imaginings. Further, the chapter demonstrates how a theatrical tradition of clowning enabled these late-Elizabethan dramas to contest the values of the very romance-worlds they had established. It closes with a fresh reading of Francis Beaumont’s parody of romance, The Knight of the Burning Pestle, arguing that the play satirizes dramatic romance’s spatial grammar as well as its narrative strategies.
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45

Highley, Christopher. Theatre, Church, and Neighbourhood in the Early Modern Blackfriars. Edited by Malcolm Smuts. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.013.35.

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This chapter examines the relationship between theater and church in the early modern London parish of St. Anne, Blackfriars. From the 1580s, the parish of St Anne gained notoriety for its Puritan ministers and residents. For a brief period in the 1590s, these godly forces prevented Burbage, Shakespeare, and their fellows from opening a new indoor theater in part of the old Dominican monastery. But eventually the theatre opened and a culture of performing and playgoing became a well-established part of the local life. By looking closely at the individuals involved and at the social and economic forces at play in the Blackfriars, this chapter argues that coexistence, not conflict, characterized relations between the Godly and their neighborhood playhouse in this corner of the City.
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46

Lees-Jeffries, Hester. Tragedy and the Satiric Voice. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.16.

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This chapter sets Shakespeare’s Hamlet, Troilus and Cressida, Timon of Athens, and King Lear in the context of classical and early modern satire—most notably the satiric vogue of the 1590s. It explores the language of disease (especially syphilis) and purgation, and considers the relationship between tragedy and satire, which is often focused on the figure of the malcontent. In particular, it suggests that satire is inherently undramatic, however theatrical the figure of the railing malcontent, such as Thersites, may initially appear.
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47

Hammer, Paul E. J. The Earl of Essex. Edited by Malcolm Smuts. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.013.3.

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This chapter summarizes the career of Robert Devereux, 2nd earl of Essex (1565–1601), who played a central role in English affairs during the 1590s. Essex has often been caricatured as the royal favourite who lost his head, both literally and figuratively. However, Essex was a hugely consequential figure in England’s political and cultural life during the latter years of Elizabeth’s reign. His dramatic fall in February 1601 caused widespread shock and grief. Although he was defeated in the political power struggle which ultimately cost him his life, Essex looms large in the work of Shakespeare and his contemporaries, with one direct allusion to him inHenry Vand a host of probable allusions to him elsewhere in Shakespeare’s plays.
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48

Wood, Andy. Brave Minds and Hard Hands. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806899.003.0004.

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This chapter focuses upon a small but significant subgenre of dramatic work produced in the 1590s: a set of plays, including 2 Henry VI and Jack Straw, that represented plebeian rebellion and its causes. Sketching the period’s harrowing conditions for the poor, it brings to these plays the evidence of archives concerning contemporary politics and protest. With rich historical contextualization, it traces in these dramas the sustained protests of poorer commoners, against hunger, social contempt from the elite, and the fate of infinite physical drudgery. It demonstrates the period accuracy of both Shakespeare’s language of plebeian protest, and his presentation of contemporary artisans as a dangerous class, as it tracks the widespread animus against the gentry, the indictment of ruthless economic individualism, the egalitarian thematic, and the late-century nostalgia for life before the Reformation.
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49

Hadfield, Andrew. Shakespeare’s Tragedy and English History. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.14.

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In the history plays of the 1590s Shakespeare covers most of late medieval English history, representing the struggle between the rival claimants to the crown and the people as a tragedy. Shakespeare was influenced by the verse tragedies in A Mirror for Magistrates—as well as by Holinshed’s Chronicles—which presented history as a series of stories from which relevant morals could be drawn. In following A Mirror Shakespeare had one eye on the present, articulating the fear that history might repeat itself and produce yet another tragedy. In his plays Shakespeare represents a series of kings with varying personalities and abilities struggling to rule in trying circumstances, each living out his own tragedy, leaving the audience to work out the relevance and significance of the plays. In this chapter I provide specific readings of Richard II, Richard III and King John.
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50

Rhodes, Neil. The Common Stage. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198704102.003.0007.

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The emergence of the public theatres in England during the last quarter of the sixteenth century reinvigorated the polemics against fiction which characterized the Reformation era. This chapter focuses on the 1590s, when the ‘private’ theatres were closed, and shows Marlowe in dialogue with Gosson as he strives extravagantly to go beyond the common. It then turns to Shakespeare, whose Venus and Adonis rejects the common, but whose most popular play, 1 Henry IV, created its appeal through its deliberate transgressions of rank, while offering a critique of popularity itself. In Hamlet this takes the form of a critique of the commonplace, as the aesthetic of the common stage is challenged by the reopened ‘private’ theatres. At the end of the decade, anthologies such as Bodenham's Belvedere provide a vernacular echo of Erasmus’ compilations at the beginning of the century as vehicles through which the common could achieve literary status.
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