100 books like The Worlds of Renaissance Melancholy

A brilliantly researched and argued book that transformed the intellectual landscape.

In the 1980s and 1990s many writers on Shakespeare and his contemporaries asserted that when reading their works we had to put aside modern concepts of selfhood as anachronistic. To some extent they were right: Elizabethan and Jacobean ideas about the self were different from ours; but that doesn’t mean they didn’t exist.

Maus shows that Elizabethan and Jacobean authors were obsessed with what they called ‘the inward self’ or ‘the inner man’, and that their drama was shaped by this preoccupation with disparities between a performed public self and a concealed inner self. There’s also a fascinating chapter, wittily called "A Womb of his Own", on how male writers appropriated childbirth metaphors to represent their intellectual creativity.

For all the books about the Protestant Reformation, very few stop to consider what it meant to be Protestant – how it felt, or what daily life was really like. Alec Ryrie tackles these questions both with empathy and analytical rigour, exploring the struggles and triumphs of individuals seeking to live godly lives against a background of ongoing religious change.

This book really foregrounds "ordinary" people and, in doing so, highlights the extraordinary quality of the everyday. It helped me to reach a better understanding of Protestantism as a dynamic and sometimes contradictory movement, and of its emotional resonance for those who embraced the reformed faith.

A startling finding when I was researching Elizabethan ideas about the mind was how far their attitudes to the imagination differed from ours.

We see it as a creative force to be encouraged and liberated, but for them it was dangerous, deceptive, and unruly, leading towards sinfulness and madness. Roychoudhury explains how early scientific thinking was starting to unsettle this traditional view of the imagination as reprehensible, and traces the effects of this in works including A Midsummer Night’s Dream, The Sonnets, and Macbeth.

I would add that the new commercial playhouses for which Shakespeare wrote became experimental crucibles: these were spaces where the combined imaginations of playwright, actors, and audiences created virtual realities, unleashing an exhilarating and magical sense of the powers of imagination.

Renaissance writers were trained in rhetoric: how to use language to work through a problem or convey a state of mind.

Today, theories of cognition explore how linguistic devices relate to processes in the brain; for example, metaphor replicates how the mind understands something by associating or comparing it with something else. Lyne’s radical innovation is to bring together these historical and contemporary frameworks for understanding thought and language.

He explores points of contact between Renaissance rhetorical theories and present-day cognitive theories, then applies his insights to analyse works by Shakespeare. This offers a wholly fresh approach to understanding how Shakespeare translates thoughts – his own and those of his characters – into words; and how those words in turn work on our minds as readers or listeners.

De Humani Corporis Fabrica Libri Septem ["On the Fabric of the Human Body in Seven Books"] will likely catch you by surprise since, unlike most books featured on this website, this one was printed back in 1543. Fortunately, this means that anyone with a working Internet connection and web browser can access this mystifying medical atlas from the sixteenth century. Annotated editions of On the Fabric of the Human Body are available online from numerous medical colleges, so please take the time to find and appreciate this masterpiece of anatomy and artistic imagination.

A quirky and brilliantly insightful book which is now, unfortunately, out of print. But do snap it up if you chance upon it in a second-hand bookshop or can find a copy online. It is deceptively modest-looking: a slender paperback, with only a handful of illustrations. My hunch is that it will change the way you think about paintings, sculptures, and buildings in the works of Shakespeare, Spenser, Donne, and their contemporaries. Certainly, that is the effect it had on me.

Shakespeare the Man is not the best book out there on William Shakespeare. There are many others that are better researched and less opinionated. However, Rowse gave me the best impression of what Shakespeare has meant to centuries of dramatists and researchers. It was recommended to me by the late Dr. John M. Bell of NYU, who was the most knowledgeable man on Shakespeare I've ever known. I see why he recommended this. It's a short but thorough read, and very enjoyable. Just don't treat Rowse's every word as gospel. His book is about Shakespeare, the man and myth.

Shakespeare’s plays can be very funny, (many of my friends disagree with this, but I swear by the goddess of Renaissance puns it’s true!), and this is a light, fluffy book that deserves a place on any bookshelf because it embraces silliness and turns it right up to eleven. Our Will’s key predicament is something everyone who has ever written can relate to, being certain you have a literary masterpiece locked up in your mind if only you can be left alone long enough to make it magically appear on the blank page. 

I can’t seem to recommend one book without recommending two but a teacher once told me, Shakespeare never said one thing when he could say two, and never two things when he could say three. I admit I’m a Shakespeare ‘pusher’ because I believe the works instill wisdom, humanity, and critical thinking skills—attributes that are disappearing as much as some of the natural world mentioned above. Having these tools are essential to saving ourselves and the world around us. We seem to forget how to be human in the same way exercise instructors tell us: Don’t forget to breathe. Newstok serves up a rich menu to digest the delicious process of thinking, so that ‘smarting up’ is as easy as breathing. But I also loved How to Teach Your Children Shakespeare, by Ken Ludwig for similar reasons (and it works well for adults too!).

This very handy anthology includes the only modern edition of The Tragedie of Iphigenia (1557-9), by Jane Lumley, the first person to translate Euripides into English and the first English woman to write a full-length play.

It is a surprisingly modern-sounding script, featuring a father sacrificing his daughter, not unlike Stannis Barathean in Game of Thrones, and I loved producing and taking part in a production in 2013-14. Also included are Antonius translated by Mary [Sidney Herbert], Countess of Pembroke, and Elizabeth Cary’s The Tragedy of Mariam.

Unlike the anthology above, this edition publishes the plays in their original old spelling so you can get a feel of Renaissance English. Diane Purkiss offers a concise introduction and notes at the back of the book.