CRITICISM

Bach, Rebecca Ann. “The Homosocial Imaginary of A Woman Killed with Kindness.” Textual Practice 12, no. 3 (winter 1998): 503-24.

Refutes the common critical assessment that classifies Heywood's play as a domestic tragedy, claiming that the term domestic carried a far different meaning in early modern England than it does today.

Baines, Barbara J. Thomas Heywood. Boston: Twayne, 1984, 178 p.

Comprehensive coverage of Heywood's life and work, with chapters on each of the dramatic genres in which Heywood wrote.

Boas, Frederick S. “The Four Ages: Golden, Silver, Brazen, Iron.” In Thomas Heywood, pp. 83-104. London: Williams & Norgate, 1950.

Discusses the critical reception of Heywood's dramatic series, which was surprisingly successful despite its mythological subject matter.

Bradbrook, M. C. “Thomas Heywood, Shakespeare's Shadow, ‘A Description Is Only a Shadow, Received by the Ear’ (An Apology for Actors).” In Du Texte à la Scéne: Langages du Théâtre, edited by M. T. Jones-Davies, pp. 13-34. Paris: Jean Touzot, 1983.

Discusses recent developments in Shakespeare scholarship that have implications for the critical reception of Heywood's texts given apparent differences between his theatrical productions and his published plays.

Briggs, K. M. “Heywood's Hierarchie of the Blessed Angells.” Folklore 80 (summer 1969): 89-106.

Analysis of the literary and folkloric sources for Heywood's long didactic poem Hierarchie of the Blessed Angells.

Carson, Neil. “Collaborative Playwriting: The Chettle, Dekker, Heywood Syndicate.” Theater Research International 14, no. 1 (spring 1989): 13-23.

Explores the subject of collaborative playwriting for the Elizabethan theater by Heywood and two of his frequent collaborators.

Clark, Arthur Melville. “Heywood the Dramatist.” In Thomas Heywood, Playwright and Miscellanist, pp. 208-51. Oxford: Basil Blackwell, 1931.

Authoritative treatment of Heywood's career as a playwright.

Cooper, Lisa H. “Chivalry, Commerce, and Conquest: Heywood's The Four Prentices of London.” In Material Culture and Cultural Materialisms in the Middle Ages and Renaissance, pp. 159-75. Turnhout, Belgium: Brepols Publishers, 2001.

Contends that Heywood's play appealed to both the aristocracy and the emerging bourgeoisie by representing both groups as participants in the eleventh-century Crusades.

Crook, Nonna Neil Rhodes. “The Daughters of Memory: Thomas Heywood's Gunaikeion and the Female Computer.” In The Renaissance Computer: Knowledge Technology in the First Age of Print, edited by Neil Rhodes and Jonathan Sawday, pp. 135-48. London: Routledge, 2000.

Considers Heywood's Gunaikeion as an “encyclopaedia of women” in the English Renaissance.

Eliot, T. S. “Thomas Heywood.” In Selected Essays, pp. 171-81. London: Faber and Faber, 1933.

Maintains that Heywood's plays, while popular in their time, are justifiably neglected today.

Hammill, Graham. “Instituting Modern Time: Citizen Comedy and Heywood's Wise Woman of Hogsdon.” Renaissance Drama 29 (1998): 73-105.

Explores the relationship of Heywood's play to the genre of citizen comedy in establishing heterosexuality as a cultural norm.

Kamps, Ivo. “Thomas Heywood and the Princess Elizabeth: Disrupting Diachronic History.” In Historiography and Ideology in Stuart Drama, pp. 67-90. Cambridge: Cambridge University Press, 1996.

Discussion of the political message in Heywood's popular play If You Know Not Me, You Know Nobody.

Lewis, Cynthia. “Heywood's Gunaikeion and Woman-Kind in A Woman Killed with Kindness.” English Language Notes 32, no. 1 (September 1994): 24-37.

Examines parallels between Heywood's play and his nonfiction treatise on women.

Robinson, Benedict Scott. “Thomas Heywood and the Cultural Politics of Play Collections.” Studies in English Literature 1500-1900 42, no. 2 (spring 2002): 361-80.

Discussion of the difficulties Heywood faced in publishing a collection of his dramatic works.

Rowland, Richard. “The Captives: Thomas Heywood's ‘Whole Monopoly Off Mischeiff.’” Modern Language Review 90, no. 3 (July 1995): 585-602.

Compares critical neglect of Heywood's The Captives with the negative commentaries on Plautus's Rudens, on which Heywood's text is based.

Van Fossen, R. W. Introduction to A Woman Killed with Kindness, edited by R. W. Van Fossen, pp. xv-lxix. London: Methuen & Co., 1961.

Introduction to Heywood's most famous play, including background information on the author and his sources.

Velte, Mowbray. The Bourgeois Elements in the Dramas of Thomas Heywood. New York: Haskell House, 1966, 156 p.

Study of the elements of Heywood's plays intended to appeal to a middle-class audience.

Additional coverage of Heywood's life and career is contained in the following sources published by Thomson Gale: Dictionary of Literary Biography, Vol. 62; DISCovering Authors Modules: Dramatists; Literary Movements for Students, Vol. 1; Literature Resource Center; Reference Guide to English Literature Ed. 2; and Twayne's English Authors.