The Non-dramatic Works of Thomas Dekker. for the First Time Collected and Edited, with Memorial Introduction, Notes and Illustrations, Etc., by the Rev. a

Publisher Marketing: Title: The Non-Dramatic Works of Thomas Dekker ... For the first time collected and edited, with memorial introduction, notes and illustrations, etc., by the Rev. Alexander B. Grosart. Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC. The FICTION & PROSE LITERATURE collection includes books from the British Library digitised by Microsoft. The collection provides readers with a perspective of the world from some of the 18th and 19th century's most talented writers. Written for a range of audiences, these works are a treasure for any curious reader looking to see the world through the eyes of ages past. Beyond the main body of works the collection also includes song-books, comedy, and works of satire. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Dekker, Thomas; 1884-86. 5 vol.; 8 . Ashley3047. Contributor Bio:  Dekker, Thomas Thomas Dekker was an English Elizabethan dramatist, born in 1572. Possibly of Dutch origin, very little is known of Dekker's early life and education. His career in the theatre began in the mid-1590s but it is unclear how or why Dekker came to write for the stage. By that time he was odd-jobbing for various London theatre companies, including both the Admiral's Men and its rivals the Lord Chamberlain's Men; he probably joined the large team of playwrights, including Shakespeare, who penned the controversial drama Sir Thomas More around this time. Dekker struggled to make ends meet, however, and in 1598 he was imprisoned for debt. 1599 was, by contrast, an annus mirabilis for Dekker. The theatrical entrepreneur and impresario of the Admiral's Men, Philip Henslowe, lists payments to Dekker that year for contributions to no fewer than eleven plays; two of these, Old Fortunatus and The Shoemaker's Holiday, were selected to be performed at Court during the Queen's Christmas festivals. Dekker received royal favour again after the death of Elizabeth and the accession of King James I in 1603 when he was contracted with Ben Jonson to write the ceremonial entertainments for James's coronation procession through London. He was sorely in need of such commissions; the playhouses were closed for much of this year because of a plague outbreak that killed as many as a quarter of London's population. During the outbreak, he retooled himself as a writer of satires - a genre in which he had acquired some dramatic experience in 1602, when he penned Satiromastix, a play that took aim at Ben Jonson (who had lampooned him the previous year in Poetaster). Dekker's prose satires about the plague year reveal a new skill for gritty reportage and sympathetic attention to the enormous sufferings of the afflicted. He repeatedly returned to this genre when he was prevented, whether by theatre closures or by imprisonment, from writing for the stage. Like The Shoemaker's Holiday, Dekker's plays in the years of James's reign tend to dramatize the stories of citizens. And they again display a sympathetic fascination with socially marginal characters, often women - a prostitute (The Honest Whore, co-written with Thomas Middleton, 1604), a transvestite (The Roaring Girl, 1611, also co-written with Middleton), and a witch (The Witch of Edmonton, 1621, co-written with John Ford and William Rowley). But Dekker's financial woes continued through these years, and he was once more imprisoned for debt between 1612 and 1619, a harrowing experience that he later claimed turned his hair white. Upon his release, he continued to write plays, citizen pageants, and prose pamphlets, but he never enjoyed the success of his earlier years. He died, leaving his widow no estate except his writings, in 1632.