Thomas Heywood

Also found in: Wikipedia.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Heywood, Thomas


Born circa 1574; died Aug. 16, 1641, in London. English dramatist.

Heywood studied at Cambridge University from 1591 to 1593. In 1598 and 1599 several of his comedies were staged in London, including Joan as Good as My Lady, War Without Blows and Love Without Suit, and The Four Prentices of London. His main genres were the farce, for example, The Wise Woman of Hogsdon (published 1638; Russian translation, 1960) and the romantic comedy, for example, The Fair Maid of the West (published 1631; Russian translation, 1956). Heywood also wrote domestic tragedies, the best known of which are A Woman Killed With Kindness (published 1607; Russian translation, 1959) and The English Traveler (published 1633).

Heywood was also the author of historical chronicles and plays on classical themes. In 1594 he wrote the narrative poem Juno and Paris.


Anikst, A. Istoriia angliiskoi literatury. Moscow, 1956.
Grivelet, M. Thomas Heywood et le drame domestique élisabethain. Paris, 1957.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in classic literature ?
Thomas Heywood, a sort of journalist before the days of newspapers, produced an enormous amount of work in various literary forms; in the drama he claimed to have had 'an entire hand, or at least a maine finger' in no less than two hundred and twenty plays.
The book also compares Shakespeare with his contemporaries Edmund Spenser, Ben Johnson, and Thomas Heywood. B&w historical art is included.
The second chapter focuses on The Captives, attributed to Thomas Heywood (British Library MS Egerton 1994, fos.
At the Red Bull, Thomas Heywood's The Silver Age provides "Thunder, lightnings, Jupiter descends in his majesty, his Thunderbolt burning" (3:154-55); and in The Brazen Age, after Hercules says his farewells, "Jupiter above strikes him with a thunderbolt, his body sinks, and from the heavens descends a hand in a cloud, that from the place where Hercules was burnt, brings up a star, and fixeth it in the firmament" (3:254).
What does it mean when Thomas Heywood's raped Lucrece upbraids the gods for permitting the 'inhuman massacre' of her 'harmless virtue'?
Instead, it covered material from more than one related Ovidian myth in a way which makes it seem more like Thomas Heywood's Ages plays, performed at the Red Bull around 1609-13, which handle several myths in a play.
In it, Alison Scott concentrates heavily on analysing the works of a few iconic literary figures from the period, especially Francis Bacon, Edmund Spencer, Thomas Heywood, Ben Johnson, and William Shakespeare.
I will argue that the early modern theater in several important ways resembled what Brecht would later call the "epic" theater, but that we might more easily recognize that theaters contributions to a socially resonant dramatic praxis by looking beyond Shakespeare and the Globe to Thomas Heywood and the Red Bull.
In his 1612 Apology for Actors, Thomas Heywood, for instance, argues that
However, the final part of Trevor's essay reveals how the Renaissance stage, once again, is a site where such cultural values are problematised, providing a detailed account of how Senecan values are complicated in Thomas Heywood's A Woman Killed with Kindness.
My second pamphlet, The black box of Roome opened, is dated 1641 and signed 'Anon.', but has been attributed to the dramatist Thomas Heywood. (31) Little is known about Heywood's life.
(In addition to those already mentioned, the post-Malory authors included here are: Edmund Spenser; Thomas Heywood; Matthew Arnold; William Morris; Algernon Charles Swinburne; Alfred, Lord Tennyson; Edwin Arlington Robinson; T.S.