This pioneering collection of nine original essays carves out a new conceptual path in the field by theorizing the ways in which the language of games and warfare inform and illuminate each other in the early modern cultural imagination. They consider how warfare and games are mapped onto each other in aesthetically and ideologically significant ways in the plays, poetry, or prose of William Shakespeare, Thomas Morton, John Milton, Margaret Cavendish, Aphra Behn, and Jonathan Swift, among others. Contributors interpret the terms ‘war games’ or ‘games of war’ broadly, freeing them to uncover the more complex and abstract interplay of war and games in the early modern mind, taking readers from the cockpits and clowns of Shakespearean drama, through the intriguing manuals of cryptographers and the ingenious literary war games of Restoration women authors, to the witty but rancorous paper wars of the late seventeenth and early eighteenth centuries.

Olonkho is the general name for the entire Yakut heroic epic that consists of many long legends – one of the longest being ‘Nurgun Botur the Swift’ consisting of some 36,000 lines of verse, published here. Like Homer’s Iliad and Odyssey, the Finnish Kalevala, the Buryat Geser, and the Kirghiz Manas, the Yakut Olonkho is an epic of a very ancient origin dating back to the period – possibly as early as the eighth or ninth centuries – when the ancestors of the present-day Yakut peoples lived on their former homeland and closely communicated with the Turkic and Mongolian peoples living in the Altay and Sayan regions. As with all Olonkho stories the hero – in this story Nurgun Botur the Swift – and his tribe are heaven-born, hence his people are referred to as ‘Aiyy kin’ (the deity’s relatives). Naturally, too, on account of his vital role (in saving his people from destruction and oblivion by evil, many-legged, fire-breathing, one-armed, one legged Cyclops-type monsters – the Devil’s relatives representing all possible sins), he is depicted not only as strong, but also a handsome, remarkably athletic and incredibly brave and well-built man ‘as swift as an arrow’, but also with an uncontrollable temper when required.

Since the first secret publication, in 1740, of part of his correspondence with Alexander Pope, Jonathan Swift's letters have become a standard source for his biographers and critics. Craig Ulman argues that the letters are not entirely reliable for biographical fact and have often been taken too literally. In this readable essay, Ulman surveys the satiric material in Swift's correspondence, highlighting his wit. The author views Swift's epistolary writing as very much a literary endeavor. He examines the pose and the persona and discusses the satiric methods the letters share with Swift's other published works.

This is the second volume of Irvin Ehrenpreis's trilogy, and deals with the period 1699-1714. The years between 1699 and 1710 were a time of training—in some ways unfortunate, as Ehrenpreis shows—for the dramatic four years which followed for Swift, as a political journalist in England.

Swift's ecclesiastical career, his search for preferment and the gradual transformation of his social life are examined. The author also scrutinizes Swift's attachment to Esther Johnson and Esther Vanhomrigh, the evolution of his political principles, and his unconscious motivations, and he reaches some original conclusions. Above all, however, Ehrenpreis concentrates on Swift's literary works of this period; and for some of these, such as An Argument against Abolishing Christianity, The Conduct of the Allies, and A Discourse of the Contests and Dissensions, he provides analyses that can stand as independent critical essays.

Volume Two lives up in every way to the high hopes generated for it by Volume One. It draws widely on contemporary documents and on modern research into Swift's life and times, providing much new information as well as judgements that are both judicious and original.

There has been no full length biography of Swift based on primary sources since Sir Henry Craik's life in 1882. In this first volume of three the author treats in detail the events of Swift's life, the historical and social setting of those events, the evolution of Swift's character, and the composition and interpretation of his works. New and important material is included concerning Swift's family and career, his emotional life, his relations with Sir William Temple, the design and meaning of A Tale of a Tub and The Battle of the Books. The methods of interpretation used are comprehensive; Swift's emotional and sexual problems are treated in Freudian terms (but not in psychoanalytical technical language), his career is discussed as a problem in historical sociology, his works are given close readings, and where symbolic interpretations seem justified they are not dodged.