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Katharine Eisaman Maus explores Renaissance writers' uneasy preoccupation with the inwardness and invisibility of truth. The perceived discrepancy between a person's outward appearance and inward disposition, she argues, deeply influenced the ways English Renaissance dramatists and poets conceived of the theater, imagined dramatic characters, and reflected upon their own creativity.

Reading works by Kyd, Marlowe, Shakespeare, Jonson, and Milton in conjuction with sectarian polemics, gynecological treatises, and accounts of criminal prosecutions, Maus delineates unexplored connections among religious, legal, sexual, and theatrical ideas of inward truth. She reveals what was at stake—ethically, politically, epistemologically, and theologically—when a writer in early modern England appealed to the difference between external show and interior authenticity. Challenging the recent tendency to see early modern selfhood as defined in wholly public terms, Maus argues that Renaissance dramatists continually payed homage to aspects of inner life they felt could never be manifested onstage.

Irish Drama in Poland is the first book to broadly assess Irish drama’s impact on both Poland’s theatrical world and its cultural and literary heritage in the twentieth century. With a wide-ranging analysis—from Yeats, Synge, O’Casey, and Behan, to Wilde, Shaw, and Beckett—this engaging study explores the translation, production, and reception of Irish plays in Poland. Barry Keane presents readers with the historical and literary context for each production, allowing readers to understand the many ways Irish theater has informed Poland’s theatrical and literary heritage. Including a foreword by translation scholar Michael Cronin, Irish Drama in Poland drives home the importance of exploring intercultural contexts, allowing readers a more informed understanding of European culture and identity.