In the following essay, Jankowski explores the role of Heywood's texts in validating the relationship between mercantile interests and the English monarchy in the development of industry and trade at home and abroad.

In the following essay, Gutierrez contends that Heywood's play is not a tragedy but a melodrama with an open-ended conclusion that provides no solution to the problem of adultery.

In the following excerpt, Courtland examines Heywood's play within the context of Elizabethan colonialism.

In the following excerpt, Johnson discusses Heywood's representations of ideal wives in How a Man May Choose a Good Wife from a Bad and other plays.

In the following essay, Rowland considers The English Traveller as a response to Philip Massinger's play The Roman Actor.

In the following essay, Shady contends that in Love's Mistress Heywood created a hybrid dramatic genre that incorporates features of both plays and masques.

In the following essay, Henderson explains the importance of home in Heywood's most famous play.

In the following essay, Davies discusses Heywood's play as a response to ambiguities in the marriage laws that left women in a vulnerable, but also potentially transgressive, position.

In the following essay, Symonds provides an overview of Heywood's literary career.

In the following essay, Waith discusses Heywood's transformation of the aristocratic “exemplary lives” genre into biographies intended to inspire the general reading public.

In the following essay, Bonahue discusses the role of Heywood's play in providing a forum for debate on the more controversial aspects of the changing culture of the city in early modern England.

In the following essay, Bergeron contends that in Heywood's time, the support of dramatists through patronage had not yet been replaced by support from theater audiences.

In the following essay, Prager maintains that Heywood's play has been underestimated by critics because of the difficulty of dealing with the the subject of slavery issue in dramatic form.