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The book questions the orthodoxies of previous scholarship and challenges received opinions concerning the poet's status at the court of Henry VIII, his employment by the noble house of Howard, and his motives for launching the satirical assault upon Wolsey. 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The first section focuses on Biblical plays, including coherent sequences of the narrative Cycle plays from York and N-Town and supporting pageants from Chester and Wakefield. This approach allows a clear narrative line to develop, and permits the comparison of the treatment of key stories between the Cycles. The selected material demonstrates how the drama of the towns and cities of East Anglia and the North of England mediated religious culture to a heterodox urban audience, and explored biblical events in an intensely contemporary setting.     In the second and third sections, the attention turns to secular drama, and the Moral Plays and Interludes. The featured texts illustrate the range of themes and issues covered, from the salvation of the individual human soul to the renovation of the political nation, and the variety of settings and audiences for which the plays were designed. 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They enjoyed all of the works printed here, some anthologised in a readily available collection for the first time, seeing in each of them elements of dramatic action, character, and emotional engagement that moved and entertained them. This anthology will allow modern readers to see why, offering a chronological arrangement of the best Tudor plays that allows them to see for themselves the ways in which the traditions and tropes that would characterise the Shakespearean stage were tried and tested through a century of innovation and experiment. 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Each of these works provides a subtle, often courageously critical engagement with the politics of its moment.  To study Heywood's career takes us beyond the clichés of popular history, beyond Shakespeare and the Elizabethan playhouses, beyond the canonical Henrician court poets and the writers of the Elizabethan 'Golden Age', beyond even the experiences of the century's chief ministers, intellectuals, and martyrs, to a theatrical and literary world less visible in the conventional sources. It opens a window on a culture in which the actions of monarchs, their councillors, and their victims were witnessed and reflected upon at one remove from the centres of power. 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