Pub Date : 2019-04-11DOI: 10.1093/OSO/9780198834694.003.0002
Katarzyna Lecky
Chapter 2 contrasts Spenser’s affinity for the miniature with Samuel Daniel’s denigration of it. In his laureate poems, Daniel attempted to undermine the cheap county maps that provided an alternative geographic imaginary to James I’s royal unification of England with Scotland. To do so, he borrowed from the language of the survey, a privileged testing-ground for translating the national topography into a broadly comprehensible set of signifiers. Daniel’s chapbooks the Panegyrike Congratulatorie (1603) and the 1607 Funerall Poem both reject the egalitarian principles of practical surveying to instead map for James a magisterial imperial state. This interpretation offers a corrective to existing scholarship on the poet as a populist nationalist by arguing that his works articulated a deeply hierarchical view of the realm. I contrast Daniel’s geographical elitism with John Norden’s accessible pocket-sized guides and surveying manuals circulating in the commonwealth culture of the Inns of Court.
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Pub Date : 2019-04-11DOI: 10.1093/OSO/9780198834694.003.0001
Katarzyna Lecky
Chapter 1 reads Spenser’s 1590 Faerie Queene in light of the miniature cartographic aesthetic exemplified by William Bowes’s 1590 county playing cards. I show that in the poem, which earned Spenser a pension from Elizabeth I, Amoret’s cut-up body represents in microcosm the imperial dissection of England and Wales by Christopher Saxton’s 1579 royally-funded county atlas. The romance heroine’s small size and unadorned beauty, which closely parallel the raw aesthetic of cheap maps, reveal the miniature’s potential to resist monarchical illusions of grandeur. This aesthetic reappears in Spenser’s descriptions of the Thames in Prothalamion (1596), as well as of Irish rebels resisting English colonization in the 1596 Vewe of the Present State of Irelande. In both, Spenser’s engagement with the geographic imaginary of small-format cartography complicates scholarly assumptions about the poet’s nationalism.
第一章根据威廉·鲍斯1590年的乡村纸牌所体现的微型地图美学来解读斯宾塞1590年的《仙后》。这首诗为斯潘塞赢得了伊丽莎白一世的抚恤金，我在诗中指出，阿莫雷特被肢解的身体是1579年克里斯托弗·萨克斯顿(Christopher Saxton)由王室资助的郡地图集对英格兰和威尔士进行的帝国解剖的缩影。浪漫女主角的小尺寸和朴素的美丽，与廉价地图的原始美学非常相似，揭示了微缩版的潜力，可以抵制君主制的宏伟幻想。这种审美在斯宾塞1596年出版的《普罗塔拉米翁》(Prothalamion)中对泰晤士河的描写，以及1596年出版的《爱尔兰现状》(Vewe of the Present State of Irish)中对抵抗英国殖民的爱尔兰叛军的描写中再次出现。在这两本书中，斯宾塞对小格式制图的地理想象的参与使关于诗人民族主义的学术假设复杂化。
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Pub Date : 2019-04-11DOI: 10.1093/OSO/9780198834694.003.0005
Katarzyna Lecky
Chapter 5 turns to Milton’s exploration of custom as it informs Britain’s ancient territories of civic liberty in A Maske Presented at Ludlow Castle (1637/45). Milton’s poetic map of the uneasy lands around the Welsh border juxtaposes competing visions of the land as massive or minuscule with rival definitions of its character as a Crown holding or a distinct nation. Like the pocket cartography it physically resembles, the poet’s publication is a rebus that argues on both lexical and image-based levels for a British government whose magistrates serve as temperate and virtuous representatives of the commons, acting in relative autonomy within the polity.
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Pub Date : 2019-04-11DOI: 10.1093/OSO/9780198834694.003.0004
Katarzyna Lecky
Chapter 4 begins by placing Davenant’s first laureate chapbook Madagascar (1638) into conversation with the popular pocket atlases of the 1620s and 1630s to argue that the poet’s imagistic “Numbers” map links between geographical precision and societal betterment. As he argues in his Discourse on Gondibert (his Sidneian defense of poesy), Davenant believed that the numerical structure of poetry could speak to a broad public sphere defined by its constituents’ numeracy, at a time when numbers were emerging as a prime language for measuring the shifting British landscape. Davenant’s royalist carto-poiesis reemerges in his chart of London as the “Royall city” in King Charles his Augusta (1648) on the eve of the regicide. His work to remap monarchical prerogative onto the national topography constituted a deliberate challenge to the geographic imaginary of the small-format cartography which pervaded the popular culture of mid-seventeenth-century Britain.
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Pub Date : 2019-04-11DOI: 10.1093/OSO/9780198834694.003.0003
Katarzyna Lecky
Chapter 3 turns to Ben Jonson’s first laureate chapbook, His Part (1604), written for James I’s first royal entrance into London. Here, Jonson imagines the Inns of Court as a lodestone that disrupts the imperial compass marking the king as the pole star of the state. Instead, Jonson points to the ordinary people at the center of the king’s newly conjoined realm. Jonson’s poems measure the commonwealth according to the standards of civic identity in ways that anticipate the practicality of the numeric distance tables in Norden’s Intended Guyde (1624). An archival discovery of King James’s personal copy of the Guyde also shows the presence of popular cartography at the highest spheres of British governance, and offers a fresh perspective on the kinds of geographical knowledge shaping the intersections of space, place, and national identity in the early seventeenth century.
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