{"title":"Kathleen Diffley Coleman Hutchison. The Cambridge Companion to the Literature of the American Civil War and Reconstruction","authors":"Jamie Fenton","doi":"10.1093/res/hgad016","DOIUrl":"https://doi.org/10.1093/res/hgad016","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122239189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Peter Adkins.The Modernist Anthropocene: Nonhuman Life and Planetary Change in James Joyce, Djuna Barnes and Virginia Woolf","authors":"Caroline Hovanec","doi":"10.1093/res/hgad017","DOIUrl":"https://doi.org/10.1093/res/hgad017","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115409988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay addresses the intriguing frequency of insect lyrics in seventeenth-century English poetry. While dramatic developments in the scientific and artistic regimes, including the invention of the microscope and the rise of still-life painting, undoubtedly played a role in this proliferation of entomological texts, this essay suggests that the figure of the insect was also deployed by early modern poets to probe the formal and imaginative potentialities of lyric, a genre that assumed a prominence over the course of the seventeenth century. The diminutive size, brief lifespan, and intricate anatomy of insects resonate with the formal qualities of lyric as short, compressed, and technically demanding objects of poetic matter, and the ambivalent attitudes to insects embody the contradictions surrounding the early modern idea of lyric. By using the life of fleas, glowworms, flies, bees, and grasshoppers to think through questions of lyric ontology, early modern poets from Donne to Killigrew redraw the familiar contours of the lyric genre as a contested territory of fascination and disgust with insect poiesis caught between human and animal, nature and machine, and life and death.
{"title":"Lyric Machines: Insects in Seventeenth-Century Poetry","authors":"D. Sokolov","doi":"10.1093/res/hgad005","DOIUrl":"https://doi.org/10.1093/res/hgad005","url":null,"abstract":"\u0000 This essay addresses the intriguing frequency of insect lyrics in seventeenth-century English poetry. While dramatic developments in the scientific and artistic regimes, including the invention of the microscope and the rise of still-life painting, undoubtedly played a role in this proliferation of entomological texts, this essay suggests that the figure of the insect was also deployed by early modern poets to probe the formal and imaginative potentialities of lyric, a genre that assumed a prominence over the course of the seventeenth century. The diminutive size, brief lifespan, and intricate anatomy of insects resonate with the formal qualities of lyric as short, compressed, and technically demanding objects of poetic matter, and the ambivalent attitudes to insects embody the contradictions surrounding the early modern idea of lyric. By using the life of fleas, glowworms, flies, bees, and grasshoppers to think through questions of lyric ontology, early modern poets from Donne to Killigrew redraw the familiar contours of the lyric genre as a contested territory of fascination and disgust with insect poiesis caught between human and animal, nature and machine, and life and death.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124542259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores a previously unknown manuscript of the anonymous academic drama Lingua. Housed in the Bridgeman family archives in Staffordshire Record Office, the manuscript is similar but by no means identical to the 1607 printed edition. I examine the manuscript’s possible provenance, its distinctive features and key variants (including its attention to act music), before focusing on two substantial original passages. Both of these episodes demonstrate a clear satirical interest in Wales, recycling as they do various Welsh stereotypes common in professional drama of the early seventeenth century. I argue that these sections—which also bear the mark of an engagement with Spenser and Rabelais—enrich our understanding not only of Lingua but of the links between university drama and wider literary and theatrical cultures. I conclude that these sections are likely authorial, and that Thomas Tomkis (to whom the play is usually attributed) may well have contributed to or overseen the production of the manuscript.
{"title":"A Seventeenth-Century Manuscript of the Academic Drama Lingua","authors":"Jennie Challinor","doi":"10.1093/res/hgad009","DOIUrl":"https://doi.org/10.1093/res/hgad009","url":null,"abstract":"\u0000 This article explores a previously unknown manuscript of the anonymous academic drama Lingua. Housed in the Bridgeman family archives in Staffordshire Record Office, the manuscript is similar but by no means identical to the 1607 printed edition. I examine the manuscript’s possible provenance, its distinctive features and key variants (including its attention to act music), before focusing on two substantial original passages. Both of these episodes demonstrate a clear satirical interest in Wales, recycling as they do various Welsh stereotypes common in professional drama of the early seventeenth century. I argue that these sections—which also bear the mark of an engagement with Spenser and Rabelais—enrich our understanding not only of Lingua but of the links between university drama and wider literary and theatrical cultures. I conclude that these sections are likely authorial, and that Thomas Tomkis (to whom the play is usually attributed) may well have contributed to or overseen the production of the manuscript.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121135051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Matthew Parris. Vital Strife: Sleep, Insomnia, and the Early Modern Ethics of Care","authors":"J. Sell","doi":"10.1093/res/hgad011","DOIUrl":"https://doi.org/10.1093/res/hgad011","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124161648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Donald A Beecher Grant Williams. Henry Chettle, ‘Kind-Heart’s Dream’ and ‘Piers Plainness’: Two Pamphlets from the Elizabethan Book Trade","authors":"Tom Rutter","doi":"10.1093/res/hgad007","DOIUrl":"https://doi.org/10.1093/res/hgad007","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133673606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Amanda Sigler. Modernist Authorship and Transatlantic Periodical Culture","authors":"Siân Round","doi":"10.1093/res/hgad010","DOIUrl":"https://doi.org/10.1093/res/hgad010","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123173151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It is often assumed that some of the people remembered by Christopher Smart in the last fragment of Jubilate Agno (1758–1763) visited him during his detention in Potter’s madhouse. Jermyn Pratt, Norfolk clergyman and Smart’s fellow student at Cambridge, might not have been among Smart’s visitors, but the ‘mad’ poet interceded for Pratt’s father and family nevertheless: ‘Let Ruston, house of Ruston rejoice with Fulviana Herba, ab inventore, good to provoke urine. Lord have mercy upon Roger Pratt and his family.’ Other references to Pratt, his sister Harriot (Smart’s former love), and their Norfolk home, Ryston Hall, feature in Smart’s writings. Pratt’s place in literary history has rested on his association with Smart until now. This noteworthy and enterprising volume, carefully prepared and annotated by Ema Vyroubalová and James Robert Wood, brings Pratt’s dramatic, poetic, and essayistic works into print, establishing him as ‘an imaginative and idiosyncratic writer in his own right’ (2). From the uproarious comedy The Grange (c. 1774) to the sobering tract A Modest Address to Lewis (c. 1784), Pratt’s literary papers provide fresh and lively insights into the culture, society, and politics of provincial Norfolk in the eighteenth century.
人们通常认为，克里斯托弗·斯玛特(Christopher Smart)在《欢喜阿格诺》(Jubilate Agno, 1758-1763)的最后一个片段中记得的一些人，在波特被关押在疯人院期间拜访了他。杰米恩·普拉特是诺福克郡的牧师，也是斯玛特在剑桥的同学，他可能不在斯玛特的访客之列，但这位“疯狂”的诗人还是为普拉特的父亲和家人求情:“让拉斯顿，拉斯顿的家人为富尔维亚娜·赫巴(Fulviana Herba)感到高兴吧，这是一种发明，能激发尿液。”上帝保佑罗杰·普拉特和他的家人。斯玛特的作品中还提到了普拉特、他的妹妹哈里奥特(斯玛特的旧情人)，以及他们在诺福克的家莱斯顿庄园。直到现在，普拉特在文学史上的地位一直取决于他与斯玛特的关系。这本值得注意和进取的书，由Ema vyroubalov和James Robert Wood精心准备和注释，将普拉特的戏剧，诗歌和散文式作品出版，使他成为“一个富有想象力和独特风格的作家”(2)。从喧闹的喜剧《画庄》(约1774年)到发人深省的小册子《致刘易斯的温和演说》(约1784年)，普拉特的文学论文提供了对文化，社会，以及18世纪诺福克省的政治
{"title":"<scp>Ema Vyroubalová</scp> and <scp>James Robert Wood</scp> (eds). <i>The Literary Papers of the Reverend Jermyn Pratt (1723–1791)</i>","authors":"Philip Trotter","doi":"10.1093/res/hgad008","DOIUrl":"https://doi.org/10.1093/res/hgad008","url":null,"abstract":"It is often assumed that some of the people remembered by Christopher Smart in the last fragment of Jubilate Agno (1758–1763) visited him during his detention in Potter’s madhouse. Jermyn Pratt, Norfolk clergyman and Smart’s fellow student at Cambridge, might not have been among Smart’s visitors, but the ‘mad’ poet interceded for Pratt’s father and family nevertheless: ‘Let Ruston, house of Ruston rejoice with Fulviana Herba, ab inventore, good to provoke urine. Lord have mercy upon Roger Pratt and his family.’ Other references to Pratt, his sister Harriot (Smart’s former love), and their Norfolk home, Ryston Hall, feature in Smart’s writings. Pratt’s place in literary history has rested on his association with Smart until now. This noteworthy and enterprising volume, carefully prepared and annotated by Ema Vyroubalová and James Robert Wood, brings Pratt’s dramatic, poetic, and essayistic works into print, establishing him as ‘an imaginative and idiosyncratic writer in his own right’ (2). From the uproarious comedy The Grange (c. 1774) to the sobering tract A Modest Address to Lewis (c. 1784), Pratt’s literary papers provide fresh and lively insights into the culture, society, and politics of provincial Norfolk in the eighteenth century.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135489621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract An active supporter of the theatre in Edinburgh and London, Walter Scott also extensively edited and commented on plays both ancient and modern. As a dramatist he wrote five original works, though he never achieved anything like the success he found with poetry and fiction. Only The House of Aspen, a Tragedy and Auchindrane; or, The Ayrshire Tragedy were staged, briefly, during the author’s lifetime. Written in collaboration with the actor Daniel Terry in 1817–1818, The Doom of Devorgoil, a Melo-drama was eventually rejected. Seemingly not even offered to theatres, Halidon Hill was published as a standalone work in 1822. A single-scene piece, Macduff’s Cross, appeared in a miscellany to fulfil an obligation to Joanna Baillie. Against the backdrop of Scott’s admitted failures as a dramatist, this essay examines the five playtexts in print, paying particular attention to different forms of residual theatricality still traceable in the works. Reading the plays entails due consideration of performance-focused paratexts, as well as scene divisions and speech prefixes, alongside a range of textual interruptions, emotionally descriptive stage directions, bookish motifs, and other print-centric devices.
作为爱丁堡和伦敦戏剧的积极支持者，沃尔特·斯科特还广泛编辑和评论古代和现代戏剧。作为剧作家，他写了五部原创作品，尽管他从未取得过像诗歌和小说那样的成功。只有《阿斯彭之家》、《悲剧》和《奥钦德兰》《艾尔郡悲剧》在作者生前短暂上演过。1817年至1818年，梅洛与演员丹尼尔·特里(Daniel Terry)合作创作了《德沃戈伊的末日》(the Doom of Devorgoil)，最终被否决。1822年，《哈利顿山》(Halidon Hill)作为一部独立作品出版，甚至似乎都没有提供给剧院。《麦克达夫的十字架》(Macduff’s Cross)这首单幕作品出现在一本杂集上，是为了履行对乔安娜·贝利的义务。本文以史考特作为剧作家所承认的失败为背景，考察了五部已出版的剧本，并特别关注了在作品中仍可追溯的不同形式的残余戏剧性。阅读戏剧需要适当考虑以表演为中心的文本，以及场景划分和语音前缀，以及一系列文本中断，情感描述性舞台方向，书籍主题和其他以印刷为中心的设备。
{"title":"Reading Walter Scott’s Dramas","authors":"Daniel Cook","doi":"10.1093/res/hgad004","DOIUrl":"https://doi.org/10.1093/res/hgad004","url":null,"abstract":"Abstract An active supporter of the theatre in Edinburgh and London, Walter Scott also extensively edited and commented on plays both ancient and modern. As a dramatist he wrote five original works, though he never achieved anything like the success he found with poetry and fiction. Only The House of Aspen, a Tragedy and Auchindrane; or, The Ayrshire Tragedy were staged, briefly, during the author’s lifetime. Written in collaboration with the actor Daniel Terry in 1817–1818, The Doom of Devorgoil, a Melo-drama was eventually rejected. Seemingly not even offered to theatres, Halidon Hill was published as a standalone work in 1822. A single-scene piece, Macduff’s Cross, appeared in a miscellany to fulfil an obligation to Joanna Baillie. Against the backdrop of Scott’s admitted failures as a dramatist, this essay examines the five playtexts in print, paying particular attention to different forms of residual theatricality still traceable in the works. Reading the plays entails due consideration of performance-focused paratexts, as well as scene divisions and speech prefixes, alongside a range of textual interruptions, emotionally descriptive stage directions, bookish motifs, and other print-centric devices.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135491125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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