STUDIES IN PHILOLOGY最新文献

Abstract:

The manuscript play Dick of Devonshire has been attributed to several early modern dramatists, including Thomas Heywood, Robert Davenport, James Shirley, and Thomas Dekker. Identifying the author is important to obtaining a better understanding of the play's place in the Caroline commercial theater industry and how it came to be staged by Queen Henrietta Maria's Men in the summer of 1626. This article reviews the arguments that have been made for and against the various authorial candidates and, using historical and literary evidence as well as new computational analysis, establishes that Thomas Heywood is the play's most likely author.

Abstract:

This is a study of William Forrest's "Legend of Theophilus." In the history of devil-compact literature, Theophilus was the ur-Faustus, the preeminent example all across medieval Europe of the foolish man who, for worldly gain, abandoned his soul to the devil. Finished on 27 October 1572, Forrest's version of this tale is a rare example of an English Theophilus legend written in the aftermath of the Reformation rather than in advance of it. This novel context permits Forrest to treat the legend as a critique of Reformation and a defense of Catholic devotion, particularly to the Virgin Mary. Furthermore, as an Elizabethan study in damnation and redemption, Forrest's poem is comparable to Christopher Marlowe's Doctor Faustus, though the two are products of fundamentally different religious milieus. This study ends by reading Forrest's atypical Elizabethan poem alongside Marlowe's more quintessentially Elizabethan play in order to draw out what is most distinctive about both works and the divine economies that animate them.

Abstract:

Debates over the role of Christianity in Beowulf have not fully taken into account hagiographic models. Although saints' lives were among the first written materials to flourish in early medieval England, relatively little has been done to examine the influence of hagiography on Beowulf. After considering some of the reasons for the lack of such approaches, this essay examines Beowulf in light of hagiographic conventions and concepts, arguing that the Beowulf-poet invests the traditional warrior identity of the hero Beowulf with conceptions of sanctity found in saints' lives composed by Bede, Felix, and others. In the process, this essay challenges the prevailing "dramatic irony" view of the poem that divorces the religious understanding of the narrator from that of the characters. A thorough analysis reveals that characters and narrator speak a shared theological language and that the religious perspectives of narrator and dramatis personae are indistinguishable.

Abstract:

This essay explores how the visual culture of the portrait in the early Tudor period, epitomized by Hans Holbein's work, informed and intensified the self-examination, pictorialism, and textual play of Sir Thomas Wyatt's "epistolary satire" to John Pointz, a fellow courtier. Specifically, I argue that Wyatt's ambivalent self-description in this overtly self-righteous poem reimagines the memento mori—a visual reminder of vulnerability and death, often incorporated in portraiture—to deliberately undermine his Stoic self-assertion and to rebuke the reader's credulity.

Abstract:

While still a fugitive at large, the Jesuit poet Robert Southwell published his best-selling prose masterpiece, Mary Magdalens Funerall Teares, which deftly combines the English literary vogue of complaint with Ignatian meditation in an eloquent grand style. While scholarship has mostly treated this work as a meditation for recusant Catholics separated from Christ's body in the Eucharist, as Mary was separated from Christ on Easter morning, this article argues that its widespread popularity and literary influence was a strategic success in large part owing to its bold and timely approach to human passions directed to its Protestant readers. In an era in which England's "finest wits are now given to write passionat discourses," Southwell suggested an alternative both to Neostoic curbing of passion and even to Augustinian moderation, presenting the Magdalen as a figure of godly vehemence in whom reason itself is ruled by a love in which "the excesse cannot be faultie."

Abstract:

This article takes as its subject a philological explication of the name of Touchstone, the fool in William Shakespeare's As You Like It, unpacking its connotations by tracking its usage in early modern print material. Literally a stone used to test gold's purity, the touchstone's metaphorical usage reveals a cultural desire to know true from feigning and likewise intimates violent interrogation when addressing the Jesuit threat to Queen Elizabeth's rule. This enlarged context illuminates a critique of this epistemological method in Touchstone's comedy. There is no certain method to test others, for identity and allegiance are not innate qualities exposed with violent pressure but products of verbal play. Moreover, this method presupposes, then fabricates, guilt.