Abstract:This essay links the Mannerist figura serpentinata to the figure of the serpent in John Milton's Paradise Lost. The figura serpentinata depicts human forms in twisting, upwardly spiraling poses in order to convey man's moral and spiritual growth through dynamic physical realism. I argue that Milton draws on the figura serpentinata in order to develop a poetics of becoming that links wandering, twisting figures to the dialectic between creation and learning through which humans and the created world ascend up the great chain of being as they gradually increase in perfection. This shape—figured through the language of wandering, error, turning, and other serpentine phrases—constitutes nothing less than the defining shape of prelapsarian ontology and knowledge.
{"title":"The Figura Serpentinata in Paradise Lost","authors":"A. Atkinson","doi":"10.1353/sip.2023.0011","DOIUrl":"https://doi.org/10.1353/sip.2023.0011","url":null,"abstract":"Abstract:This essay links the Mannerist figura serpentinata to the figure of the serpent in John Milton's Paradise Lost. The figura serpentinata depicts human forms in twisting, upwardly spiraling poses in order to convey man's moral and spiritual growth through dynamic physical realism. I argue that Milton draws on the figura serpentinata in order to develop a poetics of becoming that links wandering, twisting figures to the dialectic between creation and learning through which humans and the created world ascend up the great chain of being as they gradually increase in perfection. This shape—figured through the language of wandering, error, turning, and other serpentine phrases—constitutes nothing less than the defining shape of prelapsarian ontology and knowledge.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46451481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The Memoirs of the Life of Joshua Dudley (1772) has received virtually no critical attention since its publication, and this is undeserved. Memoirs participates in several important eighteenth-century literary genres: it is an autobiography and a convict narrative that includes picaresque and sea adventures and subordinates within it poetry and joke-book, trickster anecdotes. Although two social historians have discussed its role within their treatment of the contemporary terrorist attack on the Royal Dockyards (1770), it has more to tell us about the role of Quakers, especially within the merchant class, and the conflict between religious belief and commercial success. Consideration of pertinent material in the periodical literature of the day, particularly the Whisperer (1771) and the Craftsman and the Virginia Gazette (1774), allow us to round out the life story given in the Memoirs, as well as suggesting that the appetite of the reading public transcended generic limitations. Finally, Memoirs is a fascinating narrative of Dudley's virtuoso dedication to the art of duplicity that leaves us wishing we had more of his writings.
{"title":"Social History and Literary Genres in Mid-Eighteenth-Century Britain: Or, the Strange and Fascinating Case of Joshua Dudley","authors":"R. Walker","doi":"10.1353/sip.2023.0012","DOIUrl":"https://doi.org/10.1353/sip.2023.0012","url":null,"abstract":"Abstract:The Memoirs of the Life of Joshua Dudley (1772) has received virtually no critical attention since its publication, and this is undeserved. Memoirs participates in several important eighteenth-century literary genres: it is an autobiography and a convict narrative that includes picaresque and sea adventures and subordinates within it poetry and joke-book, trickster anecdotes. Although two social historians have discussed its role within their treatment of the contemporary terrorist attack on the Royal Dockyards (1770), it has more to tell us about the role of Quakers, especially within the merchant class, and the conflict between religious belief and commercial success. Consideration of pertinent material in the periodical literature of the day, particularly the Whisperer (1771) and the Craftsman and the Virginia Gazette (1774), allow us to round out the life story given in the Memoirs, as well as suggesting that the appetite of the reading public transcended generic limitations. Finally, Memoirs is a fascinating narrative of Dudley's virtuoso dedication to the art of duplicity that leaves us wishing we had more of his writings.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45899815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In his Series, the fifteenth-century English poet Thomas Hoccleve repeatedly expresses skepticism about his ability to know himself and about the ability of others to know him. While he repeatedly seeks outside validation from a mirror, from the judgments of others, and from a trusted Friend, each source of knowledge proves to be unreliable. By questioning not only his own perception but that of others—his neighbors, his readers, his characters—Hoccleve sets up the question of skepticism as the central problem of the Series. The disordered, fragmented frame narrative of the Series embeds this problem into the formal characteristics of the poem. In narrating his own writing process, with its interruptions, changes of purpose, and revisions, Hoccleve undercuts the reliability of the frame narrative structure and questions whether his poetry can provide stable knowledge.
{"title":"Skepticism and the Form of Thomas Hoccleve's Series","authors":"E. Harper","doi":"10.1353/sip.2023.0006","DOIUrl":"https://doi.org/10.1353/sip.2023.0006","url":null,"abstract":"Abstract:In his Series, the fifteenth-century English poet Thomas Hoccleve repeatedly expresses skepticism about his ability to know himself and about the ability of others to know him. While he repeatedly seeks outside validation from a mirror, from the judgments of others, and from a trusted Friend, each source of knowledge proves to be unreliable. By questioning not only his own perception but that of others—his neighbors, his readers, his characters—Hoccleve sets up the question of skepticism as the central problem of the Series. The disordered, fragmented frame narrative of the Series embeds this problem into the formal characteristics of the poem. In narrating his own writing process, with its interruptions, changes of purpose, and revisions, Hoccleve undercuts the reliability of the frame narrative structure and questions whether his poetry can provide stable knowledge.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49087213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay argues that Thomas Stanley's magisterial History of Philosophy influenced the evolution of Margaret Cavendish's thought in ways that have not been previously recognized. While scholars have discussed Cavendish's evolving views of atomism and materialism, a comparison of her attitudes toward Pythagoras and toward skepticism before and after 1660 suggests that Cavendish adopted a more nuanced approach to skepticism—and to philosophical debate and dissent more generally—after encountering Stanley's work. Her reading of Sextus Empiricus's Outlines of Pyrrhonism in Stanley's 1660 volume may also have informed her vigorous epistolary exchanges with Joseph Glanvill on the subject of witchcraft.
{"title":"The Impact of Thomas Stanley's History of Philosophy on Margaret Cavendish","authors":"A. Sherman","doi":"10.1353/sip.2023.0010","DOIUrl":"https://doi.org/10.1353/sip.2023.0010","url":null,"abstract":"Abstract:This essay argues that Thomas Stanley's magisterial History of Philosophy influenced the evolution of Margaret Cavendish's thought in ways that have not been previously recognized. While scholars have discussed Cavendish's evolving views of atomism and materialism, a comparison of her attitudes toward Pythagoras and toward skepticism before and after 1660 suggests that Cavendish adopted a more nuanced approach to skepticism—and to philosophical debate and dissent more generally—after encountering Stanley's work. Her reading of Sextus Empiricus's Outlines of Pyrrhonism in Stanley's 1660 volume may also have informed her vigorous epistolary exchanges with Joseph Glanvill on the subject of witchcraft.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49426113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article considers three manuscript witnesses to the Musæ Responsoriæ, George Herbert's answer to Andrew Melville's polemical poem Anti-Tami-Cami-Categoria. None of these, two of them complete copies, was known to Herbert's first modern editor, F. E. Hutchinson, nor are they mentioned in any of the several subsequent editions of Herbert's Latin verse, all of which follow Hutchinson's sole source, the 1662 Ecclesiastes Solomonis of James Duport. In addition to providing descriptions of their contents and provenance, we survey the substantive variants and accidentals pertaining to the two complete copies and argue why one in particular will supplant Duport as copy-text for the new edition of Herbert's works currently in progress for Oxford University Press. Our essay also presents a hitherto unknown Latin epigram that appears in the other complete copy and considers evidence for attributing the poem to the author of The Temple.
摘要：本文考虑了乔治·赫伯特（George Herbert）对安德鲁·梅尔维尔（Andrew Melville）的论战诗《反塔米·卡米·卡特戈里亚》（Anti-Tami Cami Categoria）的回答《回应博物馆》（MusæResponsoriæ）的三位手稿见证人。赫伯特的第一位现代编辑F.E.Hutchinson不知道这些，其中两本是完整的，赫伯特的拉丁诗的后续几个版本中也没有提到它们，所有这些版本都遵循了Hutchinsson的唯一来源，1662年詹姆斯·杜波特的《所罗门传道书》。除了提供其内容和出处的描述外，我们还调查了与这两份完整副本有关的实质性变体和意外，并解释了为什么其中一份将取代Duport成为目前正在为牛津大学出版社出版的赫伯特作品新版的复制文本。我们的文章还提出了一个迄今为止不为人知的拉丁语警句，出现在另一个完整的副本中，并考虑了将这首诗归因于《圣殿》作者的证据。
{"title":"Neglected Witnesses to George Herbert's Musæ Responsoriæ, and a Previously Unpublished Poem, \"Wren cum Chirothecis\"","authors":"R. Whalen, Luke Roman","doi":"10.1353/sip.2023.0008","DOIUrl":"https://doi.org/10.1353/sip.2023.0008","url":null,"abstract":"Abstract:This article considers three manuscript witnesses to the Musæ Responsoriæ, George Herbert's answer to Andrew Melville's polemical poem Anti-Tami-Cami-Categoria. None of these, two of them complete copies, was known to Herbert's first modern editor, F. E. Hutchinson, nor are they mentioned in any of the several subsequent editions of Herbert's Latin verse, all of which follow Hutchinson's sole source, the 1662 Ecclesiastes Solomonis of James Duport. In addition to providing descriptions of their contents and provenance, we survey the substantive variants and accidentals pertaining to the two complete copies and argue why one in particular will supplant Duport as copy-text for the new edition of Herbert's works currently in progress for Oxford University Press. Our essay also presents a hitherto unknown Latin epigram that appears in the other complete copy and considers evidence for attributing the poem to the author of The Temple.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45972027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In 1656, clergyman Abraham Wright edited and printed Parnassus Biceps, an unabashedly royalist poetic miscellany. Though under the radar in both Wright's day and our own, Biceps performs crucial political work through a program of aesthetic education. This is accomplished in part by Biceps's repeated insistence on its university pedigree and by the inclusion of a number of "flawed beauty" poems, poems that locate, hyperfixate on, and praise a perceived flaw in an otherwise beautiful woman. Through these poems , Biceps attempts to reconfirm the normative gender hierarchy and emphasizes the masculine prerogative to create, circulate, and assign meaning to women. Further, centering and praising a perceived flaw render the flawed beauty poems of Wright's anthology analogous to the royalist cause itself. The coalition of ideological positions grouped under the rubric of royalism not only acknowledged but indeed embraced a flawed king and flawed church at its center. Poems celebrating flawed beauty can thus be assimilated to the defense of an imperfect (dead) king and an imperfect (disestablished) religion. As such, this seemingly trivial volume performs urgent political and aesthetic work by embarking upon the project of urging a scattered, defeated royalist cohort to continue to support their heroically flawed cause.
{"title":"Flawed Beauty, Flawed Cause: The Political Aesthetics of Parnassus Biceps (1656)","authors":"Gina Filo","doi":"10.1353/sip.2023.0009","DOIUrl":"https://doi.org/10.1353/sip.2023.0009","url":null,"abstract":"Abstract:In 1656, clergyman Abraham Wright edited and printed Parnassus Biceps, an unabashedly royalist poetic miscellany. Though under the radar in both Wright's day and our own, Biceps performs crucial political work through a program of aesthetic education. This is accomplished in part by Biceps's repeated insistence on its university pedigree and by the inclusion of a number of \"flawed beauty\" poems, poems that locate, hyperfixate on, and praise a perceived flaw in an otherwise beautiful woman. Through these poems , Biceps attempts to reconfirm the normative gender hierarchy and emphasizes the masculine prerogative to create, circulate, and assign meaning to women. Further, centering and praising a perceived flaw render the flawed beauty poems of Wright's anthology analogous to the royalist cause itself. The coalition of ideological positions grouped under the rubric of royalism not only acknowledged but indeed embraced a flawed king and flawed church at its center. Poems celebrating flawed beauty can thus be assimilated to the defense of an imperfect (dead) king and an imperfect (disestablished) religion. As such, this seemingly trivial volume performs urgent political and aesthetic work by embarking upon the project of urging a scattered, defeated royalist cohort to continue to support their heroically flawed cause.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44938611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In a controversial attempt to impose order after the Gunpowder Plot, James I sought to require the entire nation to take an Oath of Allegiance confirming his political and religious authority. This essay traces two popular attacks on London's immorality and disunity performed in St. Paul's Cathedral churchyard that respond to the Oath during this period (1606–1609): Thomas Middleton's "city comedy" The Puritan Widow, performed by the choirboy-actors of St. Paul's, and William Crashawe's Paul's Cross sermon Against the Papists and Brownists. Despite Crashawe's famous denunciation of Middleton from the pulpit, I argue that Middleton's iconoclastic play carefully reforms its own satire and concludes with a proposal for a united front between the Puritans and their less zealous coreligionists against Catholics and foreigners that would have been acceptable to a preacher like Crashawe in matter if not in medium.
{"title":"The \"Puritan\" Preacher and The Puritan Widow","authors":"P. Timmis","doi":"10.1353/sip.2023.0003","DOIUrl":"https://doi.org/10.1353/sip.2023.0003","url":null,"abstract":"Abstract:In a controversial attempt to impose order after the Gunpowder Plot, James I sought to require the entire nation to take an Oath of Allegiance confirming his political and religious authority. This essay traces two popular attacks on London's immorality and disunity performed in St. Paul's Cathedral churchyard that respond to the Oath during this period (1606–1609): Thomas Middleton's \"city comedy\" The Puritan Widow, performed by the choirboy-actors of St. Paul's, and William Crashawe's Paul's Cross sermon Against the Papists and Brownists. Despite Crashawe's famous denunciation of Middleton from the pulpit, I argue that Middleton's iconoclastic play carefully reforms its own satire and concludes with a proposal for a united front between the Puritans and their less zealous coreligionists against Catholics and foreigners that would have been acceptable to a preacher like Crashawe in matter if not in medium.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45803728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay argues from the nature of Henry Fielding's Jonathan Wild as a miscellaneous linguistic salmagundi to a proposition that it is held together by a leitmotif of equally miscellaneous and perplexing opposites, which Fielding refers to as foils: the good-natured Heartfree being a foil to the villainous and hypocritical Wild. Fielding's usual ethical positives are foiled not only by Wild, but also by the strangely metaleptic "Good-natured Hole" in Laetitia's "Handkerchief," which exposes her bosom. Mrs. Heartfree's appeal to divine "PROVIDENCE" is foiled by the insertion of a phrase and an episode derived from the subversive philosophy of Baruch Spinoza, which gives notice of a contrary attitude to cause and effect. Anti-Walpole satirical innuendoes are accompanied by another set of winks and nudges which develop a previously unnoticed anti-Jacobite subtext with which Walpole would have been in full agreement.
{"title":"Jonathan Wild: Spinoza, the Foil, and the Jacobites","authors":"Mark Loveridge","doi":"10.1353/sip.2023.0005","DOIUrl":"https://doi.org/10.1353/sip.2023.0005","url":null,"abstract":"Abstract:This essay argues from the nature of Henry Fielding's Jonathan Wild as a miscellaneous linguistic salmagundi to a proposition that it is held together by a leitmotif of equally miscellaneous and perplexing opposites, which Fielding refers to as foils: the good-natured Heartfree being a foil to the villainous and hypocritical Wild. Fielding's usual ethical positives are foiled not only by Wild, but also by the strangely metaleptic \"Good-natured Hole\" in Laetitia's \"Handkerchief,\" which exposes her bosom. Mrs. Heartfree's appeal to divine \"PROVIDENCE\" is foiled by the insertion of a phrase and an episode derived from the subversive philosophy of Baruch Spinoza, which gives notice of a contrary attitude to cause and effect. Anti-Walpole satirical innuendoes are accompanied by another set of winks and nudges which develop a previously unnoticed anti-Jacobite subtext with which Walpole would have been in full agreement.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43889122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In his "Letter to Raleigh," Edmund Spenser describes his project using the strange and provocative term analysis. This essay explores three ways in which the Ramist ideas closely associated with this term can inform our understanding of The Faerie Queene. First, since analysis recalls Ramism's ideal of analytical method, organization of matter in a descent from the most general principles to the more special and obscure, the poem might be approached as an analysis of virtue ethics, with concepts sequenced and divided methodically. Second, the "Letter" excuses out-of-order poetry by the second or imperfect method, crypsis. Spenser's disclaimer about his "method" as poet historical does not necessarily abnegate logic: we may consider that by puzzling, cryptical features we are alerted to a hidden order, so that an analysis of virtue becomes a pleasing analysis. Third, analysis might refer not just to the poet's project but to readerly exercise. In analyzing the virtue-knights' efforts at invention and judgment, we exercise our own. Ramist commentary on these senses of analysis is represented by William Temple, Abraham Fraunce, Gabriel Harvey, and Ramus himself. Readerly analytical exercise is illustrated by the parallel failures of logic of the Redcrosse Knight and Artegall.
{"title":"The Pleasing Analysis of The Faerie Queene","authors":"J. Curran","doi":"10.1353/sip.2023.0001","DOIUrl":"https://doi.org/10.1353/sip.2023.0001","url":null,"abstract":"Abstract:In his \"Letter to Raleigh,\" Edmund Spenser describes his project using the strange and provocative term analysis. This essay explores three ways in which the Ramist ideas closely associated with this term can inform our understanding of The Faerie Queene. First, since analysis recalls Ramism's ideal of analytical method, organization of matter in a descent from the most general principles to the more special and obscure, the poem might be approached as an analysis of virtue ethics, with concepts sequenced and divided methodically. Second, the \"Letter\" excuses out-of-order poetry by the second or imperfect method, crypsis. Spenser's disclaimer about his \"method\" as poet historical does not necessarily abnegate logic: we may consider that by puzzling, cryptical features we are alerted to a hidden order, so that an analysis of virtue becomes a pleasing analysis. Third, analysis might refer not just to the poet's project but to readerly exercise. In analyzing the virtue-knights' efforts at invention and judgment, we exercise our own. Ramist commentary on these senses of analysis is represented by William Temple, Abraham Fraunce, Gabriel Harvey, and Ramus himself. Readerly analytical exercise is illustrated by the parallel failures of logic of the Redcrosse Knight and Artegall.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48740930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The word home does not have a direct analogue in medieval French, but it often emerges in Middle English romances translated from francophone sources. This essay examines what these translations can tell us about the valences of the word home in Middle English, demonstrating that it had connotations of belonging, emotional attachment, and power, as well as shelter or housing. I argue that understanding the uses of home can offer insight into the ideologies and geographic dynamics of a romance. In the case of Beves of Hampton, tracing the changes in the location of the protagonist's home indicates that one could have multiple homes and also sheds light on the text's Crusading agenda.
{"title":"Writing \"Home\": Translating Belonging in Beves of Hampton","authors":"E. Dolmans","doi":"10.1353/sip.2023.0000","DOIUrl":"https://doi.org/10.1353/sip.2023.0000","url":null,"abstract":"Abstract:The word home does not have a direct analogue in medieval French, but it often emerges in Middle English romances translated from francophone sources. This essay examines what these translations can tell us about the valences of the word home in Middle English, demonstrating that it had connotations of belonging, emotional attachment, and power, as well as shelter or housing. I argue that understanding the uses of home can offer insight into the ideologies and geographic dynamics of a romance. In the case of Beves of Hampton, tracing the changes in the location of the protagonist's home indicates that one could have multiple homes and also sheds light on the text's Crusading agenda.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43919068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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