Abstract:English plays of the mid-sixteenth century tended to be spoken entirely in rhyme. This led to the creation of a whole dramatic mode: rhyming verse form was a way of signaling to the audience and deepening their understanding of the play world they were entering. This article discusses the ways in which this powerful mode operated, reading rhyme as an overt signifier of moral character, status, and power dynamic and examining the ways in which it can increase our understanding of this theater's doubling practices and metatheatrical humor. It also posits these techniques and styles as vital predecessors for the more canonical Renaissance theater. The continuously rhyming drama of the midsixteenth century set up a series of expectations and patterns, which William Shakespeare and other early modern playwrights would exploit when they made the crucial shift toward a drama that used rhyme as special effect rather than norm.
{"title":"The Origins of a Dramatic Technique: Rhyme in Pre-Shakespearean Drama, 1530–1580","authors":"M. Clark","doi":"10.1353/sip.2021.0024","DOIUrl":"https://doi.org/10.1353/sip.2021.0024","url":null,"abstract":"Abstract:English plays of the mid-sixteenth century tended to be spoken entirely in rhyme. This led to the creation of a whole dramatic mode: rhyming verse form was a way of signaling to the audience and deepening their understanding of the play world they were entering. This article discusses the ways in which this powerful mode operated, reading rhyme as an overt signifier of moral character, status, and power dynamic and examining the ways in which it can increase our understanding of this theater's doubling practices and metatheatrical humor. It also posits these techniques and styles as vital predecessors for the more canonical Renaissance theater. The continuously rhyming drama of the midsixteenth century set up a series of expectations and patterns, which William Shakespeare and other early modern playwrights would exploit when they made the crucial shift toward a drama that used rhyme as special effect rather than norm.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"666 - 697"},"PeriodicalIF":0.2,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43007854","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 Middle English romance entitled Sir Isumbras has been neglected, and a series of pronouncements by the hero regarding patience has been all but ignored. However, a closer examination of them allows one to treat these patience episodes as crucial junctures in Isumbras’s development as a character. If a reader recognizes them as examples of satire of the prevailing rhetoric concerning patience in the literature of medieval England and compares the patience episodes with later descriptions of Isumbras’s actions, then the hero’s development is much easier to follow than previous critics have found it to be. Isumbras starts the poem as materialistic and naive. A messenger from God causes him to repent, but a newly acquired tendency to self-righteousness leads him to admonish his wife, children, and other members of his household to be patient in the face of extreme adversity. His advice seems more and more inappropriate as his manifold sufferings alienate him from his family and reduce him to an abject state. Isumbras’s struggle provides insight into the remarkably exacting moral standards of the poem: the process of trying to give up worldly attachments is fiendishly difficult, and pride is nearly impossible to eradicate.
{"title":"Satire of Patience Advice in Sir Isumbras","authors":"R. Waugh","doi":"10.1353/sip.2021.0020","DOIUrl":"https://doi.org/10.1353/sip.2021.0020","url":null,"abstract":"Abstract:The Middle English romance entitled Sir Isumbras has been neglected, and a series of pronouncements by the hero regarding patience has been all but ignored. However, a closer examination of them allows one to treat these patience episodes as crucial junctures in Isumbras’s development as a character. If a reader recognizes them as examples of satire of the prevailing rhetoric concerning patience in the literature of medieval England and compares the patience episodes with later descriptions of Isumbras’s actions, then the hero’s development is much easier to follow than previous critics have found it to be. Isumbras starts the poem as materialistic and naive. A messenger from God causes him to repent, but a newly acquired tendency to self-righteousness leads him to admonish his wife, children, and other members of his household to be patient in the face of extreme adversity. His advice seems more and more inappropriate as his manifold sufferings alienate him from his family and reduce him to an abject state. Isumbras’s struggle provides insight into the remarkably exacting moral standards of the poem: the process of trying to give up worldly attachments is fiendishly difficult, and pride is nearly impossible to eradicate.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"459 - 490"},"PeriodicalIF":0.2,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0020","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47622376","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:Composed sometime in the mid- twelfth century, the Life of Christina of Markyate recounts the trials and tribulations faced by an Anglo- Saxon woman who initially takes a vow of virginity to enter into a spiritual marriage with Christ, subsequently takes an oath to escape sexual assault by a bishop, flees an earthly marriage, and eventually founds a priory at Markyate in England. The Life foregrounds Christina’s spiritual, physical, and legal struggles to live by her vow and have it continually legitimized in the face of a marriage forced upon her by her strong- willed parents and their clerical supporters, among others. In a series of ad hoc trials, Christina’s advocates—ranging from a hermit associated with the St Albans monastery to the archbishop of Canterbury—defend the legitimacy of her vow of virginity and deem her coerced marriage with a nobleman invalid. By contrast, Christina’s opponents, who range from her parents to bishops, defend her earthly marriage as valid and disregard her vow of virginity. I contend that questions of norms (such as those pertaining to Christina’s vow, oath, and marriage and their concomitant impact upon her legal status) and questions of narrative (such as the rhetorical strategies by which supporters and detractors of Christina organize and recount details pertaining to her legal status) intersect and interanimate each other in the Life. By uncovering the interrelations between the normative and the narrative in the Life, I further argue that the form of the Life has an “agency” of its own distinct from that of the various characters in the hagiographical text. When we attend to such formal legal and literary devices in the Life in light of both contemporary digests of canon law and school texts on rhetoric, Christina’s individual actions will appear as functions of narrative that both enact and impact the received principles of canon law, especially those pertaining to the vow, oath, and marriage. In making a case for the intersection of normative matters in the Life with the narrative means by which they are expressed, this essay, more generally, participates in the growing body of law and literature studies that treat the literary and the legal as coproductive rather than as hierarchically related.
摘要：《马克雅特的克里斯蒂娜的一生》（Life of Christina of Markyate）创作于12世纪中期，讲述了一位盎格鲁-撒克逊女性所面临的考验和磨难，她最初发誓要贞洁，与基督建立精神婚姻，后来发誓要逃避主教的性侵，逃离世俗婚姻，最终在英国马克雅特建了一座修道院。《生命》突出了克里斯蒂娜在精神、身体和法律上的斗争，她要遵守自己的誓言，并在面对意志坚定的父母和他们的牧师支持者等强加给她的婚姻时，不断使其合法化。在一系列特别审判中，克里斯蒂娜的支持者——从与圣奥尔本斯修道院有关联的隐士到坎特伯雷大主教——为她童贞誓言的合法性辩护，并认为她与贵族的强迫婚姻无效。相比之下，克里斯蒂娜的反对者，从她的父母到主教，都认为她的世俗婚姻是有效的，并无视她的童贞誓言。我认为，规范问题（如与克里斯蒂娜的誓言、誓言和婚姻及其对她的法律地位的影响有关的问题）和叙事问题（如克里斯蒂娜的支持者和批评者组织和讲述与她的法律地位有关的细节的修辞策略）在《生活》中相互交叉和互动。通过揭示《生命》中规范性和叙事性之间的相互关系，我进一步认为，《生命》的形式有自己的“代理”，不同于圣徒传记文本中各种人物的代理。当我们根据当代正典法摘要和学校关于修辞的文本，在《生活》中关注这种正式的法律和文学手段时，克里斯蒂娜的个人行为将表现为叙事的功能，既制定又影响了公认的正典法原则，尤其是与誓言、誓言和婚姻有关的原则。为了证明《生活》中的规范性问题与表达它们的叙事手段的交叉，本文更普遍地参与了越来越多的法律和文学研究，这些研究将文学和法律视为共同生产的，而不是等级相关的。
{"title":"Canonical Norm and Narrative Form in the Life of Christina of Markyate","authors":"Arvind Thomas","doi":"10.1353/sip.2021.0019","DOIUrl":"https://doi.org/10.1353/sip.2021.0019","url":null,"abstract":"Abstract:Composed sometime in the mid- twelfth century, the Life of Christina of Markyate recounts the trials and tribulations faced by an Anglo- Saxon woman who initially takes a vow of virginity to enter into a spiritual marriage with Christ, subsequently takes an oath to escape sexual assault by a bishop, flees an earthly marriage, and eventually founds a priory at Markyate in England. The Life foregrounds Christina’s spiritual, physical, and legal struggles to live by her vow and have it continually legitimized in the face of a marriage forced upon her by her strong- willed parents and their clerical supporters, among others. In a series of ad hoc trials, Christina’s advocates—ranging from a hermit associated with the St Albans monastery to the archbishop of Canterbury—defend the legitimacy of her vow of virginity and deem her coerced marriage with a nobleman invalid. By contrast, Christina’s opponents, who range from her parents to bishops, defend her earthly marriage as valid and disregard her vow of virginity. I contend that questions of norms (such as those pertaining to Christina’s vow, oath, and marriage and their concomitant impact upon her legal status) and questions of narrative (such as the rhetorical strategies by which supporters and detractors of Christina organize and recount details pertaining to her legal status) intersect and interanimate each other in the Life. By uncovering the interrelations between the normative and the narrative in the Life, I further argue that the form of the Life has an “agency” of its own distinct from that of the various characters in the hagiographical text. When we attend to such formal legal and literary devices in the Life in light of both contemporary digests of canon law and school texts on rhetoric, Christina’s individual actions will appear as functions of narrative that both enact and impact the received principles of canon law, especially those pertaining to the vow, oath, and marriage. In making a case for the intersection of normative matters in the Life with the narrative means by which they are expressed, this essay, more generally, participates in the growing body of law and literature studies that treat the literary and the legal as coproductive rather than as hierarchically related.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"425 - 458"},"PeriodicalIF":0.2,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0019","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49480395","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:Published in his second poetry volume, Ouids Banquet of Sence (1595), George Chapman’s “A Coronet for His Mistresse Philosophie” is often read as a sequel to the volume’s title piece. By attending to Chapman’s controversial dialogue with the Petrarchan lyric tradition in the England of his time, to his commitment to a didactic aestheticism that defends poetry’s enlightening powers, and to his preoccupation with proportional form, the present essay claims for this miniature sequence an autonomous status as a practical poetics. Chapman’s crown of sonnets—the first English instance of this form—is a programmatic defense of the amatory lyric as an instrument that warrants poetry’s dedication to the search for knowledge.
摘要：乔治·查普曼（George Chapman）的《神秘哲学的加冕礼》（A Coronet for his Mistrese Philosophy）发表在他的第二本诗集《Ouids Banquet of Sence》（1595）中，经常被解读为该卷标题文章的续集。通过关注查普曼与他那个时代的英国佩特拉坎抒情传统的有争议的对话，关注他对捍卫诗歌启蒙力量的说教唯美主义的承诺，以及他对比例形式的关注，本文声称这一微型序列作为一种实践诗学具有自主地位。查普曼的十四行诗之冠——这是这种形式的第一个英语例子——是对爱情抒情诗的纲领性辩护，因为它是诗歌致力于寻找知识的工具。
{"title":"“Friendlesse verse”: The Poetics of Chapman’s “A Coronet for His Mistresse Philosophie” (1595)","authors":"Zenón Luis-Martínez","doi":"10.1353/sip.2021.0018","DOIUrl":"https://doi.org/10.1353/sip.2021.0018","url":null,"abstract":"Abstract:Published in his second poetry volume, Ouids Banquet of Sence (1595), George Chapman’s “A Coronet for His Mistresse Philosophie” is often read as a sequel to the volume’s title piece. By attending to Chapman’s controversial dialogue with the Petrarchan lyric tradition in the England of his time, to his commitment to a didactic aestheticism that defends poetry’s enlightening powers, and to his preoccupation with proportional form, the present essay claims for this miniature sequence an autonomous status as a practical poetics. Chapman’s crown of sonnets—the first English instance of this form—is a programmatic defense of the amatory lyric as an instrument that warrants poetry’s dedication to the search for knowledge.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"565 - 604"},"PeriodicalIF":0.2,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0018","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48127679","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 the letter to the Countess of Pembroke that serves as its preface, Philip Sidney offers up to his sister what he characterizes as his “idle work”: The Old Arcadia. The oxy-moron of “idle work” offers an instructive contrast to the “real work” Sidney was at that time not doing at court or on the battlefield. Sidney’s retirement from court, whether forced or voluntary, provides an important backdrop for this text, which is itself a series of digressions, interruptions, and diversions, but one that should be considered as a critique of Elizabeth’s strategy of deferral in matters both military and marital. The idea that idleness can itself be a productive employment is behind the discourses of the Elizabethan pastoral. While many scholars have pointed to political correspondences in the text, few have suggested that the apparently casual and offhand structure of the work carries a potential meaning for those of Sidney’s inner circle among whom the manuscript would have circulated. The structure of Sidney’s text—with its series of inter-locking interruptions and suspensions—and its digressive narrative devices enact the political strategy of deferral and create a pastoral satire of the Elizabethan government.
{"title":"“Idle work”: The Satiric Digressions of Sidney’s Old Arcadia","authors":"Adrienne L. Eastwood","doi":"10.1353/sip.2021.0016","DOIUrl":"https://doi.org/10.1353/sip.2021.0016","url":null,"abstract":"Abstract:In the letter to the Countess of Pembroke that serves as its preface, Philip Sidney offers up to his sister what he characterizes as his “idle work”: The Old Arcadia. The oxy-moron of “idle work” offers an instructive contrast to the “real work” Sidney was at that time not doing at court or on the battlefield. Sidney’s retirement from court, whether forced or voluntary, provides an important backdrop for this text, which is itself a series of digressions, interruptions, and diversions, but one that should be considered as a critique of Elizabeth’s strategy of deferral in matters both military and marital. The idea that idleness can itself be a productive employment is behind the discourses of the Elizabethan pastoral. While many scholars have pointed to political correspondences in the text, few have suggested that the apparently casual and offhand structure of the work carries a potential meaning for those of Sidney’s inner circle among whom the manuscript would have circulated. The structure of Sidney’s text—with its series of inter-locking interruptions and suspensions—and its digressive narrative devices enact the political strategy of deferral and create a pastoral satire of the Elizabethan government.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"521 - 537"},"PeriodicalIF":0.2,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43709052","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 the reading strategies embedded in Isabella Whitney’s two published volumes, The Copy of a Letter (1567) and A Sweet Nosegay (1573). As it suggests, Whitney was a writer who actively represented herself as a reader and who in turn anticipated the future reading of her own work. In particular, it will focus on Whitney as a female reader who responded to Renaissance constructions of passive female reading: a discussion that, though productively applied to her contemporaries, has largely excluded Whitney. First, the article will examine how A Sweet Nosegay rereads Hugh Plat’s own instructions for reading the Floures of Philosophie, claiming a more active role for Whitney’s own readership. It will then consider this approach in Whitney’s first publication, The Copy of a Letter, in which the poet trains her readers to attend to textual ambiguities and alternatives. As I will argue throughout, Whitney models an active reading process, which encourages her readers to intervene in her texts.
{"title":"Reading Isabella Whitney Reading","authors":"Felicity Sheehy","doi":"10.1353/sip.2021.0015","DOIUrl":"https://doi.org/10.1353/sip.2021.0015","url":null,"abstract":"Abstract:This article considers the reading strategies embedded in Isabella Whitney’s two published volumes, The Copy of a Letter (1567) and A Sweet Nosegay (1573). As it suggests, Whitney was a writer who actively represented herself as a reader and who in turn anticipated the future reading of her own work. In particular, it will focus on Whitney as a female reader who responded to Renaissance constructions of passive female reading: a discussion that, though productively applied to her contemporaries, has largely excluded Whitney. First, the article will examine how A Sweet Nosegay rereads Hugh Plat’s own instructions for reading the Floures of Philosophie, claiming a more active role for Whitney’s own readership. It will then consider this approach in Whitney’s first publication, The Copy of a Letter, in which the poet trains her readers to attend to textual ambiguities and alternatives. As I will argue throughout, Whitney models an active reading process, which encourages her readers to intervene in her texts.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"491 - 520"},"PeriodicalIF":0.2,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46879506","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 forged passports in Prosopopoia, Or Mother Hubberds Tale and the “free passe-porte” in The Shepheardes Calender reveal Edmund Spenser’s recurring interest in passport documents. This article examines how authorities in early modern England used passports to control the movement, poverty, labor, property, and allegiance of subjects, despite widespread abuse by rogues. I argue that, by connecting the ambivalent license of passport documents with the ethical tensions of personation, or imitation, Spenser creates a “device” for negotiating the traditional pressures of patronage, on the one hand, and authorship, on the other. The Shepheardes Calender’s “free passport” imitates not only Geoffrey Chaucer’s envoi to Troilus and Criseyde but also the “franke pasporte” from Thomas Drant’s 1567 translation of Horace’s Epistles. Spenser’s “free passeporte,” therefore, should not be read as inherently deceitful and roguish but as a legitimate and time- honored literary strategy for achieving poetic renown.
{"title":"“Thou hast a free passeporte”: Poetic Personation and Literary Patronage in Spenser’s Prosopopoia, Or Mother Hubberds Tale and The Shepheardes Calender","authors":"Evan Cheney","doi":"10.1353/sip.2021.0017","DOIUrl":"https://doi.org/10.1353/sip.2021.0017","url":null,"abstract":"Abstract:The forged passports in Prosopopoia, Or Mother Hubberds Tale and the “free passe-porte” in The Shepheardes Calender reveal Edmund Spenser’s recurring interest in passport documents. This article examines how authorities in early modern England used passports to control the movement, poverty, labor, property, and allegiance of subjects, despite widespread abuse by rogues. I argue that, by connecting the ambivalent license of passport documents with the ethical tensions of personation, or imitation, Spenser creates a “device” for negotiating the traditional pressures of patronage, on the one hand, and authorship, on the other. The Shepheardes Calender’s “free passport” imitates not only Geoffrey Chaucer’s envoi to Troilus and Criseyde but also the “franke pasporte” from Thomas Drant’s 1567 translation of Horace’s Epistles. Spenser’s “free passeporte,” therefore, should not be read as inherently deceitful and roguish but as a legitimate and time- honored literary strategy for achieving poetic renown.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"538 - 564"},"PeriodicalIF":0.2,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46999052","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:A remarkable fact about William Shakespeare's The Tempest is that characters do not always see or hear the same thing. But while this estrangement of knowledge thins out the boundaries between character and environment to recognizably great dramatic effect, the aporetic energies underlying that estrangement are not yet fully understood. This article explores their significance by examining the connections between The Tempest and Michel de Montaigne's An Apologie of Raymond Sebond (long suspected to be related). It proposes a new verbal parallel between the play and the essay but does not confine its argument to such a criterion. Rather, it is a case study in the Renaissance practice of imitation that works from a number of aspects—shared matrices of thought and feeling, similar metaphors, networks of texts—to reconstruct the presence of a locus classicus of Renaissance skepticism in Shakespeare's late play. Along the way, it triangulates these works with a discussion of King Lear and examines the presence of Vergil and the possible presence of Seneca. It argues that Shakespeare used Montaigne's essay to make his island epistemologically strange and that this sensitive use of a philosophical source is notable for being so deeply dramatically embedded.
{"title":"\"Some subtleties o'th' isle\": Shakespeare's Tempest and Montaigne's Apologie of Raymond Sebond","authors":"Sean Geddes","doi":"10.1353/sip.2021.0012","DOIUrl":"https://doi.org/10.1353/sip.2021.0012","url":null,"abstract":"Abstract:A remarkable fact about William Shakespeare's The Tempest is that characters do not always see or hear the same thing. But while this estrangement of knowledge thins out the boundaries between character and environment to recognizably great dramatic effect, the aporetic energies underlying that estrangement are not yet fully understood. This article explores their significance by examining the connections between The Tempest and Michel de Montaigne's An Apologie of Raymond Sebond (long suspected to be related). It proposes a new verbal parallel between the play and the essay but does not confine its argument to such a criterion. Rather, it is a case study in the Renaissance practice of imitation that works from a number of aspects—shared matrices of thought and feeling, similar metaphors, networks of texts—to reconstruct the presence of a locus classicus of Renaissance skepticism in Shakespeare's late play. Along the way, it triangulates these works with a discussion of King Lear and examines the presence of Vergil and the possible presence of Seneca. It argues that Shakespeare used Montaigne's essay to make his island epistemologically strange and that this sensitive use of a philosophical source is notable for being so deeply dramatically embedded.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"342 - 367"},"PeriodicalIF":0.2,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41774179","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 state-sanctioned murder of thousands of French Protestants in August 1572 had a profound impact on Elizabethan England's political and religious imagination. The St. Bartholomew's Day Massacre was commemorated in prayers, pamphlets, poetry, and drama throughout the sixteenth and seventeenth centuries. Yet Christopher Marlowe's The Massacre at Paris (1593) is routinely read as the exemplary English response to this atrocity. This article recovers the diverse range of English Protestant texts remembering the Massacre in order to reexamine the discourse of English nationhood in its European context and to revisit our understanding of Marlowe's play. Drawing upon recent work on early modern memory, it explores how these various texts manipulate affect to advance particular religiopolitical agendas. These memories negotiate a complex entanglement of confessional and political allegiances, at once identifying with their French coreligionist and distancing the foreign violence from an insular England. This article demonstrates that the Massacre played a crucial role in the literary construction of the English Protestant nation. Ultimately, it identifies Marlowe's play as a radical transformation of English remembering of the St. Bartholomew's Day Massacre.
{"title":"Remembering the St. Bartholomew's Day Massacre in Elizabethan England","authors":"Christopher Archibald","doi":"10.1353/sip.2021.0009","DOIUrl":"https://doi.org/10.1353/sip.2021.0009","url":null,"abstract":"Abstract:The state-sanctioned murder of thousands of French Protestants in August 1572 had a profound impact on Elizabethan England's political and religious imagination. The St. Bartholomew's Day Massacre was commemorated in prayers, pamphlets, poetry, and drama throughout the sixteenth and seventeenth centuries. Yet Christopher Marlowe's The Massacre at Paris (1593) is routinely read as the exemplary English response to this atrocity. This article recovers the diverse range of English Protestant texts remembering the Massacre in order to reexamine the discourse of English nationhood in its European context and to revisit our understanding of Marlowe's play. Drawing upon recent work on early modern memory, it explores how these various texts manipulate affect to advance particular religiopolitical agendas. These memories negotiate a complex entanglement of confessional and political allegiances, at once identifying with their French coreligionist and distancing the foreign violence from an insular England. This article demonstrates that the Massacre played a crucial role in the literary construction of the English Protestant nation. Ultimately, it identifies Marlowe's play as a radical transformation of English remembering of the St. Bartholomew's Day Massacre.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"242 - 283"},"PeriodicalIF":0.2,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48174319","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 juxtaposes Catherine of Aragon's self-created reputation during the height of her influence as queen consort (1509–1525) with her representation in literary works written over fifty years after her death. I consider how Thomas Deloney's Jack of Newbury, John Fletcher and William Shakespeare's King Henry VIII, and Richard Johnson's "The Story of Ill May-Day" preserve Catherine's reputation for being Henry VIII's pious, loyal, deferential wife and an intercessor for English citizens; yet these later authors are far less faithful to Catherine's measured tone, unsubordinated syntax, and familiar diction in her writings. Catherine's fictional avatar, Queen Katherine, speaks, instead, with subordinated syntax, elaborate rhetorical figures, and aggressive language whenever she intercedes for male commoners. The resulting, somewhat contradictory, representation of Queen Katherine speaks to an implicit contract by which later authors perpetuate Catherine of Aragon's reputation for being a loyal, decorous, maternal queen consort, even as their character, Queen Katherine, engages readers and audience with sensationalist speeches that speak to rhetorical and cultural fantasies in which a queen consort moves beyond the boundaries of decorum to save vulnerable English citizens.
摘要：这篇文章将阿拉贡的凯瑟琳在她作为王后（1509-1525）的影响力达到顶峰时所创造的声誉与她去世50多年后在文学作品中的表现并置。我思考了托马斯·克鲁尼（Thomas Deloney）的《纽伯里的杰克》（Jack of Newbury）、约翰·弗莱彻（John Fletcher）和威廉·莎士比亚（William Shakespeare）的《国王亨利八世》（King Henry VIII），以及理查德·约翰逊（Richard Johnson；然而，这些后来的作者远没有那么忠实于凯瑟琳作品中有分寸的语气、不受约束的句法和熟悉的措辞。凯瑟琳的虚构化身凯瑟琳女王，每当她为男性平民求情时，都会用从属的句法、精心设计的修辞形象和咄咄逼人的语言说话。由此产生的、有点矛盾的凯瑟琳女王的形象说明了一种隐含的契约，通过这种契约，后来的作者延续了阿拉贡的凯瑟琳作为忠诚、高雅、母性的王后的声誉，尽管他们的角色凯瑟琳女王，通过耸人听闻的演讲吸引读者和观众，讲述修辞和文化幻想，女王配偶超越礼仪界限拯救弱势的英国公民。
{"title":"Catherine of Aragon's Letters, English Popular Memory, and Male Authorial Fantasies","authors":"M. Prendergast","doi":"10.1353/sip.2021.0008","DOIUrl":"https://doi.org/10.1353/sip.2021.0008","url":null,"abstract":"Abstract:This essay juxtaposes Catherine of Aragon's self-created reputation during the height of her influence as queen consort (1509–1525) with her representation in literary works written over fifty years after her death. I consider how Thomas Deloney's Jack of Newbury, John Fletcher and William Shakespeare's King Henry VIII, and Richard Johnson's \"The Story of Ill May-Day\" preserve Catherine's reputation for being Henry VIII's pious, loyal, deferential wife and an intercessor for English citizens; yet these later authors are far less faithful to Catherine's measured tone, unsubordinated syntax, and familiar diction in her writings. Catherine's fictional avatar, Queen Katherine, speaks, instead, with subordinated syntax, elaborate rhetorical figures, and aggressive language whenever she intercedes for male commoners. The resulting, somewhat contradictory, representation of Queen Katherine speaks to an implicit contract by which later authors perpetuate Catherine of Aragon's reputation for being a loyal, decorous, maternal queen consort, even as their character, Queen Katherine, engages readers and audience with sensationalist speeches that speak to rhetorical and cultural fantasies in which a queen consort moves beyond the boundaries of decorum to save vulnerable English citizens.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"207 - 241"},"PeriodicalIF":0.2,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48345739","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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