Abstract:This article explores the authorship of knowledge in the late seventeenth century, with a focus on Dr. Edward Browne's (1644–1708) contributions to the Royal Society and travel literature. An analysis of the manuscript sources and ensuing printed accounts of Browne's 1668–1669 European travels gives rise to three key conclusions: firstly, that correspondence sent to the Society's secretary, Henry Oldenburg (1619–1677), was not always unmediated and was at times edited by agents at home (in this case, Thomas Browne [1605–1682]); secondly, that articles sent directly to Oldenburg by Society agents were also subject to editorial influences other than those of the primary author; and, finally, that the family was a key network of creation, both in articles printed in the Philosophical Transactions and in independent works. Throughout, it will become clear that Edward Browne's publications are not straightforwardly single authored: rather, they are the result of a wide variety of often obscured familial and social interactions.
{"title":"\"On the Eminent Dr Edward Brown's Travels\": A Familial Network of Creation in the Philosophical Transactions","authors":"A. Wyatt","doi":"10.1353/sip.2021.0013","DOIUrl":"https://doi.org/10.1353/sip.2021.0013","url":null,"abstract":"Abstract:This article explores the authorship of knowledge in the late seventeenth century, with a focus on Dr. Edward Browne's (1644–1708) contributions to the Royal Society and travel literature. An analysis of the manuscript sources and ensuing printed accounts of Browne's 1668–1669 European travels gives rise to three key conclusions: firstly, that correspondence sent to the Society's secretary, Henry Oldenburg (1619–1677), was not always unmediated and was at times edited by agents at home (in this case, Thomas Browne [1605–1682]); secondly, that articles sent directly to Oldenburg by Society agents were also subject to editorial influences other than those of the primary author; and, finally, that the family was a key network of creation, both in articles printed in the Philosophical Transactions and in independent works. Throughout, it will become clear that Edward Browne's publications are not straightforwardly single authored: rather, they are the result of a wide variety of often obscured familial and social interactions.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"368 - 398"},"PeriodicalIF":0.2,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44624181","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:Elizabeth Singer Rowe's unusual exploration of the relationship between love, death, and the immortality of the soul in the Friendship in Death duology (1728–32) is generally deemed a pivotal contribution to the elevation of novel writing and reading in the English Protestant Enlightenment. Scholars tend to ascribe Rowe's unusual exploration only to her innovative appropriation of an extremely popular genre at the time—namely, the amatory novella—yet as this article argues, it is equally influenced by her reading in the contemporaneous Jansenist theology of the Catholic Reformation. This article challenges the emerging scholarly consensus that Rowe's duology is an anti-Jansenist work by reassessing the very foundation of that consensus: namely, the crucial relationship between Friendship in Death's secret-revelatory epistles and its theological appendix, titled "Thoughts on Death," which Rowe excerpted and translated from the eminent Jansenist theologian Pierre Nicole's Essais de morale. This article argues that the epistles and the appendix are not contrastive in their views on death and the afterlife, as scholars have believed to date, but are mutually consistent. Such a reassessment also reveals for the first time that what Rowe really means by her key concept, the "friendship in death," is by no means what scholars have deemed the death-transcending earthly love and friendship (part 1). It also reveals that Rowe's appendix, if read in the Jansenist way, is not solely concerned with death but is equally concerned with love (part 2). The article concludes by arguing that Nicolean Jansenism is not just the theological underpinning for Rowe's unusual exploration; it is also the key to helping us resolve a pivotal yet perplexing problem in the burgeoning field of Rowe studies about the "this-worldly secret" behind her otherworldly secret revelation (part 3). In revealing how Jansenism informs and shapes the duology, this article also contributes to rethinking the current historiography about Jansenism that regards it as a theological movement primarily in early modern France with no known impact on the contemporaneous English literary scene.
{"title":"\"Curae non ipsa in Morte relinquunt\": Jansenism and Elizabeth Singer Rowe's Fiction (1728–32)","authors":"Jingyue Wu","doi":"10.1353/sip.2021.0014","DOIUrl":"https://doi.org/10.1353/sip.2021.0014","url":null,"abstract":"Abstract:Elizabeth Singer Rowe's unusual exploration of the relationship between love, death, and the immortality of the soul in the Friendship in Death duology (1728–32) is generally deemed a pivotal contribution to the elevation of novel writing and reading in the English Protestant Enlightenment. Scholars tend to ascribe Rowe's unusual exploration only to her innovative appropriation of an extremely popular genre at the time—namely, the amatory novella—yet as this article argues, it is equally influenced by her reading in the contemporaneous Jansenist theology of the Catholic Reformation. This article challenges the emerging scholarly consensus that Rowe's duology is an anti-Jansenist work by reassessing the very foundation of that consensus: namely, the crucial relationship between Friendship in Death's secret-revelatory epistles and its theological appendix, titled \"Thoughts on Death,\" which Rowe excerpted and translated from the eminent Jansenist theologian Pierre Nicole's Essais de morale. This article argues that the epistles and the appendix are not contrastive in their views on death and the afterlife, as scholars have believed to date, but are mutually consistent. Such a reassessment also reveals for the first time that what Rowe really means by her key concept, the \"friendship in death,\" is by no means what scholars have deemed the death-transcending earthly love and friendship (part 1). It also reveals that Rowe's appendix, if read in the Jansenist way, is not solely concerned with death but is equally concerned with love (part 2). The article concludes by arguing that Nicolean Jansenism is not just the theological underpinning for Rowe's unusual exploration; it is also the key to helping us resolve a pivotal yet perplexing problem in the burgeoning field of Rowe studies about the \"this-worldly secret\" behind her otherworldly secret revelation (part 3). In revealing how Jansenism informs and shapes the duology, this article also contributes to rethinking the current historiography about Jansenism that regards it as a theological movement primarily in early modern France with no known impact on the contemporaneous English literary scene.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"399 - 423"},"PeriodicalIF":0.2,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46916892","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 examines the wells found in 1.7, 1.11, and 2.1–2 of Edmund Spenser's The Faerie Queene and reads them alongside the long and syncretic history of holy well ritual practices in England. The essay borrows Jonathan Gil Harris's notion of "polychronic objects" to argue that holy wells, which were used by pagans, Catholics, and Protestants on the British Isles, are multivalent symbols that collate various moments in England's history. In the three episodes explored here, Spenser exploits this feature of holy wells in order to stage a conflict between the nation's Catholic and pagan past and its Protestant future. The episodes thus reveal the power of the polychronic landscape to recall the nation's past and complicate narratives about its future.
摘要:本文考察了埃德蒙·斯宾塞《仙后》第1.7、1.11和2.1-2章中的圣井，并将其与英格兰悠久而融合的圣井仪式历史结合起来阅读。这篇文章借用了乔纳森·吉尔·哈里斯(Jonathan Gil Harris)的“多时期物品”(polychronic objects)的概念，认为圣井是多重价值的象征，汇集了英国历史上的不同时刻。圣井在不列颠群岛上被异教徒、天主教徒和新教徒使用。在这三集中，斯宾塞利用了圣井的这一特点，在这个国家的天主教和异教徒的过去与新教的未来之间上演了一场冲突。因此，这些情节揭示了多时期景观的力量，可以回忆起这个国家的过去，并使关于其未来的叙述复杂化。
{"title":"An Unyielding Past: Holy Wells and Historical Narrative in The Faerie Queene 1–2","authors":"Sarah Smith","doi":"10.1353/sip.2021.0010","DOIUrl":"https://doi.org/10.1353/sip.2021.0010","url":null,"abstract":"Abstract:This article examines the wells found in 1.7, 1.11, and 2.1–2 of Edmund Spenser's The Faerie Queene and reads them alongside the long and syncretic history of holy well ritual practices in England. The essay borrows Jonathan Gil Harris's notion of \"polychronic objects\" to argue that holy wells, which were used by pagans, Catholics, and Protestants on the British Isles, are multivalent symbols that collate various moments in England's history. In the three episodes explored here, Spenser exploits this feature of holy wells in order to stage a conflict between the nation's Catholic and pagan past and its Protestant future. The episodes thus reveal the power of the polychronic landscape to recall the nation's past and complicate narratives about its future.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"284 - 307"},"PeriodicalIF":0.2,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43293995","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 first half of the twentieth century, five scholars working in four different languages ascribed the anonymous 1592 tragedy Arden of Faversham to Thomas Kyd. Since 1963, however, attribution studies of Arden have been dominated by the influence of MacDonald P. Jackson, who has repeatedly rejected Kyd while attributing sections of the play to William Shakespeare. Thanks to Jackson, the play was included in The New Oxford Shakespeare, and a new search for potential coauthors has nominated a wide range of candidates. The New Oxford Shakespeare's general editor, Gary Taylor, has published two essays claiming Thomas Watson as coauthor of Arden, one based on stylometric evidence and another arguing from literary and theatrical history. In this essay, I evaluate the methods Taylor has used to reach this conclusion and reconsider the merits of the evidence he has deployed, arguing against Watson's authorship of Arden and offering a renewed case for viewing Kyd as the play's author.
{"title":"Authorship Candidates for Arden of Faversham: Kyd, Shakespeare, and Thomas Watson","authors":"B. Vickers","doi":"10.1353/sip.2021.0011","DOIUrl":"https://doi.org/10.1353/sip.2021.0011","url":null,"abstract":"Abstract:In the first half of the twentieth century, five scholars working in four different languages ascribed the anonymous 1592 tragedy Arden of Faversham to Thomas Kyd. Since 1963, however, attribution studies of Arden have been dominated by the influence of MacDonald P. Jackson, who has repeatedly rejected Kyd while attributing sections of the play to William Shakespeare. Thanks to Jackson, the play was included in The New Oxford Shakespeare, and a new search for potential coauthors has nominated a wide range of candidates. The New Oxford Shakespeare's general editor, Gary Taylor, has published two essays claiming Thomas Watson as coauthor of Arden, one based on stylometric evidence and another arguing from literary and theatrical history. In this essay, I evaluate the methods Taylor has used to reach this conclusion and reconsider the merits of the evidence he has deployed, arguing against Watson's authorship of Arden and offering a renewed case for viewing Kyd as the play's author.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"118 1","pages":"308 - 341"},"PeriodicalIF":0.2,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2021.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43365550","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 parodic, exaggerated nature of The Tale of Sir Thopas has long been recognized in scholarship on the Canterbury Tales. Formally and thematically, it has been said to represent an affectionate criticism of the type of vernacular tail-rhyme romances that was read widely in fourteenth-century England. However, despite concerted efforts to elucidate the various parodic (and, indeed, satiric) elements of the first of “Chaucer’s” contributions to the storytelling contest, little attention has been given to the critical possibilities offered by a medical reading of the herbs contained in the “fair forest” encountered by Sir Thopas (lines 760–65). The aim of this sketch, then, will be to illustrate how an understanding of the humoral qualities associated with licorice, zedoary, cloves, and nutmeg augments the irony of Thopas becoming lovestruck following his experience of the birdsong. It will be argued that the foundations of Thopas’s impetuosity derives from the hot, sweet-smelling herbs having already tipped our delicate child hero into a semicholeric passion.
{"title":"Sensory Satires and the Virtues of Herbs in Sir Thopas’s Fair Forest","authors":"Stephen Gordon","doi":"10.1353/sip.2021.0033","DOIUrl":"https://doi.org/10.1353/sip.2021.0033","url":null,"abstract":"Abstract:The parodic, exaggerated nature of The Tale of Sir Thopas has long been recognized in scholarship on the Canterbury Tales. Formally and thematically, it has been said to represent an affectionate criticism of the type of vernacular tail-rhyme romances that was read widely in fourteenth-century England. However, despite concerted efforts to elucidate the various parodic (and, indeed, satiric) elements of the first of “Chaucer’s” contributions to the storytelling contest, little attention has been given to the critical possibilities offered by a medical reading of the herbs contained in the “fair forest” encountered by Sir Thopas (lines 760–65). The aim of this sketch, then, will be to illustrate how an understanding of the humoral qualities associated with licorice, zedoary, cloves, and nutmeg augments the irony of Thopas becoming lovestruck following his experience of the birdsong. It will be argued that the foundations of Thopas’s impetuosity derives from the hot, sweet-smelling herbs having already tipped our delicate child hero into a semicholeric passion.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"119 1","pages":"191 - 208"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48211350","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 offers a reading of the genealogical cantos of Edmund Spenser’s The Fa-erie Queene in light of late sixteenth-century debates over the Elizabethan succession. Although commenting on the succession was declared treasonous, various writings on the subject survive, and these have usually been taken by scholars to represent the considerable anxiety and uncertainty that characterized the final decades of Elizabeth’s reign. Through attention to both the historical context and the formal features of The Faerie Queene, I argue that Spenser’s poem instead proposes an attitude of resignation, whereby readers should place their faith in divine providence rather than concern themselves with the monarch’s will. The article’s first section examines the narration of Briton moniments, the genealogical history that Arthur and Guyon discover in Alma’s castle in book 2, while the second section turns to Merlin’s prophecy in book 3. In the article’s conclusion, I suggest that Spenser’s providentialism has implications beyond the Elizabethan succession, especially relating to his justification of the violent colonization of Ireland.
{"title":"“Driuen by fatall error”: Genealogy and Succession in the 1590 Faerie Queene","authors":"Sarah H. Case","doi":"10.1353/sip.2021.0037","DOIUrl":"https://doi.org/10.1353/sip.2021.0037","url":null,"abstract":"Abstract:This article offers a reading of the genealogical cantos of Edmund Spenser’s The Fa-erie Queene in light of late sixteenth-century debates over the Elizabethan succession. Although commenting on the succession was declared treasonous, various writings on the subject survive, and these have usually been taken by scholars to represent the considerable anxiety and uncertainty that characterized the final decades of Elizabeth’s reign. Through attention to both the historical context and the formal features of The Faerie Queene, I argue that Spenser’s poem instead proposes an attitude of resignation, whereby readers should place their faith in divine providence rather than concern themselves with the monarch’s will. The article’s first section examines the narration of Briton moniments, the genealogical history that Arthur and Guyon discover in Alma’s castle in book 2, while the second section turns to Merlin’s prophecy in book 3. In the article’s conclusion, I suggest that Spenser’s providentialism has implications beyond the Elizabethan succession, especially relating to his justification of the violent colonization of Ireland.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"119 1","pages":"298 - 322"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43530524","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 examines the biographical and literary contexts of Geoffrey Chaucer’s prose technical manual, A Treatise on the Astrolabe. An astrolabe is a handheld, circular brass instrument that allows users to read the stars and calculate geography; it can also portend human fates. As I argue, Chaucer, who wrote the Treatise for his young son, Lewis, situates the astrolabe as a vehicle for connection between father and son to overcome geographical separation. Over the course of the Treatise, Chaucer builds a narrative of familial reunion from which he apophatically writes Lewis out of the text to deny circumstances surrounding the boy’s maternity and, with the poetic device of apostrophe, calls back an alternative version of his son further amended by an astrological rewriting of Lewis’s birth. The essay concludes by directly bringing the Treatise into dialogue with Chaucer’s poetic writing to open up new ways to read the Treatise as a work of literature.
{"title":"Rewriting “litel Lowys” in Chaucer’s A Treatise on the Astrolabe","authors":"M. Brooks","doi":"10.1353/sip.2021.0034","DOIUrl":"https://doi.org/10.1353/sip.2021.0034","url":null,"abstract":"Abstract:This essay examines the biographical and literary contexts of Geoffrey Chaucer’s prose technical manual, A Treatise on the Astrolabe. An astrolabe is a handheld, circular brass instrument that allows users to read the stars and calculate geography; it can also portend human fates. As I argue, Chaucer, who wrote the Treatise for his young son, Lewis, situates the astrolabe as a vehicle for connection between father and son to overcome geographical separation. Over the course of the Treatise, Chaucer builds a narrative of familial reunion from which he apophatically writes Lewis out of the text to deny circumstances surrounding the boy’s maternity and, with the poetic device of apostrophe, calls back an alternative version of his son further amended by an astrological rewriting of Lewis’s birth. The essay concludes by directly bringing the Treatise into dialogue with Chaucer’s poetic writing to open up new ways to read the Treatise as a work of literature.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"119 1","pages":"209 - 232"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43217700","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 takes a new approach to The Taming of the Shrew by reading the gender of its rhymes. The argument of the essay is threefold: (1) that William Shakespeare’s gendered rhymes in The Taming of the Shrew are his contribution to a broader development in 1590s versification, the importation and consolidation of the terms “masculine rhyme” and “feminine rhyme” into the English language; (2) that the play’s gendered rhymes are important to its troubling notions of gender (with the word troubling acting as both adjective and verb); and (3) that the particularly gendered voices of the actors performing the play would have been important, in turn, to the gendering of its rhymes. On this final point the essay considers the relationship between the play’s feminine rhymes and the boy actors who voiced them, thinking about how the affordances (or the apparent limitations) of the boy actors’ voices chime with the play’s gendered rhyme—to such an extent that the voice of the boy actor playing Katherine becomes a metatheatrical feature of the drama, a site of apprenticeship in which the ending of the play comes to trouble itself as well as its auditors.
{"title":"Rhyme’s Voices: Hearing Gender in The Taming of the Shrew","authors":"R. Stagg","doi":"10.1353/sip.2021.0031","DOIUrl":"https://doi.org/10.1353/sip.2021.0031","url":null,"abstract":"Abstract:This essay takes a new approach to The Taming of the Shrew by reading the gender of its rhymes. The argument of the essay is threefold: (1) that William Shakespeare’s gendered rhymes in The Taming of the Shrew are his contribution to a broader development in 1590s versification, the importation and consolidation of the terms “masculine rhyme” and “feminine rhyme” into the English language; (2) that the play’s gendered rhymes are important to its troubling notions of gender (with the word troubling acting as both adjective and verb); and (3) that the particularly gendered voices of the actors performing the play would have been important, in turn, to the gendering of its rhymes. On this final point the essay considers the relationship between the play’s feminine rhymes and the boy actors who voiced them, thinking about how the affordances (or the apparent limitations) of the boy actors’ voices chime with the play’s gendered rhyme—to such an extent that the voice of the boy actor playing Katherine becomes a metatheatrical feature of the drama, a site of apprenticeship in which the ending of the play comes to trouble itself as well as its auditors.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"119 1","pages":"323 - 346"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41426794","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:Christopher Marlowe (1564–1593) is often assumed to have an oeuvre that is authori-ally and textually well defined and neatly delimited, an oeuvre, that is, in keeping with his distinctive, well-defined biographical persona. This essay argues that this sense of a well-defined oeuvre is a convenient myth and that, if we are interested in a more accurate assessment of the extent and preservation of his writings, we first need to dis-integrate Marlowe. Where we may wish to find either plain Marlowe or not Marlowe, we may instead have collaborative Marlowe, revised Marlowe, doubtful Marlowe, and mutilated Marlowe. The early editions of Doctor Faustus end with the words, “terminat auctor opus,” and each of these words turns out to be characteristic of the myth this essay investigates and may have played a role in constructing it. Marlowe did not single-handedly complete all his writings, several of them are not sole-authored, and his collaborative and partly fragmented writings may not amount to what we usually consider an opus. Instead, they turn out to be fully embedded in the exigencies of the messy, collaborative world of the early modern theater and book trade.
{"title":"Disintegrating Marlowe","authors":"L. Erne","doi":"10.1353/sip.2021.0036","DOIUrl":"https://doi.org/10.1353/sip.2021.0036","url":null,"abstract":"Abstract:Christopher Marlowe (1564–1593) is often assumed to have an oeuvre that is authori-ally and textually well defined and neatly delimited, an oeuvre, that is, in keeping with his distinctive, well-defined biographical persona. This essay argues that this sense of a well-defined oeuvre is a convenient myth and that, if we are interested in a more accurate assessment of the extent and preservation of his writings, we first need to dis-integrate Marlowe. Where we may wish to find either plain Marlowe or not Marlowe, we may instead have collaborative Marlowe, revised Marlowe, doubtful Marlowe, and mutilated Marlowe. The early editions of Doctor Faustus end with the words, “terminat auctor opus,” and each of these words turns out to be characteristic of the myth this essay investigates and may have played a role in constructing it. Marlowe did not single-handedly complete all his writings, several of them are not sole-authored, and his collaborative and partly fragmented writings may not amount to what we usually consider an opus. Instead, they turn out to be fully embedded in the exigencies of the messy, collaborative world of the early modern theater and book trade.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"119 1","pages":"272 - 297"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46259112","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 examines the spaces of commensality represented in Thomas Middleton and Thomas Dekker’s The Roaring Girl. It discusses the expansion of the public dining scene in early modern London and nature of different establishments such as taverns, ordinaries, and alehouses. It highlights the impact of these spaces on patterns of sociability and on the construction of social identity, as well as the frequent association of victualling houses and playhouses within the cultural geography of the time. Whereas discussion of the play’s attitude toward the social upheaval of Jacobean society has frequently focused on Moll’s transvestism and the intersection of gender and class hierarchies, I show how the play’s portrayal of public dining both upholds and upends the traditional organization of society. This, in turn, celebrates the opportunities for sociability and self-fashioning at the Fortune playhouse, where The Roaring Girl was staged.
{"title":"Commensality, Sociability, and The Roaring Girl","authors":"Suzanne Kok","doi":"10.1353/sip.2021.0032","DOIUrl":"https://doi.org/10.1353/sip.2021.0032","url":null,"abstract":"Abstract:This article examines the spaces of commensality represented in Thomas Middleton and Thomas Dekker’s The Roaring Girl. It discusses the expansion of the public dining scene in early modern London and nature of different establishments such as taverns, ordinaries, and alehouses. It highlights the impact of these spaces on patterns of sociability and on the construction of social identity, as well as the frequent association of victualling houses and playhouses within the cultural geography of the time. Whereas discussion of the play’s attitude toward the social upheaval of Jacobean society has frequently focused on Moll’s transvestism and the intersection of gender and class hierarchies, I show how the play’s portrayal of public dining both upholds and upends the traditional organization of society. This, in turn, celebrates the opportunities for sociability and self-fashioning at the Fortune playhouse, where The Roaring Girl was staged.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"119 1","pages":"347 - 369"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47783685","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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