Three appreciations of the life of David Bevington pay tribute to his academic and scholarly achievements and honor his long and distinguished service to SEL.
{"title":"David Bevington: A Tribute","authors":"D. Loewenstein, Ellen Mackay, L. D. Browning","doi":"10.1353/sel.2020.0008","DOIUrl":"https://doi.org/10.1353/sel.2020.0008","url":null,"abstract":"<p>Abstract:</p><p>Three appreciations of the life of David Bevington pay tribute to his academic and scholarly achievements and honor his long and distinguished service to <i>SEL</i>.</p>","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88151546","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 argues that The Spanish Tragedy's treatment of grief is inspired by classical forensic rhetoric, the guidelines for which demand the self-inculcation of emotion in the service of persuasion. Of particular interest is book 6 of Quintilian's The Orator's Education, which presents paternal grief for a dead son as a topos for imitation and inspiration, along with a number of courtroom practices that shape Thomas Kyd's presentation of Hieronimo. I suggest that Kyd drew on Quintilian in order to authorize his play, in part by positioning it as the rightful inheritor of the classical tradition accessed through the emotions.
{"title":"Quintilian's Forensic Grief and The Spanish Tragedy","authors":"J. Wesley","doi":"10.1353/sel.2020.0009","DOIUrl":"https://doi.org/10.1353/sel.2020.0009","url":null,"abstract":"Abstract:This article argues that The Spanish Tragedy's treatment of grief is inspired by classical forensic rhetoric, the guidelines for which demand the self-inculcation of emotion in the service of persuasion. Of particular interest is book 6 of Quintilian's The Orator's Education, which presents paternal grief for a dead son as a topos for imitation and inspiration, along with a number of courtroom practices that shape Thomas Kyd's presentation of Hieronimo. I suggest that Kyd drew on Quintilian in order to authorize his play, in part by positioning it as the rightful inheritor of the classical tradition accessed through the emotions.","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75780007","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 argues that Jane Shore, Edward IV's mistress in Thomas Heywood's history play, The First and Second Parts of King Edward IV, becomes a figure of chronical history through the way her speech acts of petitions and pardons are read as politically efficacious. In separating her performative speech from her identity as a woman, commoner, and mistress, Jane transcends both her moral and social status in ways not seen in the ballad or dramatic traditions that predate Heywood's play. Instead, Jane's words achieve a political authority even beyond those of the king, effacing her former status and recrafting—and perhaps limiting—her identity in the process.
{"title":"Jane Shore's Political Identity in Thomas Heywood's Edward IV","authors":"C. Squitieri","doi":"10.1353/sel.2020.0013","DOIUrl":"https://doi.org/10.1353/sel.2020.0013","url":null,"abstract":"Abstract:This article argues that Jane Shore, Edward IV's mistress in Thomas Heywood's history play, The First and Second Parts of King Edward IV, becomes a figure of chronical history through the way her speech acts of petitions and pardons are read as politically efficacious. In separating her performative speech from her identity as a woman, commoner, and mistress, Jane transcends both her moral and social status in ways not seen in the ballad or dramatic traditions that predate Heywood's play. Instead, Jane's words achieve a political authority even beyond those of the king, effacing her former status and recrafting—and perhaps limiting—her identity in the process.","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77733483","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 early modern period, Medea functioned as a microcosm of anxiety about the role of women in the educational process: figured as the frightening mother that schoolboys were invited to abandon in the schoolroom, she also was used there as a rhetorical model. This essay argues that The Merchant of Venice—a play that has more references to the Medea story than any other by Shakespeare—negotiates this apparent contradiction. By providing his marginalized characters with rhetorical prowess, Shakespeare both invests them with power—clearly evident in Portia—and mitigates their threat by rendering it intelligible, as with Shylock.
{"title":"Medea and The Merchant of Venice","authors":"Elizabeth Hutcheon","doi":"10.1353/sel.2020.0014","DOIUrl":"https://doi.org/10.1353/sel.2020.0014","url":null,"abstract":"Abstract:In the early modern period, Medea functioned as a microcosm of anxiety about the role of women in the educational process: figured as the frightening mother that schoolboys were invited to abandon in the schoolroom, she also was used there as a rhetorical model. This essay argues that The Merchant of Venice—a play that has more references to the Medea story than any other by Shakespeare—negotiates this apparent contradiction. By providing his marginalized characters with rhetorical prowess, Shakespeare both invests them with power—clearly evident in Portia—and mitigates their threat by rendering it intelligible, as with Shylock.","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80538242","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:Ben Jonson excluded Bartholomew Fair from his momentous Workes (1616), which might have indicated ambivalence in him about the play's social project. In exploring gender and authority, the play's festival setting abandons male vocality and its broadcast of certainty and knowledge. The puppets' sexlessness, revealed at play's end, renders Puritanical arguments about gender and cross-dressing irrelevant and foolish in the space of human affairs. Yet such a conclusion for Jonson, who was slavishly attentive to Classical regulations of the theater, may betray a moment of artistic doubt after the failure of Catiline and uncertainty about his legacy as a dramatist.
{"title":"Puppets, Sexlessness, and the Dumbfounding of Male Epistemology in Jonson's Bartholomew Fair","authors":"R. Darcy","doi":"10.1353/sel.2020.0016","DOIUrl":"https://doi.org/10.1353/sel.2020.0016","url":null,"abstract":"Abstract:Ben Jonson excluded Bartholomew Fair from his momentous Workes (1616), which might have indicated ambivalence in him about the play's social project. In exploring gender and authority, the play's festival setting abandons male vocality and its broadcast of certainty and knowledge. The puppets' sexlessness, revealed at play's end, renders Puritanical arguments about gender and cross-dressing irrelevant and foolish in the space of human affairs. Yet such a conclusion for Jonson, who was slavishly attentive to Classical regulations of the theater, may betray a moment of artistic doubt after the failure of Catiline and uncertainty about his legacy as a dramatist.","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88334241","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 proposes that Shakespeare uses twinship and marriage in The Comedy of Errors to reflect on the importance of individuality and interrelation in the formation of identity. Specifically, this article shows how The Comedy of Errors sets the twin relation against the marital relation, ultimately implying that marriage—imperfect, everyday marriage—has as much subjective impact as the extraordinary bond between identical twins. As amazing as it might be to see two persons sharing "one face, one voice, one habit," The Comedy of Errors suggests that the twin relation does not surpass in significance the equally marvelous relation whereby husband and wife become "one flesh."
{"title":"Twinship and Marriage in The Comedy of Errors","authors":"K. Lehnhof","doi":"10.1353/sel.2020.0012","DOIUrl":"https://doi.org/10.1353/sel.2020.0012","url":null,"abstract":"Abstract:This article proposes that Shakespeare uses twinship and marriage in The Comedy of Errors to reflect on the importance of individuality and interrelation in the formation of identity. Specifically, this article shows how The Comedy of Errors sets the twin relation against the marital relation, ultimately implying that marriage—imperfect, everyday marriage—has as much subjective impact as the extraordinary bond between identical twins. As amazing as it might be to see two persons sharing \"one face, one voice, one habit,\" The Comedy of Errors suggests that the twin relation does not surpass in significance the equally marvelous relation whereby husband and wife become \"one flesh.\"","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81097952","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 recent attribution of The Family of Love solely to Lording Barry invites a repositioning of the playwright within his dramatic milieu, especially to his contemporaries and to the early modern comic tradition. His use of Christopher Marlowe's Ovid shapes our understanding of his forerunner's reception in the early seventeenth century. Such an act of imitation suggests a type of kinship between the poets and, to some extent, validates the idea of Marlowe as influence on the creation of city comedy, for we can credit Barry as the first to employ Hero and Leander for comic effect in dramatic form, a recognition oftentimes attributed to Ben Jonson.
{"title":"\"Modern for the Times\": Lording Barry, Christopher Marlowe, and Ovid","authors":"S. K. Scott","doi":"10.1353/sel.2020.0015","DOIUrl":"https://doi.org/10.1353/sel.2020.0015","url":null,"abstract":"Abstract:The recent attribution of The Family of Love solely to Lording Barry invites a repositioning of the playwright within his dramatic milieu, especially to his contemporaries and to the early modern comic tradition. His use of Christopher Marlowe's Ovid shapes our understanding of his forerunner's reception in the early seventeenth century. Such an act of imitation suggests a type of kinship between the poets and, to some extent, validates the idea of Marlowe as influence on the creation of city comedy, for we can credit Barry as the first to employ Hero and Leander for comic effect in dramatic form, a recognition oftentimes attributed to Ben Jonson.","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73106262","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 uses Shakespeare's The Taming of the Shrew as a case study to demonstrate how an early modern English discourse of benevolent domestic rule, evinced in horsemanship manuals, pedagogical treatises, and books of household governance, works to maintain the hierarchical status quo, even as it ostensibly critiques tyranny in domestic mastery. I argue that the play draws on detailed debates within horsemanship to cast Petruchio as a horse courser swindling the other gentlemen in the drama via Katharina's performance. In so doing, it encourages disinterest in the possibility of Katharina's resistance to or participation in Petruchio's scheme.
{"title":"Critiquing Mastery and Maintaining Hierarchy in The Taming of the Shrew","authors":"E. Mathie","doi":"10.1353/sel.2020.0011","DOIUrl":"https://doi.org/10.1353/sel.2020.0011","url":null,"abstract":"Abstract:This article uses Shakespeare's The Taming of the Shrew as a case study to demonstrate how an early modern English discourse of benevolent domestic rule, evinced in horsemanship manuals, pedagogical treatises, and books of household governance, works to maintain the hierarchical status quo, even as it ostensibly critiques tyranny in domestic mastery. I argue that the play draws on detailed debates within horsemanship to cast Petruchio as a horse courser swindling the other gentlemen in the drama via Katharina's performance. In so doing, it encourages disinterest in the possibility of Katharina's resistance to or participation in Petruchio's scheme.","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80434021","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:An assessment of recent scholarly work treating the literature of the English Renaissance and some general observations on the state of the profession. A full bibliography and price list of works received by SEL for consideration follow.
{"title":"Recent Studies in the English Renaissance","authors":"Ryan Netzley","doi":"10.1353/sel.2020.0007","DOIUrl":"https://doi.org/10.1353/sel.2020.0007","url":null,"abstract":"Abstract:An assessment of recent scholarly work treating the literature of the English Renaissance and some general observations on the state of the profession. A full bibliography and price list of works received by SEL for consideration follow.","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81249687","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:Milton’s primary purpose in The Readie and Easie Way, like Raphael’s in Paradise Lost, is to leave his primary audience without excuse when it inevitably falls. Recognizing this parallel stabilizes the tract from two important perspectives. First, if Milton is to leave the English people without excuse, the polemicist, as Raphael for Adam, must provide astute, practical political advice, even though he knows that his audience will disregard it. Second, it clarifies why Milton published his blueprint for a sustainable commonwealth when it was clearly too late.
{"title":"The Epic Calm of The Readie and Easie Way","authors":"Clay Daniel","doi":"10.1353/sel.2020.0004","DOIUrl":"https://doi.org/10.1353/sel.2020.0004","url":null,"abstract":"Abstract:Milton’s primary purpose in The Readie and Easie Way, like Raphael’s in Paradise Lost, is to leave his primary audience without excuse when it inevitably falls. Recognizing this parallel stabilizes the tract from two important perspectives. First, if Milton is to leave the English people without excuse, the polemicist, as Raphael for Adam, must provide astute, practical political advice, even though he knows that his audience will disregard it. Second, it clarifies why Milton published his blueprint for a sustainable commonwealth when it was clearly too late.","PeriodicalId":45835,"journal":{"name":"STUDIES IN ENGLISH LITERATURE 1500-1900","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87469434","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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