Pub Date : 2022-09-30DOI: 10.1163/23526963-04802003
Tanya K. Zhelezcheva
Though Thomas Traherne’s punctuation has been harshly criticized for its idiosyncrasy, scholars have also frequently admired the stylistic effects that it creates. His punctuation is linked to baroque art and music, the use of periods to highlighting subordinate ideas, capitalization to its inability to foster figurative language, and parentheses to his writing and editing process. This essay draws attention to a related, but different, issue that has remained unaddressed: what does Traherne himself have to say about punctuation? An examination of Traherne’s works shows that Traherne’s understanding of punctuation falls into two broad categories: the complex-metaphoric and the politico-religious. His metaphoric understanding, which belongs to a long tradition, can be gleaned from his references to the oracle of Delphi’s capital letters inscription; Ficino’s translation of Plato; and Ben Jonson’s borrowing from a fourteenth-century translation of Julius Scaliger’s grammar. Traherne’s politico-religious understanding of punctuation emerges most clearly in his Roman Forgeries (1673) in which he critiques a long list of ecclesiastical sources—epistles, church canons, multi-volume works of the councils—to argue that Catholic scribes and editors used punctuation for ideological purposes: to obfuscate, hide, and forge religious doctrines. Traherne’s comments reveal that early modern readers were likely to skip over text within parenthesis and marginal annotations and to be impressed by the use of all capital letters. Traherne’s textual criticism through the lens of punctuation helps us to understand early modern reading habits as well as the history of textual editing and textual transmission.
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Pub Date : 2022-09-30DOI: 10.1163/23526963-04802002
L. Ch’ien
Many of Caravaggio’s late istoria altarpieces differ from what is commonly called Caravaggism (the artist’s pictorial mode during his Roman period) strongly enough that together the paintings form a distinctive approach to istoria that requires its own term: Dark Caravaggism. This paper identifies and analyzes this second Caravaggism, a pictorial mode as innovative as the first, but one that has been neglected in the literature. In the Resurrection of Lazarus, Burial of St. Lucy, and other works including the Death of the Virgin and Beheading of St. John, Caravaggio extends narrative moments in even muted palettes, stilled movement, and cavernous spaces. These paintings command the viewer’s attention by employing the eye’s physiological process of dark adaption in which the eye adjusts over time to dim light conditions. Eschewing Early Caravaggism’s instantaneity and fragmented tenebrism, Dark Caravaggism asks the viewer for quiet meditation rather than frantic search. If not for the artist’s untimely death at age 38, late Caravaggism likely would have produced a second revolution in European painting on par with the first.
{"title":"Dark Caravaggism","authors":"L. Ch’ien","doi":"10.1163/23526963-04802002","DOIUrl":"https://doi.org/10.1163/23526963-04802002","url":null,"abstract":"\u0000 Many of Caravaggio’s late istoria altarpieces differ from what is commonly called Caravaggism (the artist’s pictorial mode during his Roman period) strongly enough that together the paintings form a distinctive approach to istoria that requires its own term: Dark Caravaggism. This paper identifies and analyzes this second Caravaggism, a pictorial mode as innovative as the first, but one that has been neglected in the literature. In the Resurrection of Lazarus, Burial of St. Lucy, and other works including the Death of the Virgin and Beheading of St. John, Caravaggio extends narrative moments in even muted palettes, stilled movement, and cavernous spaces. These paintings command the viewer’s attention by employing the eye’s physiological process of dark adaption in which the eye adjusts over time to dim light conditions. Eschewing Early Caravaggism’s instantaneity and fragmented tenebrism, Dark Caravaggism asks the viewer for quiet meditation rather than frantic search. If not for the artist’s untimely death at age 38, late Caravaggism likely would have produced a second revolution in European painting on par with the first.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49577015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.1163/23526963-04802004
Elizabeth Skerpan-Wheeler
The sixteenth-century educational reformer Petrus Ramus was known for disrupting the traditional relationship between logic and rhetoric. He removed the first two of the traditional five canons of rhetoric—invention and arrangement—and assigned them to logic. Thus, to Ramus, invention became not a means of finding arguments but rather a process of uncovering truth and finding a means of inquiry into the essence of a subject. This intervention affected educators, scientists, playwrights, and poets, most notably John Milton, whose own version of Ramus’s logic was published only a year after Paradise Regained and Samson Agonistes. This chronological association suggests the possibility of a connection between Milton’s understanding of invention and the distinctive nature of the tragedy of Samson. Such a connection suggests that the tragedy represents a process of invention that goes wrong, and that the apparent victory of the Danites leads to the spiritual destruction of their hero.
{"title":"“Deep Dark Truthful Mirror”—The Logic of Petrus Ramus and the Tragedy of Samson Agonistes","authors":"Elizabeth Skerpan-Wheeler","doi":"10.1163/23526963-04802004","DOIUrl":"https://doi.org/10.1163/23526963-04802004","url":null,"abstract":"\u0000 The sixteenth-century educational reformer Petrus Ramus was known for disrupting the traditional relationship between logic and rhetoric. He removed the first two of the traditional five canons of rhetoric—invention and arrangement—and assigned them to logic. Thus, to Ramus, invention became not a means of finding arguments but rather a process of uncovering truth and finding a means of inquiry into the essence of a subject. This intervention affected educators, scientists, playwrights, and poets, most notably John Milton, whose own version of Ramus’s logic was published only a year after Paradise Regained and Samson Agonistes. This chronological association suggests the possibility of a connection between Milton’s understanding of invention and the distinctive nature of the tragedy of Samson. Such a connection suggests that the tragedy represents a process of invention that goes wrong, and that the apparent victory of the Danites leads to the spiritual destruction of their hero.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44260424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.1163/23526963-04802001
Camilo Peralta
During the Middle Ages, Christian theologians developed various means for addressing God’s ineffable, or indescribable, nature. One could, for instance, employ apophatic or “negative” theology, or use music and prayer as metaphors for the harmony of the universe and our relationship with Him. This paper examines the use of these and other approaches to the ineffable by the French indiciare Jean Molinet and the English poet George Herbert. Despite being written hundreds of years apart and in different languages, Molinet’s Chroniques (1474–1504) and Herbert’s “Prayer (I)” (1633) both rely on a series of impressionistic metaphors to convey something of the ineffability of their respective subjects (music and prayer). In their efforts to describe that which is difficult, if not impossible, to capture in words, both turn to the long tradition of Christian mysticism, and in particular the works of Pseudo-Dionysius and Boethius.
{"title":"Music, Prayer, and “Something Understood”","authors":"Camilo Peralta","doi":"10.1163/23526963-04802001","DOIUrl":"https://doi.org/10.1163/23526963-04802001","url":null,"abstract":"\u0000 During the Middle Ages, Christian theologians developed various means for addressing God’s ineffable, or indescribable, nature. One could, for instance, employ apophatic or “negative” theology, or use music and prayer as metaphors for the harmony of the universe and our relationship with Him. This paper examines the use of these and other approaches to the ineffable by the French indiciare Jean Molinet and the English poet George Herbert. Despite being written hundreds of years apart and in different languages, Molinet’s Chroniques (1474–1504) and Herbert’s “Prayer (I)” (1633) both rely on a series of impressionistic metaphors to convey something of the ineffability of their respective subjects (music and prayer). In their efforts to describe that which is difficult, if not impossible, to capture in words, both turn to the long tradition of Christian mysticism, and in particular the works of Pseudo-Dionysius and Boethius.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43789290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-11DOI: 10.1163/23526963-04801004
K. Bennett
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Pub Date : 2022-04-11DOI: 10.1163/23526963-04801001
K. Bennett
Thomas Watson’s critics have suggested that The Hekatompathia, Or Passionate Centurie of Love ambitiously aspired to be a pedagogical text, but if this work is designed to teach, then this essay suggests Watson’s manipulations of genre, style, and intertexts combine to offer a pedagogy for poets, a compilation of rhetorical postures one may employ to simultaneously deliver and disguise socio-political satire in Elizabethan England. This essay first discusses how Hekatompathia additionally signals its satirical aims by participating in the pasquinade tradition, and positioning a “pasquine piller” at the volta of this sequence of one hundred passions. Next, it shows how Watson’s “passions” intertextually recall Pierre de Ronsard’s Discours des Misères de ce Temps, a collection of lyrics satirizing the French factionalism that has led to civil war, as well as Thomas Jeney’s later English translation that turns a mirror to princes toward Queen Elizabeth. Upon recognizing the Ronsardian subtexts of courtly factionalism and civil unrest associated with Watson’s “passions,” one may see how they are compounded as the poet sets them forth in the “pathetical style” of Seneca and Lucan. The civil wars of ancient Rome and subsequent imperial tyranny are frequently held up as a cautionary tales for early modern English and European rulers, but Watson’s simultaneous translation of the French Wars of Religion relocates these civil broils in England, implicating Elizabethan court dissidence and hypocrisy.
托马斯·沃森的批评者认为，《爱的激情世纪》雄心勃勃地渴望成为一部教学文本，但如果这部作品是为了教学而设计的，那么这篇文章就表明，沃森对体裁、风格和互文的操纵结合起来，为诗人提供了一种教学方法，一种修辞姿势的集合，人们可以同时使用它来传递和掩饰伊丽莎白时代英国的社会政治讽刺。这篇文章首先讨论了Hekatompathia是如何通过参与pasquinade传统，并在这一百种激情序列的伏特上定位一个“pasquine piller”，来表达它的讽刺目的的。接下来，它展示了沃森的“激情”是如何让人联想到皮埃尔·德·朗萨尔(Pierre de Ronsard)的《diss des misires de ce Temps》，这是一部讽刺导致法国内战的派系主义的歌词集，以及托马斯·詹尼(Thomas Jeney)后来的英文翻译，把镜子从王子转向了女王伊丽莎白。在认识到朗萨迪式的宫廷派系主义和内乱的潜台词与沃森的“激情”联系在一起之后，人们就可以看到，当诗人以塞内加和卢坎的“悲情风格”将这些情感表达出来时，它们是如何混合在一起的。古罗马的内战和随后的帝国暴政经常被认为是早期现代英国和欧洲统治者的警世故事，但沃森的《法国宗教战争》的同声翻译将这些内战转移到了英国，暗示了伊丽莎白时代的宫廷异见和虚伪。
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Pub Date : 2022-04-11DOI: 10.1163/23526963-04801003
Hannah Bredar
This essay analyzes the devices and methods of satirical discourse as they are presented by Much Ado About Nothing’s Beatrice and The Taming of the Shrew’s Katherine. By exploring shared points of contact in the “flyting” scenes between Katherine, Beatrice, and their respective suitors, I discuss how ironic, critical speech comes to be elevated as satirical wit in one play, even as it is reduced to shrewish complaint in the other. Both readings complicate conventional understandings of these plays as comedy, especially insofar as they undercut the institution associated with the genre’s successful resolution: marriage. Ado’s and Shrew’s engagement in discourses of satire, complaint, and invective offers an opportunity to recognize how these plays figure women and marriage as vehicles for a satirical critique of the period’s comedic and romantic conventions.
{"title":"Witty Shrews and Shrewish Wits","authors":"Hannah Bredar","doi":"10.1163/23526963-04801003","DOIUrl":"https://doi.org/10.1163/23526963-04801003","url":null,"abstract":"\u0000 This essay analyzes the devices and methods of satirical discourse as they are presented by Much Ado About Nothing’s Beatrice and The Taming of the Shrew’s Katherine. By exploring shared points of contact in the “flyting” scenes between Katherine, Beatrice, and their respective suitors, I discuss how ironic, critical speech comes to be elevated as satirical wit in one play, even as it is reduced to shrewish complaint in the other. Both readings complicate conventional understandings of these plays as comedy, especially insofar as they undercut the institution associated with the genre’s successful resolution: marriage. Ado’s and Shrew’s engagement in discourses of satire, complaint, and invective offers an opportunity to recognize how these plays figure women and marriage as vehicles for a satirical critique of the period’s comedic and romantic conventions.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46067245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-11DOI: 10.1163/23526963-04801002
C. Perry
This essay explores the idea that the grotesque denouement of Titus Andronicus—and specifically that portion of the play staged as Titus’s dinner party—draws upon ideas about Rome and decorum from imperial Roman satire. The cannibal banquet in Act 5 of Titus Andronicus is designed to violate Horace’s remarks from the Ars Poetica about how ‘the feast of Thyestes’ should not be staged in a manner commensurate with comedy. In keeping with its exploration of indecorum as an index to corruption, the play’s weird denouement makes use of the generic resources of Roman satire, and especially of Juvenal and Persius, since each of these imperial-era writers positons themselves as indecorous and post-Horatian. Titus uses his dinner party to satirize Roman mores that he has come to recognize as corrupt, and as host he re-enacts Roman satire’s obsessive interest in food, cooking, and the dinner party as both metaphor and setting. In doing so, Titus literalizes a link between cannibalism and post-Horatian indecorum that is figural in Persius.
{"title":"Titus’s Revenge and/as Imperial Roman Satire","authors":"C. Perry","doi":"10.1163/23526963-04801002","DOIUrl":"https://doi.org/10.1163/23526963-04801002","url":null,"abstract":"\u0000 This essay explores the idea that the grotesque denouement of Titus Andronicus—and specifically that portion of the play staged as Titus’s dinner party—draws upon ideas about Rome and decorum from imperial Roman satire. The cannibal banquet in Act 5 of Titus Andronicus is designed to violate Horace’s remarks from the Ars Poetica about how ‘the feast of Thyestes’ should not be staged in a manner commensurate with comedy. In keeping with its exploration of indecorum as an index to corruption, the play’s weird denouement makes use of the generic resources of Roman satire, and especially of Juvenal and Persius, since each of these imperial-era writers positons themselves as indecorous and post-Horatian. Titus uses his dinner party to satirize Roman mores that he has come to recognize as corrupt, and as host he re-enacts Roman satire’s obsessive interest in food, cooking, and the dinner party as both metaphor and setting. In doing so, Titus literalizes a link between cannibalism and post-Horatian indecorum that is figural in Persius.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43501204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-11DOI: 10.1163/23526963-04801005
Emily Rowe
Satire and war have a longstanding literal and metaphoric relationship. Satire has long been the medium to criticize war, while also being figured itself as literary ‘warfare.’ This essay examines the interplay between war and satire in two early modern English prose texts, Thomas Nashe’s The vnfortunate trauller (1594) and Thomas Dekker’s Worke for armorours (1609). Both writers contributed satirical works to literary ‘wars’ of the period, but this essay moves away from their literary feuds and argues that Nashe and Dekker’s prose employ sites of war as settings for social satire and to explore how war, like satire, functions a force that disrupts as a means to correct social abuses.
{"title":"Satire, What Is It Good For?","authors":"Emily Rowe","doi":"10.1163/23526963-04801005","DOIUrl":"https://doi.org/10.1163/23526963-04801005","url":null,"abstract":"Satire and war have a longstanding literal and metaphoric relationship. Satire has long been the medium to criticize war, while also being figured itself as literary ‘warfare.’ This essay examines the interplay between war and satire in two early modern English prose texts, Thomas Nashe’s The vnfortunate trauller (1594) and Thomas Dekker’s Worke for armorours (1609). Both writers contributed satirical works to literary ‘wars’ of the period, but this essay moves away from their literary feuds and argues that Nashe and Dekker’s prose employ sites of war as settings for social satire and to explore how war, like satire, functions a force that disrupts as a means to correct social abuses.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"92 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41260227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-07DOI: 10.1163/23526963-04702003
Carole Levin
William Laud played a critical role in the politics and religion in the reign of James I and especially that of his son, Charles I. There was great antagonism toward him by Puritans, and Laud’s close friendship with George Villiers, Duke of Buckingham, made Laud even more controversial, as did his fight with the king’s jester, Archy Armstrong. Dreams were seen as having great significance at time of Laud, and Laud recorded his dreams in his journal. Dreams also played a role in the early Stuart political world. This essay examines how Laud’s enemies used his own dreams against him in the work of William Prynne, once Laud was arrested during the English Civil war. It also looks at how Laud was compared to also despised Thomas, Cardinal Wolsey in a number of political pamphlets that used dreams, such as Archy’s Dream and Canterburie’s Dream. Laud also appeared as a character in a dream of Charles I’s attendant Thomas Herbert the night before the king’s execution, where Laud came to comfort Charles.
{"title":"Dreaming of Death and the Dead in the Stuart Political World Imaginary: The Case of William Laud","authors":"Carole Levin","doi":"10.1163/23526963-04702003","DOIUrl":"https://doi.org/10.1163/23526963-04702003","url":null,"abstract":"<p>William Laud played a critical role in the politics and religion in the reign of James <span style=\"font-variant: small-caps;\">I</span> and especially that of his son, Charles <span style=\"font-variant: small-caps;\">I</span>. There was great antagonism toward him by Puritans, and Laud’s close friendship with George Villiers, Duke of Buckingham, made Laud even more controversial, as did his fight with the king’s jester, Archy Armstrong. Dreams were seen as having great significance at time of Laud, and Laud recorded his dreams in his journal. Dreams also played a role in the early Stuart political world. This essay examines how Laud’s enemies used his own dreams against him in the work of William Prynne, once Laud was arrested during the English Civil war. It also looks at how Laud was compared to also despised Thomas, Cardinal Wolsey in a number of political pamphlets that used dreams, such as Archy’s Dream and Canterburie’s Dream. Laud also appeared as a character in a dream of Charles <span style=\"font-variant: small-caps;\">I</span>’s attendant Thomas Herbert the night before the king’s execution, where Laud came to comfort Charles.</p>","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"304 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138506385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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