Pub Date : 2016-03-15DOI: 10.1163/23526963-04201001
G. Bouchard
The text of Epistle of Robert Southwell unto His Father is populated by bodies: the body politic that is the omnipresent Elizabethan state, the body of the Southwell family on behalf of whom Southwell claims to make his appeal, the body of the Catholic Church from which Richard Southwell is presently separated, and most significantly the body of Christ to which the young priest would have his father reunited. The detachment of father and son from these various bodies, and consequently from one another, is the reason for the letter’s existence as well as the foundation of its arguments and the source of its considerable drama. This essay argues that the artful persuasiveness of the Epistle lies in the simultaneity of its rhetorical appeals to both a private and public audience, appeals which are strengthened by the author’s awareness of the divided bodies he addresses, and his subsequent decision to deploy a provocative interplay between the actions of remembering and dismembering throughout his text.
{"title":"“Plunged in the like peril”: The Power of Remembered and Dismembered Bodies in Robert Southwell’s Epistle unto His Father","authors":"G. Bouchard","doi":"10.1163/23526963-04201001","DOIUrl":"https://doi.org/10.1163/23526963-04201001","url":null,"abstract":"The text of Epistle of Robert Southwell unto His Father is populated by bodies: the body politic that is the omnipresent Elizabethan state, the body of the Southwell family on behalf of whom Southwell claims to make his appeal, the body of the Catholic Church from which Richard Southwell is presently separated, and most significantly the body of Christ to which the young priest would have his father reunited. The detachment of father and son from these various bodies, and consequently from one another, is the reason for the letter’s existence as well as the foundation of its arguments and the source of its considerable drama. This essay argues that the artful persuasiveness of the Epistle lies in the simultaneity of its rhetorical appeals to both a private and public audience, appeals which are strengthened by the author’s awareness of the divided bodies he addresses, and his subsequent decision to deploy a provocative interplay between the actions of remembering and dismembering throughout his text.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"42 1","pages":"1-27"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-04201001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64619266","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 : 2016-03-15DOI: 10.1163/23526963-04201003
Kevin Laam
This paper examines the marriage songs that Andrew Marvell produced in 1657 for the wedding masque of Mary Cromwell, specifically, how they express Marvell’s long-time pursuit of patronage, and more broadly, how they showcase the increasingly courtly predilections of the Protectoral household and government. Marvell represents the politics and personalities behind the marriage in ways that suggest an acute awareness of Cromwell’s growing aristocratic and dynastic ambitions. As a newly appointed civil servant, Marvell also uses the occasion to reflect upon his experience as the beneficiary of the Protector’s largesse. Marvell is a silent but active player in the masque, using it to negotiate his position as a poet in the Cromwellian court.
{"title":"Marvell’s Marriage Songs and Poetic Patronage in the Court of Cromwell","authors":"Kevin Laam","doi":"10.1163/23526963-04201003","DOIUrl":"https://doi.org/10.1163/23526963-04201003","url":null,"abstract":"This paper examines the marriage songs that Andrew Marvell produced in 1657 for the wedding masque of Mary Cromwell, specifically, how they express Marvell’s long-time pursuit of patronage, and more broadly, how they showcase the increasingly courtly predilections of the Protectoral household and government. Marvell represents the politics and personalities behind the marriage in ways that suggest an acute awareness of Cromwell’s growing aristocratic and dynastic ambitions. As a newly appointed civil servant, Marvell also uses the occasion to reflect upon his experience as the beneficiary of the Protector’s largesse. Marvell is a silent but active player in the masque, using it to negotiate his position as a poet in the Cromwellian court.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":"42 1","pages":"59-86"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23526963-04201003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64618820","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 : 2015-12-01DOI: 10.1163/23526963-04102003
Laurie Ellinghausen
The figure of the renegade has been widely discussed in the field of early modern literary studies, with scholars situating rogue behavior within discourses of race, religion, and nationalism. However, these perspectives have not adequately addressed how domestic discourses of class and labor also shaped representations of renegades. My paper fills this gap by paying particular attention to English anxieties about vagrancy, a domestic phenomenon that manifested itself in new forms abroad, among pirates, apostates, and other traitors operating outside the geographical boundaries of the English state. Specifically, I examine the figure of Captain John Ward in Robert Daborne’s play A Christian Turned Turk (pub. 1612), in order to demonstrate previously overlooked connections between Ward’s reputation and his actual background as a lowly fisherman and conscripted sailor. This paper, by closely examining how the play and its sources construct Ward as a masterless man, sheds new light on the neglected issues of class and labor in the construction of the early modern English renegade.
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Pub Date : 2015-12-01DOI: 10.1163/23526963-04102001
F. Ruiz, G. Gibbs
Golding’s translation of the first complete version of Ovid’s Metamorphoses (1567) influenced authors (including Shakespeare), teachers, and, undoubtedly, most literate Elizabethans. It proved to be a popular text, but that popularity was mostly a Reformation-era phenomenon, and after 1612 the text was not reprinted until the twentieth century. Modern scholars have debated numerous issues: the nature and merits of Golding’s translation, with many judging it to be an odd transposition of the original; its engagement with the religious and political polemics of the day; and the degree to which the translation might or might not follow the moralizing approaches of previous allegorical traditions. This essay demonstrates the didactic, protreptic nature of the text and examines how Golding—a devout Calvinist—employed numerous literary devices to illustrate the frightful consequences that result from ungodly human desires and behaviors. He reinvented the text by creating an intertwined relationship between text and paratext to form the foundation of his protreptic method. With his translation Golding sought to highlight the growth of sinful behavior and to persuade readers toward his particular religious, political, and cultural concerns with contemporary English society. As the Elizabethan world died, so did the interest in Golding’s Metamorphoses; it no longer spoke to people in a significant way.
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Pub Date : 2015-12-01DOI: 10.1163/23526963-04102002
Elisabeth Chaghafi
Edmund Spenser’s “Astrophel” tends to be regarded as a minor poem that is inadequate as an elegy for Sidney and is further overshadowed by “Colin Clouts Come Home Againe.” Originally, both poems were published in the same volume in 1595, along with works by four other poets. Nonetheless, modern readings of “Astrophel” have been substantially shaped by modern editing practice, which has separated it from the rest of the volume’s contents. This article examines the original published context of “Astrophel” in detail and argues that all of the contents of the 1595 quarto — including those not written by Spenser himself — were intended to (and should) be read as a unit.
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Pub Date : 2015-12-01DOI: 10.1163/23526963-04102004
Brendan M. Prawdzik
This article describes a Marvellian spirituality that remains generally continuous despite an evolving theological outlook. It contends that Marvell’s poetry dramatizes the persistence of Original Sin within vulnerable and impermanent green enclosures; thus, the subject must always return to an inexorable history and materiality in which spirituality is grounded. The article considers Marvell’s skepticism and unusual conception of eschatological time, these being informed by the Book of Ecclesiastes. For Marvell, meditation on history remains bound up not only with spirituality but also with sensory perception — in particular, with the optical and tactile senses of water. The article concludes with a comparative analysis, of Marvell’s “Eyes and Tears” and Richard Crashaw’s “The Weeper,” that redefines Marvell as a deliberately anti-metaphysical poet.
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Pub Date : 2015-03-16DOI: 10.1163/23526963-04101005
H. Ronnes, A. Witte
During the last decade, research on Renaissance art and architecture in the northern Netherlands has tried to overcome persistent late nineteenth-century concepts connected to the nation-state, and started to adopt more dynamic ideas of culture and the arts in the period between 1450 and 1620. Especially the geographical divide between Flanders and the Northern Netherlands is increasingly contested, and more attention is being paid to the exchange between the Netherlands and Italy. This more international outlook has resulted in publications on artists such as Adriaen de Vries and Abraham Bloemaert, and architects such as De Keyser. Still, this field is overshadowed by the public attention paid to the Dutch Golden Age, and its essentialist interpretation continues to have an impact on the way the preceding period is studied. As a result, there still exists a rather fragmented idea of what ‘Renaissance’ means with respect to the arts in the Netherlands.
在过去的十年中，对荷兰北部文艺复兴时期艺术和建筑的研究试图克服19世纪晚期与民族国家有关的持久概念，并开始在1450年至1620年间采用更有活力的文化和艺术理念。特别是佛兰德斯和北荷兰之间的地理分界越来越有争议，荷兰和意大利之间的交流也越来越受到关注。这种更加国际化的视野导致了Adriaen de Vries和Abraham Bloemaert等艺术家和de Keyser等建筑师的出版物。尽管如此，这个领域仍然被公众对荷兰黄金时代的关注所掩盖，其本质主义的解释继续对前一时期的研究方式产生影响。因此，对于荷兰艺术而言，“文艺复兴”的含义仍然存在着相当零散的概念。
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Pub Date : 2015-03-16DOI: 10.1163/23526963-04101002
D. Stymeist
In response to the representational copia surrounding poisoning, critics have tended to focus on how early modern writers adopted Italianate settings and characters due to the pervasive correlation between poison and Italy in England's cultural imagination. This critical preoccupation has led to an undervaluing of the role that domestic English news depictions of poison played in the construction of criminality. Contemporary media theorizations concerning the commercial uses of fear help unpack how early modern news reports depicted the threat of household poisoning out of proportion to actual risk in order to profit from developing public anxiety. Popular drama, as evidenced in Arden of Faversham and Hamlet, responded to the news media's commercialization of fear by creating its own set of "anxiety fictions" that were crucial in defining deviancy and proliferating public apprehension. Ultimately, various forms of cultural media reinforced public fears surrounding the threat of domestic subversion and concomitantly had a negative effect on social and legal policy.
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Pub Date : 2015-03-16DOI: 10.1163/23526963-04101001
C. I. Cox
Although many scholars have acknowledged the dark thread interwoven into William Baldwin’s playful narrative Beware the Cat, they have largely ignored the role of plague in heightening the work’s sense of impending danger. Baldwin intensifies our sense of peril by including at every level of his narrative references to plague. In Beware the Cat, contagious disease symbolically melds with other kinds of divine punishment. These include bestial transformations, farcical exposure, and painful afflictions, especially the startling appearances of and painful biting, scratching, strangling, and suffocation by cats. All are ways that God punishes his creatures for their abominations. Baldwin’s emphasis on plague as God’s vengeance for sin becomes one of the cats’ most significant meanings and a key to our understanding of the protagonist Gregory Streamer’s strange quest.
尽管许多学者都承认威廉·鲍德温(William Baldwin)的《当心猫》(Beware the Cat)诙谐的叙事中交织着黑暗的线索，但他们在很大程度上忽略了瘟疫在强化这部作品迫在眉睫的危险感方面所起的作用。鲍德温通过在叙事的各个层面上提到瘟疫，强化了我们的危在感。在《当心猫》中，传染性疾病象征性地与其他形式的神的惩罚融合在一起。这些症状包括兽性的转变、滑稽的暴露和痛苦的折磨，尤其是被猫咬、抓、勒死和窒息的令人吃惊的外表和痛苦。这些都是上帝惩罚他的创造物的方式。鲍德温强调瘟疫是上帝对罪恶的报复，这成为猫最重要的意义之一，也是我们理解主人公格雷戈里·斯特拉普奇怪追求的关键。
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