Not his picture but his book
in Spectacular Performances
Abstract only
Get Access to Full Text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Access Tokens

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Philip Sidney's and John Donne's portraits, or at least the iconographic assumptions embodied in them, are an essential part of their literary history. The iconographic tradition in England, even in providing a frontispiece for his imaginative writing, largely ignored the Sidney of poetry and romance. The version of the Abraham Blyenberch portrait engraved by Robert Vaughan, faced the title page of the second edition of his folio Workes published in 1640. Ironically, the William Shakespeare and Ben Jonson folios, despite Jonson's best efforts, made the authors' portraits inescapable for large, expensive and, especially, posthumous dramatic collections. There were four such folios in the remainder of the century, devoted to the works of Francis Beaumont and John Fletcher, Thomas Killigrew and Sir William Davenant. In fact, Jonson's resistance for being identified with his picture, rather than his book, was, even during his lifetime, outmoded.

Spectacular Performances

Essays on theatre, imagery, books and selves in early modern England>

INFORMATION
TABLE OF CONTENTS
METRICS

Metrics

All Time Past Year Past 30 Days
Abstract Views 52 42 0
Full Text Views 54 39 0
PDF Downloads 6 3 0
RELATED CONTENT