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Overhearing Spenser in Donne
Yulia Ryzhik

in the Earlier Seventeenth Century 1600–1660 (Oxford: Oxford University Press, 1962). Although Bush’s historical narrative is shaped by dichotomies between Spenser’s successors and those of Jonson and Donne (see Yulia Ryzhik’s Introduction above), his discriminations between Spenser and Donne are more complex than, say Carey’s, as when he cautions against the view that ‘Elizabethan orthodoxy, as represented by Spenser, was effete’ (130). 6 Donne, ‘A Valediction: Forbidding Mourning’, l. 31, in The Complete Poems , ed. Robin Robbins

in Spenser and Donne
Rhyme, meaning and experience
Richard Danson Brown

times in the poem as a whole, whereas ‘yold[e]’ occurs on four occasions, three of which are in this episode. 126 Scudamour's line catches the edginess between amorous devotion and bragging machismo which many critics have seen in him; as Lesley Brill puts it, ‘He stands both as Amoret's fulfillment and her affliction.’ 127 The use of ‘yold’ in the final line of stanza 25 suggests the difference between Britomart and Scudamour: ‘So to her yold the flames, and did their force re uolt ’. 128 Again, Spenser's rhymes imply moral and psychological discriminations

in The art of The Faerie Queene
Elisabeth Chaghafi

to establish authorship is called A Computer-aided Technique for Stylistic Discrimination: The Authorship of ‘Greene’s Groatsworth of Wit’ (1969). This study, hailed as a technological triumph by its author, Warren B. Austin, due to its use of a ‘high-speed’ IBM computer, was funded by the US Department of Education, which again illustrates the importance assigned to settling this question. However, despite its confident conclusion that Greenes Groats-worth of Witte had in fact been written by Chettle, Austin’s study nevertheless failed to prove Chettle

in English literary afterlives
Taking the measure of Antony and Cleopatra, Royal Shakespeare Company, 1972, 1978, 1982
Carol Chillington Rutter

Powell made explosive in what was tagged his ‘Rivers of Blood’ speech in April. In Northern Ireland, though banned, the first Civil Rights marches took place, protesting (sectarian) discrimination in housing policy, employment and electoral law; within months, the marches became violent as the Irish Republican Army stepped up its campaign of direct action. Four years later, none of this had been resolved. US involvement in Vietnam staggered on; Bloody Sunday in Derry/Londonderry left thirteen dead; the Tory government persisted in its policy of

in Antony and Cleopatra
Nigel Wood

further discrimination be made on the basis of actual context’. 13 Its semantic consistency is less one consisting in a ‘name–sense’ relationship than what Wittgenstein terms a ‘family resemblance’, where the auditor or reader cannot enter the process of meaning creation at any consistent point; 14 we conjecture and read on or hear incrementally, where a primary meaning might

in The Renaissance of emotion
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Robert Shaughnessy

quickly realises, is no help at all. Like me, Amy remembers the funereal prologue and ‘All the world’s a stage’, observing Jaques, or Garnon, ‘pulling out the entailments and falling deeper into it’. I wasn’t aware of the annoying commentator-parent, and Amy’s discrimination between those performers who remained within the fiction and those who inhabited a more flexible space between play and audience is

in As You Like It
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Lisa Hopkins

on almost immediately to Bess’s vast wealth and the question of who should have inherited it, and at this point Jane becomes almost recriminatory as she accuses Bess of lack of discrimination in favouring her middle son William rather than her youngest son Charles, Jane’s grandfather. Jane Cavendish’s pen-portrait of her great-grandmother homes in on all the crucial aspects of Bess’s image during and immediately after her lifetime. If Bess looms large for Jane, that is not surprising, for she undoubtedly was a formidable personality. This was clear throughout her

in Bess of Hardwick
Women and the work of conversion in early modern England
Claire Canavan
Helen Smith

beare you in hand, they would not so busily swarme about your sexe, which, by reason of your lesse abilitie of iudgement, is soonest inueigled with their wiles ’. 14 Appealing to women’s discernment about their sexes’ lack of discrimination, Hoby essays the difficult task of remonstrating with a group of readers stereotyped as lacking reason and being all too ready

in Conversions
Narrative palimpsests and moribund epochalities
Russell West-Pavlov

‘emulation’, illustrates and epitomizes the very trait that he denigrates, for his discourse is a masked critique of Agamemnon’s leadership. 40 In the very act of decrying ‘emulation’, Ulysses perpetuates it in the same way that peer-competition perpetuated itself via a performative identification with the object of self-distancing discrimination. His performance of emulation is not merely positional and

in Love, history and emotion in Chaucer and Shakespeare
Syrithe Pugh

conception of the entire work. To make this as clear as possible, I shall often refer to the eclogues of the Calender by number rather than by name in this chapter. (Note that this is also E.K.’s usual method in his glosses, making it easier for readers to draw the kinds of parallels and discriminations between the Calender’s structure and MUP_Pugh_SpencerandVIrgil_Printer2.indd 159 19/07/2016 18:31 160 Spenser and Virgil: The pastoral poems that of Virgil’s eclogue-book I shall be arguing here.) Colin appears in person in eclogues 1 (Januarye), 6 (June), 11 (Nouember

in Spenser and Virgil