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The unknowable image in The Winter’s Tale
Chloe Porter

reaching unto it. (p. 85, line 44, p. 86, lines 1–8) By legitimising poetic practice while drawing attention to its subversive potential, Sidney suggests that through mimesis poetry paradoxically goes ‘beyond Nature’ by reproducing non-mimetic, creative representation. 78 Sidney expresses deference to God

in Making and unmaking in early modern English drama
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Shakespeare’s brute part
Richard Wilson

’s boast can thus stand as a frame for the dramatist’s ironic stance towards his own creative circumstances. For the proprietorial claim by the imperious sister of Sir Philip and daughter of Sir Henry Sidney, ‘greatest of the Presidents of Wales’, reminds us sharply how his patronage relations – which demanded a servile dedication of his published Works to ‘The Most Noble and Incomparable Brethren, William

in Free Will
Yulia Ryzhik

poetic innovation in both theory and practice, if in strikingly different ways. Our focus in this chapter is primarily on the critical writings on Spenser and Donne by Eliot, Yeats, and Joyce, of whom Eliot was the most prolific, Joyce the least. But theory and practice are never entirely separable, and we also draw on their creative work to demonstrate significant uses as well as shifts in their engagement with Renaissance authors. Certain commonalities emerge: encountering Spenser and Donne in the context of the university curriculum proves

in Spenser and Donne
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Homer and Ausonius in Thomas Heywood’s Various History Concerninge Women
Tania Demetriou

circulating in translation during this period, and how writers responded to them from their various creative situations. 6 Heywood’s scholarship in the Gynaikeion has drawn little critical attention across this span of time. Yet, as Yves Peyré’s chapter on Heywood’s mythographical reading shows ( chapter 7 ), there is much to be gained from revisiting this work’s classical practices. In what follows, I explore how Heywood’s traffic with one Greek author, Homer, might figure most productively in our view of this unusual book of vernacular scholarship. Deferring to Martin

in Thomas Heywood and the classical tradition
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Rewriting the English lyric landscape
Anne Sweeney

fruits of his inventions, good or bad? These questions over self-generated authorship and its relationship with God are wrestled with by the novice in his devotional diaries; the question goes to the heart of his creativity. The Neoplatonic poetic claim of God-like creative autonomy troubled a youth so responsive to beauty and so interested in its literary recreation. In his diaries he refers over and

in Robert Southwell
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Then with Scotland first begin
Willy Maley and Andrew Murphy

, critical and creative, will affect the ways in which Shakespeare is taught and written about in Scotland, and the ways in which Scotland features in Shakespeare studies. How will the arguments that have been raging for so long (and so acrimoniously) in England play themselves out now in Scotland, post-devolution? If the English argue about the place of Shakespeare in the canon, how will this work in a semi

in Shakespeare and Scotland
Penelope and Arachne in early modern drama
Nathalie Rivère de Carles

focuses on the re-emergence of the weavers’ political function and work in Jacobean drama. The Homeric Penelope and the Ovidian Arachne are a mise en abyme of the creation and the creator. They are both the subject of the text and the text itself, and their creative agency is located sub tela , under the cloth. Their identity, their deeds and purposes are subtle in essence, yet do not partake of a

in Interweaving myths in Shakespeare and his contemporaries
Erith Jaffe-Berg

with his patron, sharing that he has been ill ( così indisposto come mi trovo ) and that the creative muse has visited him ( mi è venuto un capriccio ). His language is full of passion, and he refers to the fire ( lo foco ) of his creative output, and conspiratorially discloses that his new work is a poetic prologue for a production which he has shared with none other

in Transnational connections in early modern theatre
Richard Chamberlain

and of an early modern emotion which some people suppose they still experience today. In short, Shakespeare’s texts play across the strong family ties between these words deliberately and creatively, and this linkage is key to understanding the reflection upon happiness, and its opposite, in Hamlet . Thus, when Hamlet says, of the Ghost

in The Renaissance of emotion
Kate McLuskie and Kate Rumbold

. The discussion rehearsed familiar starting points for the discussion of cultural value. Cultural value was assumed to be located in the personal or collective experience of those who engaged with it: it could be a product of creative work (with music or ceramics, especially in the hands of children) but cultural experiences also included engagement with particular exemplars of culture (an Ottoman

in Cultural value in twenty-first-century England