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Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas.

As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.

England’s altered confidence
Anne Sweeney

of a Catholic church, the regular progress around which was a sobering reminder to the lettered and unlettered alike. Even before the Reformation, when still up on church walls, such images had probably lost much of their poignancy, dulled by their familiarity and air of stiff antiquity. How long had it been since anyone had looked at the angels on the church roofs, now shot down like so many birds

in Robert Southwell
John Derricke versus Edmund Spenser
Brian C. Lockey

national church, at the same time that Derricke channels the larger English conflict with the Roman Catholic Church through the prism of national politics. Throughout the section on Edward III and the subsequent section on Henry VIII, Derricke emphasises Ireland’s central place within the English crown’s frequent conflicts with the Pope. According to Derricke, Edward intimidated the Pope to such a degree that the only option of the papacy was to ‘take the Keyes, and leaue / the sworde to [Edward] alone’. 27

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Abstract only
George Peele’s David and Bethsabe
Annaliese Connolly

Catholic church and address specific practices and aspects of doctrine which encouraged superstition and exploited the laity. The reforms instituted by Luther in 1517 included the elimination of Catholic practices such as the worship of saints, recognition of the authority of the Pope and belief in purgatory. The sacraments were reduced from seven to two to include just baptism and the Eucharist. The elimination of the sacrament of confession for example, whereby individuals could receive penance and absolution for their sins from a priest, redefined the nature of the

in The genres of Renaissance tragedy
Brendan O’Connell

this grouping reflected Chaucer’s design. While it does not effortlessly fit the framework, the Plowman ’ s Tale was unquestionably adapted, by means of an effective (if somewhat artless) Prologue, to furnish a link with the Canterbury pilgrimage. 14 Once it came to be included in the Tales , it appears to have gained swift and wholehearted acceptance, presumably because its Lollard polemics were attractive for readers keen to claim Chaucer as a proto-Protestant critic of the Catholic Church, the fraternal orders and the

in Rereading Chaucer and Spenser
Into England
Anne Sweeney

implies a considerable level of support at many levels. 13 The Catholic Church in late sixteenth-century England was formed of words and arguments alone; its congregation and clerisy could be grown only through sufficiently persuasive rhetoric. Writers had now the same significance as the early saints and church-builders, not least in that they could become martyrs through their authorship. Sermons and

in Robert Southwell
Abstract only
Derricke, Dürer, and Foxe
Thomas Herron

the Image understands this. Derricke shows the outward and inward images truly, in both mimetic and moral terms. The gentle reader will understand how rebels ‘are captive unto’ sin. Consequently, they must be defeated by the English, who campaign in order to bring a godly reformation of the body politic. Rebels are agents of the Antichrist, who, in English Protestant propaganda, was regularly associated with the Pope and other leaders of a venal, false, duplicitous, and deeply corrupt Catholic Church that was

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Dynastic policy and colonial expansion in revenge tragedy
Clara Calvo

no mention of either the Pope or the Catholic Church. Unlike Greene’s The Spanish Masquerado , Kyd’s play betrays no hatred of fat priests or fear of the antichrist. As Philip Edwards points out, ‘Marlowe’ – the allegedly “atheist” playwright of Tamburlaine and Dr Faustus – ‘never wrote a less Christian play than [Kyd’s] The Spanish Tragedy ’. 11 Kyd was arrested

in Doing Kyd
Chaucer, Spenser and Luke Shepherd’s ‘New Poet’
Harriet Archer

Protestants, including William Tyndale, had attacked the Roman Catholic Church for ‘creating a church whose essence is not truth, but fiction ’, and consequently ‘attacked fiction as part of their attack on the corruptions of the Church’. 56 Among more predictable contributors to a pervasive contemporary antipoetic discourse, George Puttenham, who reputedly held a virulent antipathy towards Puritanism, another form of heretical ‘novelty’, also mounted a vigorous rejection of poetic innovation and ‘new fashions’: writers ‘affect

in Rereading Chaucer and Spenser