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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.

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Christopher Burlinson and Andrew Zurcher

’, his original version, would have been tautologous. 28.4-5 Knoweing ... designe] Albanio’s prudence allows him to discern truth from appearance, an opposition that is frequently emphasized in this episode (see, above). 28.7 shunne] avoid. 28.9 dights] clothes. Stanzas 29-39] In this clear allusion to the Gunpowder Plot, Knevet links Albanio’s quest all the more closely to the reign of King James I. In 1605, a group of English Catholics, led by Robert Catesby and including Guy Fawkes, disappointed in their desire for greater religious tolerance

in A Supplement of the Faery Queene
Rachel E. Hile

-speaking over monolingual ministers, because, he said, “those people had souls which ought not to be neglected till they would learn English” (qtd. in Jones, A True Relation, 44). MUP_Hile_SpenserSatire_Printer.indd 77 14/10/2016 15:35 Spenserian satire 78 misses the spirit of Spenserian satire, which uses indirection and ambiguity to manage the risk of criticizing or even mocking people with real political power. Bedell takes no risks with this poem, because the satire targets a reviled out-group, English Catholics and the subset of English Catholic Gunpowder Plotters

in Spenserian satire
Gary Waller

Brookshire describes Byrd’s Walsingham variations as his roman à clef. Placing the composition in the context of Elizabethan religious tensions, he argues, reveals how Byrd’s stylistic features made clear his religious allegiances. Byrd opens as if he were writing a choral work: a single cantoral voice gives the first two bars; a tutti of four to five voices responds and then rises to a complex cadence, a pattern that is repeated throughout, and which mirrors the characteristic pattern not of his secular ballads but of his motets.8 The persecuted English Catholics with

in Literary and visual Ralegh
Clarendon, Cressy and Hobbes, and the past, present and future of the Church of England
Paul Seaward

, and (indirectly at least) with 216 217 Clarendon, Cressy and Hobbes the papacy in 1658/​59 involved a cautious commitment to remove the persecution of Catholics.59 Although (given their lack of success) they created no obligation to act after the Restoration, Charles II’s wish to assist English Catholics resulted in a series of discussions in 1660 and 1661, which broke down for reasons that are still obscure. In Religion and Policy Clarendon explained that the Jesuits had prevented the Catholic community from agreeing to reject the authority of the Pope in

in From Republic to Restoration
Richard Bellings, James Shirley and Henry Burnell
Marie-Louise Coolahan

strife. Her conversion occurred at the home of another Old English Catholic, Walter Butler, eleventh earl of Ormond, in November 1626. Two years prior, Bellings lauded Cary as his ‘worthy patronesse’. He identified her as his work’s first reader, involved in its conception: ‘at the first birth of it was meant for your Honour’; ‘in its infancie it was vowed to you’.7 On the one hand, this is a conventional assertion of patron–client dynamics, but at the   5 Gérard Genette, Paratexts: Thresholds of interpretation, trans. Jane Lewin (Cambridge, 1997). For discussions of

in Dublin
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Writing for the stage in Restoration Dublin
Stephen Austin Kelly

Warren Chernaik, ‘Philips, Katherine’, ODNB, s.v. 11 Karl S. Bottigheimer, English money and Irish land (Oxford, 1971), p. 181. GRIBBEN 9781526113245 PRINT.indd 209 20/04/2017 15:33 210 Stephen Austin Kelly between Egypt and Ireland, with Britain, like Rome, as the dominant regional power. Thus, Ptolemy, the play’s antihero, could be seen as representing the Old English Catholics associated with the Confederation of Kilkenny. Historically of Macedonian descent, Ptolemy, as King of Egypt, represents a mixed-ethnic element in the story. This GraecoEgyptian

in Dublin
Religion, revolution, and the end of history in Dryden’s late works
Matthew C. Augustine

in ice and snow, and those that sought refuge in a hollow tree are turned out by the winter residents of the swallows’ country to die of exposure or worse. Neither the coordinates nor the implications of the Panther’s allegory are far to seek. The swallows are English Catholics, the officious priest James’s spiritual advisor Father Petre, and the change of weather in the swallows’ native clime the blast of Anglican persecution. The false spring represents the temporary respite of James’s Toleration; while the swallows’ bitter extinction perhaps needs no explanation

in Aesthetics of contingency
Amanda L. Capern

acrostics on the ‘pure Virgin, blessed Mayd’.83 The text resonated with English Catholic royalist women, and while it circulated so too did 1657 and 1658 reprints of Helen More’s 111 112 From Republic to Restoration The Holy Practices and Spiritual Exercises.84 Printed in Paris and brought secretly across the channel, More’s tracts offered the Catholic alternative route to feminine perfection, the sinless state of grace and purity of the soul.85 Such works buoyed up Catholic families living under strain during the Republic when there was no monarchy to protect their

in From Republic to Restoration
Margaret Christian

and for their enemies’ conversion, individual judgment (or unpublished pastoral direction) determined whether the enemies referred to were French Catholics, the Guises, the Pope himself, or Catholics in general, including English Catholics. Like other occasional liturgies, the 1572 form lists which chapters of the Bible were to be substituted for lessons dictated by the calendar. Many of the listed readings, overlapping with those in the 1563 plague liturgy, call listeners to repentance (Matthew 3, Luke 15, Acts 9, and Romans 2) or admonish them about Christian

in Spenserian allegory and Elizabethan biblical exegesis