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Archaism, etymology and the idea of development
William Rhodes

Spenser’s Ireland, which makes Irish culture amenable to English-style reforms in A View , but which also exposes the fragility of England’s ostensibly linear, progressive development, and causes Spenser to imagine the harshest means to prevent England’s contagion by Irish unrest. This vascillation between looking to the past as a distant origin for the present, and as a living agent that can affect the future frames Spenser’s turn to Chaucer as a source of lexical evidence about Irish clothing. The allusions to England

in Rereading Chaucer and Spenser
Martial identities and the subject of conquest in Derricke’s Image of Irelande
Maryclaire Moroney

colonial question, ‘What ish my nation?’ surfaces through the anxiously contested relationship of ‘woodkarn’ to Palesman. 32 In his second dedicatory epistle, to ‘the Lords of her Maiesties realme of Irelande’, Derricke acknowledges that his representation of Irish culture is unlikely to please those in power in the Pale, and explains at length, in Part 1 of the text, why he believes that Pale elites will think themselves implicated in the work’s anti-Irish polemic. In the epistle, Derricke exhorts his Old English reader

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Thomas Herron, Denna J. Iammarino, and Maryclaire Moroney

analysis of both Derricke’s woodcuts and poem. Carey rightfully situates the Image in the context of Sidney’s campaigns in the Irish midlands in the mid–late 1570s, as Exhibit A in Sidneian propaganda (correlating with Sidney’s contemporary but unpublished Memoir of his service in Ireland) and the ongoing denigration and destruction of Irish culture by the New English. In a second important essay Carey stresses the brutal nature of the wars and atrocities celebrated in Derricke’s work. To Carey, Derricke sanctions an

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Derricke, Dürer, and Foxe
Thomas Herron

The sources and aesthetic principles behind the famous woodcuts to John Derricke’s 1 Image of Irelande: with a discoverie of Woodkarne (London 1581) are not well understood. The woodcuts – like the long multi-part, multi-genre poem that accompanies them – denigrate native Irish culture and leaders while celebrating the military campaigns of Sir Henry Sidney, three-times Lord Deputy of Ireland, against his foes. The work is dedicated to Henry’s son, the poet Philip, and is often cited as a classic

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Print culture, multimodality, and visual design in Derricke’s Image of Irelande
Andie Silva

describes a moment where the kern have eaten and their ‘lippes and chappes with blood doe swim’ (F1r). While the poetic narrative of Part 2 discusses in great detail the uncivilized methods of preparing and consuming food – taking out and cooking entrails without washing, laying down a table ‘whereon their victuall lyes’ – the illustration warps this picture even further. As a snapshot of native Irish culture, this plate not only illustrates the comparative lack of civility of even the more well-to-do families but

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Yulia Ryzhik

shifting mythic configurations of Finnegans Wake . Donne, by contrast, he posited as a less inimical figure, but he also insisted on redisposing him by casting him as essentially medieval, thereby allying him with a worldview that he saw as a necessary counter-weight to the modern and an inherent aspect of the recalcitrance and Otherness of Irish culture. 10 Eliot, Spenser, Donne For Eliot, at least, the separation of Spenser and Donne originated in the educational curriculum he followed, both as a student and later

in Spenser and Donne
Stuart Kinsella

association, as argued above, FD (Francis Derricke). Dutch It should be no surprise that the Dutch had such a pervasive influence over not only English but Irish culture during this period, and there is ample evidence to support their skilfulness and the desire of the Elizabethans of England and Ireland to employ them. The Sidney family is a useful rallying point for this subject, particularly given that John Derricke was a retainer of Henry Sidney who, in 1571, wrote: I caused to plant

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Syrithe Pugh

landscape of the poem both is and is not the real world. In the manner typical of Spenserian allegory, it ‘agrees with the truth’ only partially and shiftingly. Within this semi-fictional world Colin both elides his own implication in the violence of the barbarus miles by figuring himself as a native denizen of the land (even making gestures of affiliation to native Irish culture), and escapes the dependency to which Spenser remains materially, if not mentally, subject. The doubleness of the   2 Hadfield reads the epistle as expressing hostility and rebuke within a

in Spenser and Virgil
The role of Dublin in James Yonge’s Memoriale (1412)
Theresa O’Byrne

Yeftis yewyth to Rymoris othyr any Suche losyngeris, for thay Praysith hare yeueris be thay neuer So vicious. Who-so ham any good yewyth brekyth the statutis of kylkeny, and he is acursid by a xi bisschopis, as the same Statutes makyth mencion.5 While Yonge does not directly name native Irish poets, his reference to the Statutes of Kilkenny makes the association clear. The Statutes of Kilkenny sought, among other things, to shore up Anglo-Irish culture against the threat of acculturation and to regulate Anglo-Irish commerce and communication with the Gaelic

in Dublin
Eiléan Ní Chuilleanáin

Irish book, Vol. 3: The Irish book in English, 1550–1800 (Oxford, 2006), pp. 91–110, at pp. 93, 103. See also the chapter by Empey in this volume.   4 Thomas Herron and Michael Potterton (eds), Ireland in the Renaissance, c.1540–1660 (Dublin, 2007).   5 Colm Lennon, ‘Pedagogy and reform: The influence of Peter White on Irish scholarship in the Renaissance’, in Herron and Potterton, Ireland in the Renaissance, pp. 43–52; Clare Carroll, ‘“Tutte le antiche usanze”: Preserving Irish culture in Rome’, in Herron and Potterton, Ireland in the Renaissance, pp. 138

in Dublin