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Abstract only
Richard Hillman

apparent absence of published texts transmitting distinctive and significant details, a few instances in which informally acquired knowledge of French matters seems to have infiltrated dramatic invention. It has long been postulated that Marlowe and Chapman, at least, had independent access through quasi-diplomatic channels, some of them perhaps traversing the large French refugee community in London, to

in French reflections in the Shakespearean tragic
Macbeth and the politics of language
Christopher Highley

dailie trades and conversation with [the English], to learne also their maners, and therewithal their language.’ 43 Specifically, Anglicizing influences arrived with the Anglo-Saxon refugees who settled in and around Malcolm’s court after fleeing the Norman invaders. 44 If Shakespeare does not differentiate among his Scottish thanes in terms of how they speak, he does suggest their varying cultural affiliations in other

in Shakespeare and Scotland
Instead of a conclusion
Ruth Morse

borne by a historical king of Tyre (late ninth, early eighth centuries BCE), associated with the founding of Carthage. When this Pygmalion killed his brother-in-law, Dido’s husband, for his gold, she fled to found the new city where she fell in love with the Trojan refugee Aeneas. That passion arose because Venus intervened on Aeneas’s behalf, her meddling part of her support of the Trojans: Dido was

in Interweaving myths in Shakespeare and his contemporaries
Jean R. Brink

how much or how little Spenser participated in this project, but the later publication history is quite suggestive. Jan van der Noot, who describes himself as the ‘devisor’ rather than the author, prepared the original Dutch text. It was published in London with a dedication dated 18 September 1568 and addressed to Roger Martin, Lord Mayor of London, who had befriended Dutch refugees, such as van der Noot. In the same year as this Dutch

in The early Spenser, 1554–80
Abstract only
Jason Lawrence

religious refugees from the burgeoning Counter-Reformation in Europe. This suggests that the stimulus for the growing English interest in Italy and its culture, which so worries Ascham some twenty years later, can be traced to the late 1540s. It is uncertain, however, to what extent this initial wave of interest advances a more widespread knowledge of the Italian language itself

in ‘Who the devil taught thee so much Italian?’
Stuart Kinsella

in Day’s new residence in the parish of SS Anne and Agnes in Aldersgate: Gysberd Geyson, John Hollinder, Henrye Fleteman and Mychell van Lendon. 101 Identifying the artists is difficult. In 1982, Hodnett stated: ‘We do not know who illustrated Foxe. We assume that they were Protestant refugees from the Continent.’ 102 Elizabeth Evenden elaborated in 2004 noting that ‘it is an unfortunate fact that many of the engravers used by Day later in Elizabeth’s reign for works such as Foxe’s Actes and Monuments , though

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Robert Ormsby

Brecht returned to Germany in 1948, following a decade and a half of exile that began with the rise of Hitler in 1933. Having fled, in stages, across Europe, Russia and to America, he took up residence in Switzerland in 1947 as a refugee with few clear prospects. However, within months of returning to Germany, Brecht had negotiated working conditions for himself in the country’s Soviet-occupied zone that

in Coriolanus
Michael D. Friedman and Alan Dessen

, as when he responds to disaster by relapsing into baby-talk’. This Saturninus can appear ‘with golden arrow and armour, a scrawny cupid smirking priggishly at his sycophants’; elsewhere, ‘he slithers across the stage and sinks his teeth into the calf of a courtier’. For this reviewer (who had qualms about both the script and the production), Wood’s rendition was ‘more entertaining than it has any right to be’. Other reviewers noted Wood’s purple gown and ringleted wig (‘like a refugee from an Andy Warhol movie

in Titus Andronicus
Lyly, euphuism and a history of non-reading (1632–1905)
Andy Kesson

editions since the texts were not reprinted until 1868). He also owned Dodsley’s edition with its Campaspe preface. 65 The characterisation of Scott’s Euphuist also brings him into line with Blount’s association of Lyly with women and France, which so worried later commentators (it may not be correct to call them readers). Shafton is a Catholic refugee from

in John Lyly and Early Modern Authorship
Abstract only
An Apology of the Earl of Essex
Hugh Gazzard

‘Voor Bernaert Langhenesse’ in 1603. 52 There is an easy means of transmission here, for the only printer active in Middelburg in 1603, and who had undertaken work for Langenese, was Richard Schilders, the radical repatriate Dutch refugee. 53 The translator, ‘C. C.’ on the title-page, may have been Caspar Coolhaes, a controversial preacher and pamphleteer who changed through his career

in Essex