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Poetic tradition in The Parliament of Fowls and the Mutabilitie Cantos
Craig Berry

: Thow hast the so wel born In lokynge of myn olde bok totorn, Of which Macrobye roughte nat a lyte, That sumdel of thy labour wolde I quyte. 1 Scipio Africanus has apparently kept an eye on his reputation in the centuries following his death, for what we have here is an ancient Roman authority telling a late medieval English poet that Macrobius, the late antique commentator, thought his book was something special. Africanus overreaches a bit to claim the

in Rereading Chaucer and Spenser
Dan Geffrey with the New Poete

This is a much-needed volume that brings together established and early career scholars to provide new critical approaches to the relationship between Geoffrey Chaucer and Edmund Spenser. By reading one of the greatest poets of the Middle Ages alongside one of the greatest poets of the English Renaissance, this collection poses questions about poetic authority, influence and the nature of intertextual relations in a more wide-ranging manner than ever before. With its dual focus on authors from periods often conceived as radically separate, the collection also responds to current interests in periodisation. This approach will engage academics, researchers and students of medieval and early modern culture.

John Drakakis

difficulties he must have overcome when writing history plays based on Hall and Holinshed: the opportunities afforded him for dramatic scenes by Plutarch, Lodge or Cinthio; the skill with which he avoided the weaknesses of previous plays on the same subjects; the manner in which he interwove materials taken from different authorities (as in Lear ); and how he changed the tone and purport of a story (as in As You Like It and Othello ). 7 The emphasis upon the comparative nature of the study

in Shakespeare’s resources
Abstract only
John Drakakis

to recover from Homer’s poetry female voices that pose a challenge to a distant, primarily masculine, discourse. Tóibín, himself a reader, explicitly addressing other readers, makes a pitch for his own originality, while at the same time revealing a genealogy of textual authorities whose plays are the sources of a novelistic narrative whose contours have become deeply embedded in Western culture. His explicit claim appears on the surface to be disingenuous. If we strip away the post-modern scaffolding of his own narrative

in Shakespeare’s resources
Abstract only
John Drakakis

arising or springing from: derivation, rise; beginning of existence in reference to its source or cause’ (1a) and ‘the fact of springing from some particular ancestor or race descent, extraction, ancestry or parentage’ (1b). Origin was frequently attributed to a divine source from whose plan and values humans deviated. In the case of Lucretius, Barclay and Wilson or Raleigh this process is taken seriously, but for Erasmus it was an object of derision. Each selects textual authorities to document and sustain their position

in Shakespeare’s resources
Abstract only
Shakespeare, Jonson and the circulation of theatrical ideas
John Drakakis

The White Devil or The Atheist’s Tragedy where in the cases of Webster and Tourneur he identifies a contrast ‘with plays that had been written only ten years before, in which maximum havoc may be let loose but there is always the concept of an authority which will resolve it, at whatever level of loss’. 3 This is, of course, a different kind of analysis from the sort that prompted T.S. Eliot to claim that after John Donne ‘a dissociation of sensibility’ set in, and it is a considerable distance from the kind of

in Shakespeare’s resources
John Drakakis

It has long been accepted that an early modern theatrical text is a fundamentally unstable phenomenon. Quoting Stephen Orgel, Robert Weimann observes that ‘the basic instability of texts’ in the Elizabethan theatre is inseparable from ‘a fluidity that is built in’ so as to accommodate changing circumstances of performance. In such cases, ‘the printed text is simply one stage in a continuous process, with no particular authority over any of the other stages in the process’. 1 Weimann’s concern at this

in Shakespeare’s resources
Abstract only
John Drakakis

historian proper. Each of these different facets of expression converge in the process of generating and recording of experience, of transforming it into a document. As part of the historiographical operation of cultural memory, the case continues to be made for the textually derived authority of particular classical writers upon whom Shakespeare is thought to have relied. Hamlet’s ‘table-book’ appears to echo Cicero, and/or bears a family resemblance to Erasmian proverbial utterances that identify and gloss particular

in Shakespeare’s resources
John Drakakis

psychological ‘reasons’ for asserting patriarchal authority. In The Merchant of Venice , violation of patriarchal authority is reserved for the Jessica–Lorenzo sub-plot, and there Jessica’s elopement is given a more sympathetic treatment to the point where it becomes, unusually, the instrument of the restrictively patriarchal Jew’s ultimate conversion to Christianity. 23 What we see in Othello is Shakespeare creatively using and adapting the material from an earlier play to enlarge and expand a popular engagement with

in Shakespeare’s resources
Theatre, form, meme and reciprocity
John Drakakis

Orestes available during the sixteenth century, and that the play is partly based on Jean de Saint-Ravy’s Latin rendering of the two-part redaction of The Oresteia which was standard in the sixteen century’. 27 Schleiner is very cautious in her formulations, observing that scholarly authorities comparing Greek and Shakespearean tragedy ‘have not claimed influence but traced coincidental parallels’. 28 Her cautious argument is prefaced with ‘seems’ and ‘may’ as part of the detailed account of likely or

in Shakespeare’s resources