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medicine’ (i.e. a practitioner of medicine) in the records of the Stratford-upon-Avon Ecclesiastical Court (also known as the Bawdy Court). This is evidence of Hall being licensed in medicine by a court which had authority to license him when the bishop was not present. The record includes ‘He did not appear. Pardoned.’ Immediately below Hall’s name are three ‘professors of surgery’: Isaac Hitchcox, John Nason (similarly ‘pardoned’) and Edward Wilkes (‘Let him be cited for the next court.’). They would all have had to present their licences before the ecclesiastical
more radical treatment. As the preface continues, the editorial process which was initially likened to a light skin treatment, begins to sound increasingly like corrective surgery that requires justification. When Sanford turns to the previous editors and other ‘wortheless Reader[s]’, his tone is hostile, bordering on aggressive. He calls them ‘vnfurnisht of meanes to discerne’ and denies them any right to criticise the current edition. A similar attack on Greville and Florio is implied in the emblem on the title page. It shows a pig facing
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.
which they of course send back by return. 1 Thy worst. I fart at thee. 2 I Illustration 1 shows the surgery of Dr Panurgus. A young well-dressed aristocrat, in slashed doublet, earring, sword and spurs, lies on a low table, his head entering a furnace in order ‘to purg the Gallants Braine.’ Floating up from the chimney
, of love, of sentiment). 22 The taking of the rib serves to stigmatise, not Eve, but Adam, on whom God performs curative surgery. 23 Contrary to embodying the ‘woe of man’, she joins with him to form the ‘[s]ource de tout bon heur, amoureux Androgyne’ (source of all happiness, the loving Androgyne). 24 From an intertextual point of view, then, the anonymous play is shown to ‘protest too much’ when it insists on an unambiguous resolution and cleaves to a straightforward misogynistic – coded as comic – trajectory. The picture is not nearly so categorical in The
therefore from both of these productions was the hand-inhand offer from Marcus and Lucius to fall and the positive response from the Romans below, so no attention was devoted to such issues as legitimacy and the transfer of power. The most extensive changes were provided by Brian Bedford in his Stratford Festival Canada production. In what amounts to radical surgery rather than mere cutting, Bedford (like Brook) first omitted the opening beat involving Lucius, the Goths, and Aaron (ll. 1–16) and then, more significantly
surgeon operates on. (Tony Clifton, 9 April) I’m a writer, but when it comes to visual art I wouldn’t trust my decisions as far as I could throw me, so what value would my opinion have? You may as well ask me my opinion on how to perform brain surgery. (Darren Ross, 19 April) This recurring analogy of the tyre
was right faire, when so her face She list discouer, and of goodly stature (IV.ii.44) This is an example of the ‘foot surgery’ which Craig Berry diagnoses in Spenser’s continuation of the Squire’s Tale : ‘a poet such as Spenser – with an unusually fine ear but a sixteenth-century understanding of Middle English pronunciation – could not help but feel a roughness in Chaucer’s versification’, and, I would add, in some of his rhyming. 30 Spenser’s ‘creatures’ are those of early modern
at the wounding of the English Church, or reflects Continental Catholicism’s outrage at recent English actions on what it could reasonably consider its own soil in the Low Countries (lines 19–20). Wounds had been dealt both in England and abroad that would require much bloody surgery to remedy; Southwell was making painful demands of his readership. As in the Jonas imagery in ‘Christs sleeping
. Thereto she was right faire, when so her face She list discouer, and of goodly stature (IV.ii.44) This is an example of the ‘foot surgery’ which Craig Berry diagnoses in Spenser's continuation of ‘The Squire's Tale’: ‘a poet such as Spenser – with an unusually fine ear but a sixteenth-century understanding of Middle English pronunciation – could not help but feel a roughness in Chaucer's versification’, and, I would add, in his some of his rhyming. 73 Spenser's ‘creatures’ are