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Divine destruction in Friar Bacon and Friar Bungay
Chloe Porter

-breaking as a means to spiritual purification via the cleansing erasure of idols. This argument also, importantly, hinges on the suggestion that iconoclasm in Greene’s play sidesteps religious controversy because it is directed against technology, which was associated by many of Greene’s contemporaries with ‘atheism’, rather than against idols in the sense ‘narrowly identified with the Catholic

in Making and unmaking in early modern English drama
Rachel E. Hile

of the false Sorceresse. 75 (26) The false sorceress, naturally, is the Roman Catholic Church, about whom more later. The pastoral frame story thus contains certain familiar conventions, such as the insistent sheep metaphors and imagery at the beginning and after the end of Willy’s monologue, as well as the movement from country to city and back again with news, as occurs in “September” of The Shepheardes Calender and in Colin Clouts Come Home Againe. Willy can tell Thenot about the events of the Plot and its foiling because he was in the city five days earlier

in Spenserian satire
Open Access (free)
Theory and Spenserian practice
Rachel E. Hile

Spenser as a principled poet who was willing to take risks in order to express his ideas about the world around him affected not only how other poets in the 1590s thought of and responded to him, but also how Spenser thought of himself, and I believe this sense of himself, coupled with the self-confidence derived from his success as a poet, explains the presence of topical allegories, many with the bite of satire, in the 1596 installment of The Faerie Queene, which the 1590 books generally avoided. (The extended satirical critiques of the Roman Catholic Church in Book 1

in Spenserian satire