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Steve Sohmer

Cambridge University, 29 June 1587, The National Archives, Kew, Privy Council Registers PC2/14/381. 39 Park Honan imagines that Marlowe ‘sailed through the Paris embassy ... there are signs that he delivered and picked up letters there ... [H]e depicts Paris with easy confidence’ in The Massacre at Paris

in Reading Shakespeare’s mind
Open Access (free)
Theory and Spenserian practice
Rachel E. Hile

invites readers to consider real-world applications and satirical meanings. Writing of Aesopian discourse in England, Annabel Patterson comments that “The fable gives up its goods more generously when its details are recognized as specifying, not generalizing; and those details, in turn, constitute an unusual and untapped archive for the early history of political and social thought” MUP_Hile_SpenserSatire_Printer.indd 30 14/10/2016 15:35 Indirect satire 31 (Patterson, Fables, 43). Essentially, this is my method in excavating satirical meanings from the four

in Spenserian satire
Rachel E. Hile

use Venus to satirize the Queen came from Shakespeare’s reading of Muiopotmos. At least one sixteenth-century reader did interpret Shakespeare’s Venus as allegorizing Queen Elizabeth. Leslie Hotson, who discovered the identity of Tailboys Dymoke and learned most of what we know about his life and writings, also found in his archival work a letter by William Reynolds describing Shakespeare’s poem as “a nother booke made of Venus and Adonis wherin a queene represents the person of Venus.” He continues at some length to describe the plot of the poem, including his

in Spenserian satire
Chloe Porter

family starred in this lively production, which had been carefully designed by Rachel Fane, her stage directions for example suggesting that the production conclude with the masquers dancing ‘ a dance of my making ’. 153 Rachel Fane also seems to have made her own games; a playing card showing the Queen of Diamonds, and inscribed ‘Rachel’, survives in the Kent Archives, Maidstone. 154 The family were

in Making and unmaking in early modern English drama