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The ends of incompletion
Chloe Porter

of authority. The theme of ‘enforced’ incompletion is repeated later in the prose work. In 1563, the Elizabethan government drafted a proclamation suggesting measures for the regulation of the production of portraits of the queen. The plan was for one image of Elizabeth I to be made by ‘some special commission painter’, as a stock ‘example’ to be ‘followed’ in all other

in Making and unmaking in early modern English drama
Steve Sohmer

a sense, close reading was one of many word-games (such as anagrams) popular among lettered Elizabethans. They also encountered books and plays which openly drew on contemporary life and personalities, and presented them unmasked, unmuffled, and in the raw. When this occurred, the authorities could act quickly. On 10 May 1601 the Privy Council complained to the

in Reading Shakespeare’s mind
Steve Sohmer

‘Feste invents an authority (Quinapalus). Hotson thinks that the name may be pseudo-Italian, meaning “there on the stick” and referring to the figure of a jester ... Terry Hands thinks it may be French.’ 12 But once we recognize that Feste and Shakespeare are playing at anagrams by then-prevailing Elizabethan rules, the solution to this crux is easily within reach

in Reading Shakespeare’s mind
Divine destruction in Friar Bacon and Friar Bungay
Chloe Porter

substances and defaced with abrasive materials in ritualised ‘image magic’. 12 Violence against images of authority remained a concern in the early seventeenth century, as suggested by the example of Ben Jonson’s Sejanus, His Fall , first performed in 1603–4 and first published in quarto in 1605 with significant alterations, according to Jonson’s epistle to the reader. 13 Jonson appeared before

in Making and unmaking in early modern English drama
Steve Sohmer

have been Yarmouth, 140 miles north of London. But in The Unfortunate Traveler, or the Life of Jack Wilton ( 1594 ), Nashe – writing in the first person – fantasized wide-ranging travels in both space and time. 3 Perhaps Jack Wilton was the link in Shakespeare’s mind connecting Nashe to the peripatetic life. Paul was also the New Testament authority on things

in Reading Shakespeare’s mind
The unknowable image in The Winter’s Tale
Chloe Porter

; Perdita, for example, states that she would be happy to ‘stand by, a looker-on’ to the image for ‘twenty years’ (5.3.83–4). Similarly, when Paulina demands that ‘all stand still’ as she orchestrates the transformation of the statue, Leontes uses his authority to ensure the passivity of all spectators present, assuring her that ‘no foot shall stir’ (5.3.95–7). The ambiguous

in Making and unmaking in early modern English drama
Chloe Porter

a picture-drawer, limner, or painter (if you please) and would gladly purchase authority, by myself and deputies, for the painting of all the king’sand queen’s-head signs for taverns, inns, ale-houses, and all houses and shops of trade throughout the kingdom upon this ground: that they draw and hang up their royal images for signs in so hideous manner that men

in Making and unmaking in early modern English drama
Open Access (free)
Rachel E. Hile

authoring The Discovery of a Gaping Gulf and Penry his life in 1593 for his role in printing the Martin Marprelate tracts). Annabel Patterson describes political censorship in Elizabethan England as “so pervasive that it rose to the forefront … as the central problem of consciousness and communication”; she believes that, far from being misunderstood or obfuscated, “the prevailing codes of communication, the implicit social contract between authors and authorities, [was] intelligible to all parties at the time, as being a fully deliberate and conscious arrangement

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

Lord Burghley would want the book censored, the lack of proof that the book had indeed been suppressed led to scholarly caution and uncertainty. Harold Stein, for example, speculated from the lack of an official proclamation regarding the calling in that MUP_Hile_SpenserSatire_Printer.indd 25 14/10/2016 15:35 26 Spenserian satire the authorities used “semi-official pressure” to get Spenser’s publisher, William Ponsonby, to impound the unsold copies himself (Stein, Studies, 85). Cyndia Clegg, presumably partly because she bases her argument on the belief that

in Spenserian satire
Rachel E. Hile

texts, in part because the collection was called in by the authorities shortly after publication and in part because the poems in the collection worked within less prestigious genres than epic and pastoral. But although these works were not canonical in late Elizabethan England, they were, still following Codde’s taxonomy, central, not peripheral. That is, although other writers carefully avoided obvious imitation of Spenser’s satirical poems (and Thomas Nashe’s disgusted response to Gabriel Harvey’s reference to the scandal just under two years later suggests a

in Spenserian satire