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The mingled yarn of Elizabethan tragedy
Jonathan Bate

. The most distinguished tragedies for reading, or ‘closet dramas’, of the period emerged from the Pembroke circle in the 1590s. The Countess of Pembroke herself translated the Marc Antoine of the French neoclassical dramatist Robert Garnier. The Sidney circle, with their strong commitment to Protestant virtue, were deeply committed to an image of Elizabeth as noble Roman, not sensuous Cleopatra

in Doing Kyd
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Richard James Wood

of the Psalms, like his revised romance, remained unfinished at his death. The Countess of Pembroke completed what Sidney had begun, and the Sidney Psalter, together with the countess’s other works, including her translations of Robert Garnier’s drama Marc Antoine and Philippe Duplessis-Mornay’s Discours de la mort et de la vie , provide an important context for my discussion of Sidney’s philosophy. 52 Sidney is thought to have started a translation of Duplessis-Mornay’s De la vérité de la religion Chrestienne , which later appeared in a translation by Arthur

in Sidney's Arcadia and the conflicts of virtue
Sir Philip Sidney and stoical virtue
Richard James Wood

discuss in Chapters Six and Seven . Victor Skretkowicz’s essay discusses Mary Sidney Herbert’s Antonius with reference to her other work A Discourse of Life and Death . These translations of works by Robert Garnier and Philippe Duplessis-Mornay respectively were published together in 1592. For Skretkowicz, Sidney Herbert’s publication of such apparently divergent texts espouses a ‘Huguenot doctrine’ which includes both Duplessis-Mornay’s ethos (which is seen as exemplifying the ‘younger, more idealist’ group) and the philosophy of her brother’s older mentor

in Sidney's Arcadia and the conflicts of virtue
Musical spectacle at the Paris court of Maria de’ Medici, the Italian Minerva of France
Janie Cole

encouraged to stage a production of Robert Garnier’s play, Bradamante . This interest in theatre was not deemed inimical to devout feminine behaviour (Britland 2006 : 3). Maria drew on networks of agents and brokers to organise her spectacles, including Claude Maugis, Claude Bouthillier, André and Nicolas Potier, Octavien Doni, Jehan Phélypeaux, Florent d’Argouges, Concino Concini

in Transnational connections in early modern theatre
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Sukanta Chaudhuri

latter constitute her most serious poetic output, completing her brother Philip’s unfinished task. She also translated from French an ethical tract, A Discourse of Life and Death by Philippe de Mornay, and Robert Garnier’s Senecan play Antonius. Some have thought that ‘The Dolefull Lay of Clorinda’ in Spenser’s Astrophel is her composition, though it appears to be Spenser’s own. The Herbert estate, Wilton in Wiltshire, was a centre of literary activity and patronage. Philip Sidney composed much of his Arcadia there and dedicated it to his sister. She mourned his death

in A Companion to Pastoral Poetry of the English Renaissance
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Ladan Niayesh

, Fortune and Death in Soliman, Revenge keeping company with Andrea’s ghost in The Spanish Tragedy) acting as chorus and returning regularly to comment on the action. Both Boas and Félix Carrère (although the latter does not believe in Kyd’s authorship of Soliman)91 also provide long lists of verbal echoes between the two plays, as well as between Soliman and Cornelia (1594), Kyd’s translation of a French original by Robert Garnier (Paris, 1574). Most of those verbal coincidences are included in the notes to the present edition. It would be tedious to repeat them all, but

in Three romances of Eastern conquest
The view through French spectacles
Richard Hillman

French essayist some ten years later in conjunction with the final major turn in his generic practice. Romance and tragicomedy across the Channel Before making a case for French intertexts as significantly illuminating Pericles and The Winter’s Tale , it is worth briefly insisting on the importance and chronological scope of tragicomedy as a genre on the French dramatic scene. It did not originate in 1582, as traditional scholarship tended to assume – and Herrick follows on this point – with Bradamante , Robert Garnier’s highly literary adaptation of Ariosto

in The Shakespearean comic and tragicomic
Sukanta Chaudhuri

Pastoral Poetry of the English Renaissance contains the text of the poems with brief headnotes giving date, source and other basic information, and footnotes with full annotation.

in Pastoral poetry of the English Renaissance