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Yves Peyré

had he envisaged that further criticism might erect watertight partitions between his dramatic output, his poems and his prose, well might he have concurred with Fuentes. An experienced craftsman, Heywood was fully aware of generic requirements and expectations, but he also liked to confront different discourses, to fuse them or make them jolt against each other. Enjoying trans-generic freedom, he invited Shakespeare’s Venus and Adonis into the city comedy setting of The Fair Maid of the Exchange (1601–02, printed 1607) or reshuffled material from his

in Thomas Heywood and the classical tradition
Steve Sohmer

indulging in close reading – which as today ranged from curiosity to gossipmongering to scholarly interest to prurience – one of the most tantalizing was their awareness of England’s rigorous censorship of unofficial discourse on politics, the royal succession, foreign relations, religion, and certain personalities. Elizabethan England was a highly censorious arena, and dangerous

in Reading Shakespeare’s mind
John Derricke versus Edmund Spenser
Brian C. Lockey

, Philip, who in 1577 had composed his own tract on Ireland entitled ‘A Discourse on Irish Affairs’ in order to defend his father’s strategy of governance and perhaps in addition in order to solicit the post of Lord Deputy of Ireland for himself. Preceding the publication of The Image of Irelande by a year, Sidney’s ‘Discourse on Irish Affairs’ catalogues three possible strategies for the pacification of Ireland, the first being a renewed commitment by the English crown to pursue a comprehensive military conquest of the

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Martial identities and the subject of conquest in Derricke’s Image of Irelande
Maryclaire Moroney

–78, during Sidney’s final tenure as lord deputy, in a dispute as much about ends as means. Sidney, who had promised the Queen that he would lower her costs in Ireland by ensuring that more of those costs would be borne locally, found himself locked in legal and political battles with Old English elites over his continuation of the ‘cess’, a tax designed to pay for troops garrisoned in Ireland. 13 In his 1577 ‘Discourse on Irish Affairs’, the Lord Deputy’s son, Sir Philip Sidney, elaborated on his father’s arguments

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Abstract only
Homer and Ausonius in Thomas Heywood’s Various History Concerninge Women
Tania Demetriou

discourse, involving a lively mixture of historical anecdotes, mythography, translations from the classics and authorial asides. Heywood’s asides pursue an intermittent, spirited argument, which often strikes up against the traditional maligning of women. ‘What man was ever knowne to be eminent, whom woman in some manner hath not equalled?’ he exclaims in the introduction to his third book, on ‘Illustrious Women’, or ‘Illustrious Queenes, Famous Wives, Mothers, Daughters etc’. 9 This preamble offers a good illustration of Heywood’s way of moving between different modes

in Thomas Heywood and the classical tradition
Derricke, paratext, and poetic reception
Denna J. Iammarino

undermines readerly authority, ultimately stifling readerly agency rather than enabling it . In fact, by the end of Part 2 , Derricke is regularly addressing the reader and speaking in the first person in many of his marginal comments. At the end of the third prologue, Derricke directly identifies the demands of the reader as he discusses his poetic choice, stating, ‘I suppose your desire is to hear some discourse concerning his death.’ 58 In this move, Derricke again directly addresses his audience, but here to

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Discovering the formal and figurative texture of Derricke’s Image of Irelande
Matthew Woodcock

conclude that the subject of his discourse should be the ‘famous’ Irish soil and its inhabitants. To facilitate the writing process (as he recounts), ‘least thereof in any parte / I might relate a misse’, Derricke occupies ‘a goodly brave Piramide … From whence all corners of the lande I might at large discrie’ (sigs B3v–B4r). The narratorial viewpoint from which Derricke rehearses the rest of Part 1 is akin to that of the narrator-dreamer of a dream-vision poem, comparable to the panoptic vision of society with which

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
James Doelman

‘the pretious life-blood of a master spirit, imbalm’d and treasur’d up on purpose to a life beyond life’. Razzall reaches a conclusion somewhat more nuanced than Woolf, as she concludes that while ‘the idea of the relic is translated into secular locations and discourses in post-Reformation culture, the image is not freed from the complicated relationship of matter and spirit it embodies’. 29 However

in The daring muse of the early Stuart funeral elegy
Steve Sohmer

. 8 Keir Elam, Shakespeare’s Universe of Discourse: Language Games in the Comedies (Cambridge: Cambridge University Press, 1984), 159–64. 9 Inge Leimberg, ‘“ M.O.A.I. ”: Trying to Share the Joke in Twelfth Night 2.5 (a

in Reading Shakespeare’s mind
Lucrece and Callisto
Janice Valls-Russell

discourse’ he went on to craft in Gynaikeion . It follows upon chapter 2 , in which M. L. Stapleton shows how Heywood’s ‘reformative emulations’ of Ovid contribute to building up an empathetic view of women. And it anticipates to some extent chapter 7 , where Yves Peyré traces the way Heywood reworks in Gynaikeion rich mythographic material into ‘reformulations [that] are not devoid of ethical awareness’. Told (mainly) by Livy, in History of Rome (I.lvii–lix) and Ovid, in Fasti ( II .685–856; VI .585–610), the story of Lucrece inspired moral and mythographic

in Thomas Heywood and the classical tradition