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This book considers how biblical women were read, appropriated and debated in a wide range of early modern texts. It traverses a range of genres and examines literature written by a variety of confessionally diverse writers. By considering literature intended for assorted audiences, the book showcases the diverse contexts in which the Bible's women were deployed, and illuminates the transferability of biblical appreciation across apparent religious divisions. The book has been split into two sections. Part One considers women and feminine archetypes of the Old Testament, and the chapters gathered in Part Two address the New Testament. This structure reflects the division of Scripture in early modern Bibles and speaks to the contemporary method of reading the Bible from the Old Testament to the New Testament. In spite of this division, the chapters regularly make cross references between the two Testaments highlighting how, in line with the conventions of early modern exegesis, they were understood to exist in a reciprocal relationship. Within each section, the chapters are broadly organised according to the sequential appearance of the women/feminine archetypes in the Bible. The biblical women studied extend from Eve in Genesis to the Whore of Babylon in Revelation. The chapters vary between those that examine dominant trends in appropriation to those that consider appropriations of a particular interest group or individual.

Eve and her unsuspecting garden in seventeenth-century literature
Elizabeth Hodgson

In the early seventeenth century in England a flurry of texts emerged formally debating the moral and ethical value of womankind. In these debates both misogynist and anti-misogynist arguments claim that the Bible’s first woman, Eve, exemplifies the status and value of all women after her. 1 Eve, the first human to fall, was regularly used to define and malign woman, and

in Biblical women in early modern literary culture 1550–1700
Steve Sohmer

–1603 (Westminster: J. B. Nichols and Sons, 1868 ). Manningham took Olivia to be a widow, perhaps because of her black apparel of mourning for her brother. 2 On Candlemas Eve, families across England took down the ivy, holly, mistletoe, and assorted greens that had decked their halls and cottages since Advent

in Reading Shakespeare’s mind
Steve Sohmer

by God to counter sinful men. Pontius Pilate’s wife serves as one of the text’s central emblems of spiritual virtue for her efforts to prevent the Crucifixion. Pilate’s wife delivers a diatribe that rates the sin of Eve (foremother of female weakness) less egregious than the evil deeds of Christ’s male crucifiers. 38 The modern reader can perceive the magnitude of

in Reading Shakespeare’s mind
Steve Sohmer

Grigorius and the Pavians ratifying the Equinoctial Rule of Eusebius. Since their drinking bout takes place on the night of Viola’s first visit to Olivia (5 November), Andrew’s reference to ‘last night’ suggests that their conversation took place on the night of 4 November, the eve of the Feast of St Elizabeth, mother of John the Baptist, and Queen

in Reading Shakespeare’s mind
Steve Sohmer

the eve of Henry’s departure for France, 11 August 1415, Falstaff’s is a remarkably early exemplar of a Protestant death and instantaneous salvation. Then again, Foxe and the Elizabethans admired the Lollard John Oldcastle as an archetypal Protestant. 2 The second element of Hostess’s speech is a three-part description of the moment of Falstaff’s death

in Reading Shakespeare’s mind
Derricke’s Image of Irelande and the Mirror for Magistrates tradition
Scott Lucas

-century author John Lydgate’s famous poem The Fall of Princes , an enormous work that presents in voluminous example the tragic falls of a host of historical figures, beginning with Adam and Eve and ending in 1364 with the death of King John II of France. It was in 1554 that seven poets joined the celebrated mid-Tudor author William Baldwin (1526/7–1563) to compose new Lydgate-style verse tragedies in the ghostly voices of fourteenth- and fifteenth-century fallen men and, later, women of England, Scotland, and Wales. Whereas

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Scott, Small, and the Edinburgh Edition
Willy Maley and Alasdair Thanisch

to Margaret Charlotte Carpenter in 1797, when, on the eve of the rebellion of 1798, her guardian, Arthur Hill, 2nd Marquis of Downshire (1753–1801), was in Ireland thanks to a network of paid informers and thus slow in giving his consent and unable to attend the wedding, due to commitments in that country. 80 The influence of Adam Ferguson is also of note here, as Ferguson provided the intellectual ballast Scott needed to transform his own antiquarian labours into the fictions that would make his fortune – folklore

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

usher hym uppon the Eve 152 As in other elegies that seize upon the festival of the Ascension, this poem offers the triumphant consolation of a Christianized apotheosis: the usual vagueness of the deceased ‘being with God’ or ‘in heaven’ is given concrete point by the physical image of

in The daring muse of the early Stuart funeral elegy
Felicity Dunworth

comic female challengers to God’s authority from Eve to Noah’s wife in all existing versions of the flood pageant and the alewife who remains in hell after the harrowing in the Chester cycle. The corporeal qualities of motherhood are celebrated in another way in the early fourteenth-century Romance of the Rose by Jean de Meun, where Dame Nature represents, according to Warner, ‘the biological necessity of the race to reproduce, the carnality

in Mothers and meaning on the early modern English stage