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Edited by: Peter Redford

The Burley manuscript is a miscellany compiled by William Parkhurst in the late sixteenth and early seventeenth century, unique in its size – over six hundred items inscribed on nearly four hundred folios – and its variety: poems and letters, essays and aphorisms, speeches, satires and sententiae, mostly in English but including Latin, Italian, French and Spanish. In this study, annotated transcriptions are given of all of the private letters in English, including those that are translations from those of the fourth-century Roman patrician Q. Aurelius Symmachus, and all the English verse. Incipit transcriptions and identification are provided for each of the other items, including those in foreign languages. The history and provenance of the collection are described in detail, with lengthy notes on memorial transcription of verse and prose, and the clandestine interception of letters. The book makes available, in a readily searchable form, texts, annotations and commentary that will have an impact on a wide range of scholarship. It will not only act as a guide to one of the English Renaissance’s most prized miscellanies, but also be found useful in a wide range of studies, illuminating such diverse subjects as, for example, the circulation of verse, the correspondence of John Donne (particularly with Henry Wotton and Henry Goodere), the self-fashioning of English gentlemen after the classical Romans of their class, and the government’s paranoiac spying on its own citizens. Literary scholars and editors, and social historians, may here draw on a deep well of contemporary writing, not readily available hitherto.

Open Access (free)

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Sukanta Chaudhuri

This is a companion to Pastoral poetry of the English Renaissance: An anthology (2016), the largest ever collection of its kind. The monograph-length Introduction traces the course of pastoral from antiquity to the present day. The historical account is woven into a thematic map of the richly varied pastoral mode, and it is linked to the social context, not only by local allegory and allusion but by its deeper origins and affinities. English Renaissance pastoral is set within the context of this total perspective.

Besides the formal eclogue, the study covers many genres: lyric, epode, georgic, country-house poem, ballad, romantic epic, drama and prose romance. Major practitioners like Theocritus, Virgil, Sidney, Spenser, Drayton and Milton are discussed individually.

The Introduction also charts the many means by which pastoral texts circulated during the Renaissance, with implications for the history and reception of all Early Modern poetry. The poems in the Anthology have been edited from the original manuscripts and early printed texts, and the Textual Notes comprehensively document the sources and variant readings. There are also notes on the poets and analytical indices of themes, genres, and various categories of proper names. Seldom, if ever, has a cross-section of English Renaissance poetry been textually annotated in such detail.

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Spenser and Virgil

The pastoral poems

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Syrithe Pugh

Dubbed 'the English Virgil' in his own lifetime, Edmund Spenser has been compared to the Augustan laureate ever since. He invited the comparison, expecting a readership intimately familiar with Virgil's works to notice and interpret his rich web of allusion and imitation, but also his significant departures and transformations. This book considers Spenser's pastoral poetry, and the genre which announces the inception of a Virgilian career in The Shepheardes Calender. It also considers to which he returns in Colin Clouts Come Home Againe, throwing the 'Virgilian career' into reverse. The book first makes a case for taking seriously the allegorical mode of reading Virgil's Eclogues prominent in the commentary tradition from Servius to the Renaissance. It then examines how The Shepheardes Calender seeks to replicate the Virgilian dynamic of bargaining with power in its opposition to the D'Alencon match. When 'Colin Clouts Come Home Againe' is read in conjunction with 'Astrophel', it becomes clear that they have in common not only their central themes but also their major intertexts, both in Virgil and in Spenser's other works. They are in fact complementary parts of the same project, constructing their meaning and their poetic programme through allusive dialogue both with Virgil and with each other.

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God’s only daughter

Spenser’s Una as the invisible Church

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Kathryn Walls

This is the first book-length study devoted to Una, the beleaguered but ultimately triumphant heroine of Book One of The Faerie Queene. Challenging the standard identification of Spenser’s Una with the post-Reformation Church in England, it argues that she stands, rather, for the community of the redeemed, the invisible Church, whose membership is known by God alone. Una’s story (its Tudor resonances notwithstanding) thus embraces that of the Synagogue before the Incarnation as well as that of the Church in the time of Christ and thereafter. Una’s trajectory also allegorizes the redemptive process that populates the City. Initially fallible, she undergoes a transformation that is explained by the appearance of the kingly lion as Christ in canto iii. Indeed, she becomes Christ-like herself. The tragically alienated figure of Abessa in canto iii represents, it is argued, Synagoga. The disarmingly feckless satyrs in canto vi are the Gentiles of the Apostolic era, and the unreliable yet indispensable dwarf is the embodiment of the adiaphora that define national (i. e., visible), Churches. The import of Spenser’s problematic marriage metaphor is clarified in the light of the Bible and medieval allegories. These individual interpretations contribute to a coherent account of what is shown to be, on Spenser’s part, a consistent treatment of his heroine.

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Edited by: Christopher M. Armitage

Sir Walter Raleigh's literary legacy consists of a highly fragmented oeuvre including many unprinted or pirated poems and works of disputed authorship. No collection of Raleigh's poetry produced under his own direction or that of a contemporary, either in print or in manuscript, exists. This book is a collection of essays by scholars from Great Britain, the United States, Canada and Taiwan that covers a wide range of topics about Raleigh's diversified career and achievements. Some essays shed light on less familiar facets such as Raleigh as a father and as he is represented in paintings, statues, and in movies. Others re-examine him as poet, historian, as a controversial figure in Ireland during Elizabeth's reign, and looks at his complex relationship with and patronage of Edmund Spenser. The theme of Raleigh's poem is a mutability that is political: i.e., the precariousness of the ageing courtier's estate, as revealed by his fall from eminence and the loss of his privileged position in court. The Cynthia holograph engages in complex ways with idealistic pastoral, a genre predicated upon the pursuit of otium (a longing for the ideal and an escape from the actual). The Nymph's reply offers a reminder of the power of time and death to ensure the failure of that attempt. There were patrilineal imperatives that might have shaped Raleigh's views of sovereignty. Raleigh's story is an actor's story, one crafted by its own maker for the world-as-stage.

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Dublin

Renaissance city of literature

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Edited by: Kathleen Miller and Crawford Gribben

From its Nobel laureates to its literary festivals, modern-day Dublin lives up to its role as a literary capital. The question of whether Ireland experienced a cultural and literary Renaissance has received increasing scholarly attention in recent years. This book extends the discussion by engaging with the specific literary culture of its capital city. It begins with an argument for the internationalised literary culture of late medieval Dublin by an analysis of James Yonge's 'Memoriale'. The citizens of Dublin engaged with and actively read texts imported from London, as Dublin's own printing was limited. The book presents case studies that establish Dublin as an emerging city of Renaissance literature by focusing on Edmund Spenser's political and social connections and by examining the literature of complaint emanating from late Elizabethan Dublin. It analyses the constructed authorial personae of Richard Bellings, James Shirley and Henry Burnell residing in Dublin, and discusses the concepts of literary friendship. Sir James Ware's scholarly achievements are analysed and his extensive intellectual community are investigated, revealing an open-minded Dublin community. In addition to being a representative Renaissance activity, translation was harnessed in the country as an 'instrument of state', as shown by translations of Gaelic poetry. The Renaissance literary production in Dublin had a multi-linguistic character with Latin orations taking place in the Trinity College Dublin. The book also addresses the question of whether the English-language drama composed and staged in Restoration Dublin is most accurately described as Anglo-Irish drama or 'English drama written in Ireland'.

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Spenserian satire

A tradition of indirection

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Rachel E. Hile

This book examines the satirical poetry of Edmund Spenser and argues for his importance as a model and influence for younger poets writing satires in the late sixteenth and early seventeenth centuries. The book focuses on reading satirical texts of the late sixteenth and early seventeenth centuries in relation to one another, with specific attention to the role that Edmund Spenser plays in that literary subsystem. The book connects key Spenserian texts in The Shepheardes Calender and the Complaints volume with poems by a range of authors in the late sixteenth and early seventeenth centuries, including Joseph Hall, Thomas Nashe, Tailboys Dymoke, Thomas Middleton, and George Wither to advance the thesis that Spenser was seen by his contemporaries as highly relevant to satire in Elizabethan England. For scholars of satire, the book offers a fuller discussion and theorization of the type of satire that Spenser wrote, “indirect satire,” than has been provided elsewhere. A theory of indirect satire benefits not just Spenser studies, but satire studies as well. For scholars of English Renaissance satire in particular, who have tended to focus on the formal verse satires of the 1590s to the exclusion of attention to more indirect forms such as Spenser’s, this book is a corrective, an invitation to recognize the importance of a style of satire that has received little attention.

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Sukanta Chaudhuri

This is a companion to Pastoral poetry of the English Renaissance: an anthology (2016), supporting the earlier volume with a range of critical and textual material.

The book-length Introduction traces the course of pastoral from antiquity to the present day. The historical account is woven into a thematic map of the richly varied pastoral mode. Pastoral is linked to its social context, in terms of not only direct allusion but its deeper origins and affinities. English Renaissance pastoral is set in this total perspective. Besides the formal eclogue, the study covers many genres: lyric, epode, georgic, country-house poem, ballad, romantic epic, drama, prose romance. Major practitioners like Theocritus, Virgil, Sidney, Spenser, Drayton and Milton are individually discussed. The Introduction also charts the many means by which pastoral texts circulated in that age, with implications for the history and reception of all Early Modern poetry.

All poems in the Anthology were edited from the original manuscripts and early printed texts. The Textual Notes in the present volume comprehensively document the sources and variant readings. There are also notes on the poets, and analytical indices of themes, genres, and various categories of proper names.

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William Shakespeare and John Donne

Stages of the soul in early modern English poetry

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Angelika Zirker

This study analyses concepts and representations of the soul in the poetry of William Shakespeare and John Donne. During the early modern period, the soul is often presented as an actor on the stage of the poem, and the soul often becomes a stage by itself when conflicts within it are being enacted, in the tradition of psychomachia. The soul thus becomes a linking element between the genres of poetry and drama; at the same time, poetry becomes dramatic whenever the soul is at its focus. This double movement can be observed in the poems by Shakespeare and Donne that are concerned with the fate of the soul and represent inner states and processes: in The Rape of Lucrece the inner drama of the soul is being enacted; the Holy Sonnets are soliloquies by and about the soul. Here, the connection between interiority and performance, psychology and religious self-care can be found which is central to the understanding of early modern drama and its characteristic development of the soliloquy. The study thus offers a new reading of the poems by Shakespeare and Donne by analysing them, in different ways, as staged dialogues within the soul. It furthermore contributes to research on the soliloquy as much as on concepts of inwardness during the early modern period; it shows how the reflection on the soul and religious care for salvation develops in interaction with inwardness and theatrical exposure. It is aimed at readers interested in early modern literature and culture.

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Richard Danson Brown

The Art of The Faerie Queene is the first book centrally focused on the forms and poetic techniques employed by Spenser. Though much scholarly attention in recent years has been on the relationships between Spenser’s poetry and political and colonial history, the place of his epic in literary history has received less attention. This book aims to rectify that by re-reading The Faerie Queene as poetry which is at once absorbing, demanding, and experimental. The Spenser explored here ingeniously uses the tricks of his poetic style to amplify his symbolic agendas and to deepen the reading experience.

One of the book’s particular originalities is the way in which it reframes Spenser’s place in literary history. As opposed to the stylistic conservatism diagnosed by previous generations of scholars, The Art of The Faerie Queene presents the poem as more radical, more edgy, and less conventional, particularly as it appeared to Spenser’s first readers. As such, the book proposes new ways of understanding the Elizabethan poetic Renaissance and the ways in which Spenser is best understood in terms of literary history.

The book progresses from the choice of individual words through to questions of metre, rhyme, and stanza form up to the larger structures of canto, book, and the incomplete yet massive poem itself. It will be of particular relevance to undergraduates studying Elizabethan poetry, graduate students, and scholars of Renaissance poetry, for whom the formal aspect of the poetry has been a topic of growing relevance.