‘“Sweet secrets” from occasional receipt to
specialised books: the growth of a genre’, in C. Anne Wilson
(ed.), ‘Banquetting Stuffe’: The Fare and Social
Background of the Tudor and Stuart Banquet (Edinburgh:
Edinburgh University Press, 1991 ), pp.
36–59; and Patricia Fumerton, Cultural Aesthetics:
RenaissanceLiterature and the Practice of Social Ornament
Reflections on new historicism and cultural materialism
However, others do not associate with new historicism this sense of
detachment. In the Bloomsbury Guide to RenaissanceLiterature
(1992) edited by Marion Wynne-Davies, the entry for new historicism
declares, ‘It is essential to understand that new historicists
do not assume that literature reflects reality and that these
“reflections” enable the reader to recover without
criticism become self-identical terms that can be juxtaposed in a
stable opposition; the critic is “opposed” to
censorship’ (pp. 152–3).
As we saw in Chapter 2 , in order
to carry out its political criticism, cultural materialism must
oppose and expose reactionary standpoints on Renaissanceliterature
and culture by showing them to be politically motivated, thus
poetry supports the likelihood that he seriously considered taking holy
See my earlier ‘Literacy and Education’, in
A Companion to English RenaissanceLiterature and Culture , ed.
Michael Hattaway (Oxford: Blackwell Publishers, 2000), 95–105.
Richard A. McCabe, ‘Making History:
Holinshed’s Irish Chronicles , 1577 and 1587’, in
British Identities and English RenaissanceLiterature , eds
David J. Baker and Willy Maley (Cambridge: Cambridge University
Press, 2002), pp. 59–60.
A. H. Dodd, ‘Wales and the Scottish
, ‘Reading the Body: The Revenger’s Tragedy and the Jacobean Theater
of Consumption’, Renaissance Drama, 18 (1987), 121–48; Cavell, ‘“Who Does the
Wolf Love?”: Reading Coriolanus’, Representations, 3 (1983), 1–20; Britland, ‘Circe’s
Cup: Wine and Women in Early Modern Drama’, in A Pleasing Sinne: Drink and
Conviviality in Seventeenth-Century England, ed. by Adam Smyth (Woodbridge:
Brewer, 2004), pp. 109–25. For useful overviews of the field see Patricia Cahill, ‘Take
Five: RenaissanceLiterature and the Study of the Senses’, Literature Compass, 6
(2009), 1014–30; Holly
1 C. A. Patrides, The Grand Design of God: The Literary Form of the Christian View of
History (London: Routledge, 1972), 17.
2 The Discarded Image: An Introduction to Medieval and RenaissanceLiterature
(Cambridge: Cambridge University Press, 1964), 174.
Allegorical reading in sermon references to history
Thus, according to this traditional view, all of history should be read in
the context of the Bible, as part of the same God-authored story. “God is
the authour of historie,” says Peter Martyr.3 According to Charity,
To God’s acts, or at
Thomas More’s Nyne Pageantes written in
1502. The ‘pageants’ are nine stanzas which More
wrote to accompany a set of tapestries of his own design, and
they bear a closer relationship to the pictorial tradition than
to the poem. For detailed surveys of imitations of the Triumphs
in English Renaissanceliterature see Carnicelli,
Tryumphes , pp. 47
(Woodbridge: Boydell Press, 2007, pp. 1–34, at p. 1). See in detail Thomas S. Freeman, ‘“ Imitatio Christi with a Vengeance”: The Politicisation of Martyrdom in Early-Modern England’, in Freeman and Mayer (eds), Martyrs and Martyrdom , pp. 35–69, at pp. 43–50. See Julia Reinhard Lupton, Afterlives of the Saints: Hagiography, Typology, and RenaissanceLiterature (Stanford, CA: Stanford University Press, 1996) as well as Dailey, English Martyr , chs 1, 2.
allegorical reading of Sidney’s Arcadia is Edwin Greenlaw, ‘Sidney’s Arcadia as an Example of Elizabethan Allegory’, in Anniversary Papers by Colleagues and Pupils of George Lyman Kittredge (Boston, MA: Ginn, 1913), pp. 327–37. See also Blair Worden’s The Sound of Virtue: Philip Sidney’s Arcadia and Elizabethan Politics (New Haven: Yale University Press, 1996). For an allegorical interpretation of Sidney’s two Arcadia s that is also sensitive to Sidney’s use of pastoral and epic forms, see Kenneth Borris’s Allegory and Epic in English RenaissanceLiterature