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Marvell’s public and private writings, 1649– 65
Keith McDonald

naval victory over the Dutch at Portland.22 But before its first full appearance in print in 1681, an abridged version was printed anonymously in London and York at the outbreak of the Second Anglo-​Dutch War in 1665.23 With no evidence of the poem having left Marvell’s control in 1653, it may have remained completely private for the whole of that twelve-​year period. Furthermore, there is a distinct possibility that the poem found its way into the public domain not through an instance of ‘weak’ publication, where the poem had been allowed to languish in the archive

in From Republic to Restoration
Luxury, portraiture and the court of Charles II
Laura L. Knoppers

August 1689, quoted in Diary, iii, 493, n. 6. 27 Samuel Pepys, The Diary of Samuel Pepys, ed. by Robert Latham and William G. Matthews, 11 vols (1970–​83), viii, 181. 28 Ibid., viii, 181–​82. 29 Ibid., viii, 183. 30 The National Archives, State Papers 29/​411 f.54. [Jan. 13?] 1679. 31 Andrew Marvell, The Last Instructions to a Painter, in The Poems of Andrew Marvell, ed. by Nigel Smith, rev. edn (Harlow: Longman, 2007). Also see Steven N. Zwicker, Chapter 4: ‘The Politics of Pleasure: Annus Mirabilis, The Last Instructions, Paradise Lost’, in Lines of Authority

in From Republic to Restoration
Jessica L. Malay

: Beacon Press, 1994), p. 3. 4 Margreta De Grazia, Maureen Quilligan, Peter Stallybrass, Subject and Object in Renaissance Culture (Cambridge: Cambridge University Press, 1996), Introduction, p. 5. 5 Hannah Arendt, The Human Condition (Chicago: University of Chicago Press, 1958), p. 137. 6 Bill Brown, ‘The matter of materialism: literary mediations’, Material Powers: Cultural Studies, History and the Material Turn, edited by Tony Bennett and Patrick Joyce (London: Routledge, 2010), p. 60. 7 The National Archives, Kew (hereafter TNA), PROB 11/11/213,Will of Elizabeth

in Bess of Hardwick
Michael D. Friedman and Alan Dessen

.1.201–4), evoked considerable laughter. His funniest moment was his revelation to Tamora’s sons that he had ‘done’ their mother (4.2.76). This line has often provoked laughs, even in the most serious productions, but the Globe’s archival video of Bailey’s rendition recorded sustained hilarity followed by applause. This comic tone abruptly turned dark when Aaron took off the Nurse’s glasses and tossed them on the floor. As she searched blindly for them on all fours, Aaron circled behind her, hiked up her skirts, and stabbed her

in Titus Andronicus
Abstract only
The echoes of Rome in Julius Caesar
Richard Wilson

present, because as Freud will put it, ‘the oldest structures coexist with the latest’. 6 Yet, as if in reaction to such ‘archive fever’, in this foundational Globe play Shakespeare seems to resist all myths of origins, to be relieved that ‘every like is not the same’, and to be committed to an almost post-structuralist notion of ‘Repetition as a nonoriginary origin … repetition which moves forward’. 7

in Free Will
Rhyme and stanza form in Spenser and Chaucer
Richard Danson Brown

Archive Press, 1990 ), 12. 60 Compare Wilson-Okamura’s exploration of The Faerie Queene ’s failure to deliver on its promises of epic warfare, 184–93. As well as its debts to the Squire’s Tale , there is a sense in which the fight between Cambell and the ‘Monds gestures towards the endless battle scenes of The Iliad ; for a recent discussion, see Adam Nicholson , The Mighty Dead: Why Homer Matters (London: Collins, 2015 ), particularly 198–207. 61 See 31

in Rereading Chaucer and Spenser
Tamsin Badcoe

. Bernhard Klein and Gesa Mackenthun (New York: Routledge, 2004), pp. 13–35 (p. 17). See also Joanne Woolway, ‘Spenser and the Culture of Place’, Guest Lecture: University of Oslo, 17 April 1996. Archived by EMLS at (last accessed 2 June 2016). 101 See Piotr Sadowski, ‘Spenser’s “Golden Squire” and “Golden Meane”: Numbers and Proportions in Book II of The Faerie Queene ’, Spenser Studies , 14 (2000), 107–31. 102 Donald Kimball Smith notes that the coastal position ‘helps to give the landscape of the poem

in Edmund Spenser and the romance of space
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Eros/Death and Venus/Mars in Shakespeare’s Antony and Cleopatra and Spenser’s Faerie Queene
Judith H. Anderson

follows their apparent captures is closer to Shakespearean versions of these than any notion of ‘allegorical purity’ would suggest. Another denominator closer to what connects Shakespeare to Spenser than the rich archive of myths, the ‘stuff’, they inherit and distinctively employ, is what I have called the theme of hermaphroditism, of which the androgyne is a cultural and figurative

in Shakespeare and Spenser
Abstract only
The discernment of angels
Anne Sweeney

, especially to the vow-taking and to the crises that have been so well documented elsewhere, as in Williams’s English College , pp. 12–16. 27 John Deckers to Southwell, 29 September 1580, Stonyhurst MS A.vii.1, now in the Jesuit Archives at Mount St, London; see Devlin, p. 34

in Robert Southwell
Into England
Anne Sweeney

MS A.v.27, now at the Jesuit Archives, Mount Street), containing Southwell’s letter to his father, the letters and poems to Philip Howard on the death of his sister Lady Mary Sackville (printed as Triumphs over Death) , with a group of fifty-two of Southwell’s short lyrics with introductory stanzas, was in the hands of (or at least within reach of) one ‘iereneme walDegrave

in Robert Southwell