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
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
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,
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
.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
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
Archive Press, 1990 ), 12.
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.
. 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 http://extra.shu.ac.uk/emls/iemls/conf/texts/woolway.html (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
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
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
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.
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
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