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–12. 49 Juan Luis Vives, The Passions of the Soul: The Third Book of De Anima et Vita , trans. Carlos G. Norena, Studies in Renaissance Literature, Vol. 4 (Lewiston, NY: Edwin Mellen, 1990 ), pp. 57–9. 50 Ibid ., p. 59. 51

in Shakespeare and laughter

. 121 ‘Thomas Lever’, Ben Lowe in ODNB . 122 Patrick Collinson, ‘History’, in A Companion to English Renaissance Literature and Culture , ed. Michael Hattaway (Oxford: Oxford University Press, 2002), 58–70. 123 Patrick Collinson, ‘John Foxe as Historian’, TAMO Essays (accessed 6 February 2015). 124 Adam Fox, Oral and Literate Culture in England, 1500–1700 (Oxford: Oxford University Press, 2000), 212–258; Daniel Woolf, The Social Circulation of the Past: English Historical Culture

in Lollards in the English Reformation

Christian Platonic hierarchy shapes Spenser’s epic: a hierarchic family triad, three stages of fall and of recovery. Spenser radically revises this allegory, blaming man, whom woman lovingly seeks to cure. Books 3-5 show Britomart’s chaste power defeating all males, freeing woman from mastery and self-induced suffering. The intellective allegory of books 1 and 2 reform higher reason, then lower reason, each in tripartite form: a triadic family, triple temptings, three-phase training of the spiritual and then natural bodies, ending with a triadic Eden. The passional allegory of books 3 and 4 is again transcendent, then immanent. Britomart brings female ascendancy by chaste skill with arms and providential goals. She unfolds in three heroic Graces (Florimell, Belphoebe, Amoret). In these passional books the male counterparts (Artegall, Marinell, Timias, Scudamour) are paralyzed; virtuous reunion comes by female prowess and endurance, aided by mothers and female deities. A female theology rests on virginity and marriage, immaculate conception, Trinitarian identity, epiphanic unveilings, female endurance of a Passion. The sensate allegory of books 5 and 6 subject even Gloriana/Mercilla and Arthur to confusing materialism. Does the ontological ‘dilation’ of books 1-6 (narrowing images of Duessa, Timias, and satyrs-salvages) show despondency about Irish terrors, or prepare for reversal in books 7-12?

in Renaissance psychologies

Renaissance literature’, The Sixteenth Century Journal 21(1) (1990), p. 98. 11 There is an extensive literature on the significance of lineage: Heal and Holmes, The Gentry in England and Wales, pp. 27–30; M. James, Family, Lineage, and Civil Society (Oxford: Clarendon Press, 1974), pp. 108–11; M. James, Society, Politics and Culture (Cambridge: Cambridge University Press, 1986), pp. 308–415; R. Cust, ‘Honour, rhetoric and political culture: the Earl of Huntingdon and his enemies’, in S.D. Amussen and M.A. Kishlansky (eds), Political Culture and Cultural Politics in Early

in ‘No historie so meete’
Female counsellors

early modern letters consisted of an exordium (introduction), propositio (declaration of the substance of the letter), confirmatio (amplification), confutatio (countering of objections) and a peroratio (conclusion). For more on this structure, see J. Gibson, ‘Letters’, in M. Hattaway (ed.), A Companion to English Renaissance Literature and Culture (Oxford, 2000), pp. 615–19; Daybell, Women Letter-Writers, pp. 240–3. 123 Allen_CookeSisters_Printer2.indd 123 31/05/2013 17:07

in The Cooke sisters

13745: Zürich, 1547), sigs A2r–4r; Mason, ‘Scotching the Brut’, 68–70. 47 Christopher Highley, ‘ “The lost British lamb”: English Catholic exiles and the problem of Britain’ in David J. Baker and Willy Maley (eds), British Identities and English Renaissance Literature (Cambridge, 2002), 45–8. 48 Somerset, Epistle, sig. C1r. 49 Ibid., sigs B1v, B3v; Cameron, Warrender Papers, 26 (Merriman, Rough Wooings, 275); CSP Scotland, 177. 50 TA, IX, 110. 51 Lamb, Ane Resonyng, 65, 71–3. 52 Wedderburn, Complaynt, 83–4. 53 Donaldson, All the Queen’s Men, 20–1; Seymour, Epistle

in The origins of the Scottish Reformation
Pernaso, Paradise and Spenser’s Chaucerian craft

This chapter is part of my work in progress on paradisal spaces in Renaissance literature. 23 As noted above, Colin specifically invokes Adam; the moral stakes of Dorigen’s garden are discussed further below. Their situations contrast with familiar hortus conclusus settings in the Knight’s Tale (1030–122) and the Kingis Quair (211–466), which do not mention paradise and in which overt lovesick despair takes place not in the garden but in the towers above (in Riverside , 37–66; The

in Rereading Chaucer and Spenser

(last accessed 26 July 2018). See 1.6a, VI.38 and 41, VII.42, IX.49. 70 See Carruthers, The Book of Memory , p. 21. See Plato, Theaetetus , 191c–e, p. 212. 71 For Arthur as the physical embodiment of the ‘immaterial ideas that the poem itself is designed to achieve’ see Elizabeth Spiller, Science, Reading, and Renaissance Literature (Cambridge: Cambridge University Press, 2004; repr. 2005), pp. 77–80. 72 Paul Piehler, The Visionary Landscape: A Study in Medieval Allegory (London: Edward Arnold, 1971), p. 20. 73 The Bible in English (London, 1568), Job

in Edmund Spenser and the romance of space

, and Renaissance Literature: The Art of Making Knowledge, 1580–1670 (Cambridge: Cambridge University Press, 2004; repr. 2005), p. 73. 121 Roger Ascham, The Scholemaster (London, 1570), sig. I3 r . 122 See Linda Bradley Salamon, ‘The Imagery of Roger Ascham’, Texas Studies in Literature and Language , 15.1 (1973), 5–23, pp. 14–15. 123 See Werth, The Fabulous Dark Cloister , pp. 120–3. For ‘the cognitive difficulties Guyon experiences in Phaedria’s world’ see Joseph D. Parry, ‘Phaedria and Guyon: Travelling Alone in The Faerie Queene , Book II’, Spenser

in Edmund Spenser and the romance of space
Abstract only
Cosmography and chorography

Schwyzer, Archaeologies of English Renaissance Literature (Oxford: Oxford University Press, 2007). 79 Andrew King, The Faerie Queene and Middle English Romance: The Matter of Just Memory (Oxford: Clarendon Press, 2000), p. 77. 80 Ibid., p. 163. 81 Perec, Species of Spaces , p. 92. 82 William Camden, Camden’s Britannia (London, 1695). All quotations from Camden are from sig. Qq2 r–v . 83 See Hywel Wyn Owen and Richard Morgan

in Edmund Spenser and the romance of space