Juan Luis Vives, The Passions of the Soul:
The Third Book of De Anima et Vita , trans. Carlos G. Norena,
Studies in RenaissanceLiterature, Vol. 4 (Lewiston, NY: Edwin
Mellen, 1990 ), pp. 57–9.
Ibid ., p. 59.
121 ‘Thomas Lever’, Ben Lowe in ODNB .
122 Patrick Collinson, ‘History’, in A Companion to English RenaissanceLiterature 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
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?
Renaissanceliterature’, 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
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 RenaissanceLiterature and Culture (Oxford, 2000), pp. 615–19;
Daybell, Women Letter-Writers, pp. 240–3.
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
RenaissanceLiterature (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
This chapter is part of my work in progress on
paradisal spaces in Renaissanceliterature.
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
(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 RenaissanceLiterature (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
, and RenaissanceLiterature: 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
Schwyzer, Archaeologies of English RenaissanceLiterature (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