The spirit that I have seen May be a
devil, and the devil hath power T’assume a pleasing
shape, yea, and perhaps, Out of my weakness and my
melancholy, As he is very potent with such
spirits, Abuses me to damn me.
As it happens, the archival
Domini’, cap. 9, 11, quoted in Fr John A. Hardon, S.J.,
‘Mary: Mediatrix in the Theology of Bellarmine’, on www.therealpresence.org/archives/Mariology/Mariology_021 .
See M&B, lxv.
Marie Magdalens Funeral Teares , p. 2v;
text of 1591 edition from Early English Books Online
(1595); see M&B, p. lvii. For
a discussion of poetic parody, see Brownlow, p. 101, and Rosamund
Tuve, ‘Sacred “Parody” of Love Poetry, and
Herbert’, Studies in the Renaissance , 8 (1961),
In English College Archives MS Lib. 321, fols.
102r–121r; see Dana F. Sutton (University of California
Richard Armstrong, Senses of Cinema: Billy
Wilder . Online: http://archive.sensesofcinema.com/contents/directors/02/wilder.html
(accessed 12 September 2009 ).
Gehring, Romantic vs. Screwball Comedy ,
family starred in this lively production, which had been carefully
designed by Rachel Fane, her stage directions for example suggesting
that the production conclude with the masquers dancing ‘ a
dance of my making ’. 153 Rachel Fane also seems to have made her own
games; a playing card showing the Queen of Diamonds, and inscribed
‘Rachel’, survives in the Kent Archives, Maidstone. 154
The family were
Remembrancia, Preserved among the Archives of the City of
London , ed. W. H. Overall and H. C. Overall (London, 1878),
Thomas Middleton, A Chaste Maid in
Cheapside , ed. Linda Woodbridge in The Collected Works of
Thomas Middleton , gen. eds Gary Taylor and John Lavagnino
The ‘penny godlinesses’ of John Andrewes and the problem of ‘popular puritanism’ in early Stuart England
wider source base – were much like my own. 5 Of late, the whole
topic has been subjected to the sceptical gaze of Professor Ian
Green. Professor Green appears to have read even more of the printed
literature of the period than Professor Walsham and, on the basis of
a massive (albeit eccentrically compiled) archive of ‘steady
sellers’ stretching over the period from
, John Milton , p. 61.
57 C. Hill, Milton and the English Revolution (London: Faber & Faber, 1977), pp. 22, 23, 25–6. Some of the same anecdotes feature in Lewalski’s account of Milton’s childhood; see The Life of John Milton , p. 5.
58 T. Corns, ‘Milton before Lycidas ’, in Parry and Raymond, Milton and the Terms of Liberty , p. 27.
59 See E. Jones, ‘Milton’s archival remains, 1620–1640’, in Jones, Young Milton , p. 15.
60 Hill, Milton and the English Revolution , p. 26. See
tradition places the encounter at a Whitehall ball, where Killigrew is said to have appeared ‘fully booted and spurred as though about to set out immediately on a journey’, thus prompting the scripted encounter; this version emphasises the king’s ‘uproarious laughter’ at Killigrew’s mock show. 64 Within the archives of the Folger Shakespeare Library, Matthew Jenkinson has unearthed a contemporary jest that surely runs parallel to Killigrew’s, in which Rochester is portrayed ‘helping the king to mount a mad horse whipped by the wit once Charles was firmly saddled. This
Anon’ (1940), quoted in Hermione Lee, Virginia Woolf
(London: Chatto & Windus, 1996), p. 750.
Jacques Derrida, Geneses, Genealogies, Genres
and Genius: The Secrets of the Archive , trans. Beverley Bie
Brahac (Edinburgh: Edinburgh University Press, 2003), pp.