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Clemence Dane and Virginia Woolf
Jenny Hartley

incensed by the subservience of women to the pomp of male power, as we can see from her lengthy account of a service at St Paul’s Cathedral in March 1937. Among the congregation she notes ‘old woman in tweed coat with spectacle case sticking out of her pocket. Horrible expression of servility; superstition in its most visible form. A beaten dog crouching under its masters whip. Crying for comfort, for

in Gender and warfare in the twentieth century
Social semantics and experiments in fiction
Lynne Hapgood

urban congregations by inspired ­revolutionary preaching that, ‘[i]n fact, early Christians did not distinguish between theological and economic doctrines’ (Noel, 1909: 6). The new humanist direction in Christian discourse was to prove a powerful counter-influence to both socialist economic theory and hard statistics. Compassion and mercy, rather than sin and punishment, were put firmly back in the social conversation. Evolving discourse A first step towards understanding how Harkness participated in changing language and testing out experimental forms capable of

in Margaret Harkness
Arcadia (1992) and Signals of Distress (1994)
Philip Tew

congregation, Phipps’ sermon concerns images and concepts of return, by which Crace stresses both the inevitable and imminent departures, and the flux of natural events. Without acceding to religiosity, Crace confirms the failings and common humanity of any such gathering, a temporarily extended community. Here in his congregation were a hundred hearts, in love, or grieving, or resentful, or simply fearful of the midnight fish, or palpitating with the guilt of failing to be saints. There were no paragons. Were Mr Phipps to go round as his congregation sang its final hymn

in Jim Crace
Print, dissent, and the social society
Sara Lodge

, travelogues, atlases, a variety of religious, educational, and discursive works, and periodicals – the Ladies Monthly Museum and the Monthly Mirror – a multiplicity of textual forms mirrored in Hood’s own writing. Moreover, Hood and one of the new technologies that would transform the print industry arrived almost simultaneously: Vernor and Hood were reputedly responsible in 1804 for the second book ever stereotyped in England.7 His quotidian experience of the practical logistics of book and periodical manufacture infuses Hood’s understanding of the page as a microcosm of

in Thomas Hood and nineteenth-century poetry
Abstract only
Sara Pennell and Michelle DiMeo

diversifying print market and a vibrant culture of knowledge circulation in myriad forms framed recipe collections as significant texts, not only in the domestic sphere, but also in medical, natural philosophical and literary spheres, as Archer’s chapter discusses. Around 1550, the printing of non-religious texts in English took off, a phenomenon in which recipe books and other how-to manuals were prominent. 30 Both Lehmann and Archer

in Reading and writing recipe books, 1550–1800
The Story of Lucy Gault
Tom Herron

both manifest and mysterious with a congregation of Catholic saints and martyrs: St Cecilia in particular. This alignment happens as an interweaving of locations in which the events that mark out Lucy’s life at Lahardane are intercut with the wanderings of her parents as they travel to the great cities of northern Italy looking at altarpieces and paintings (or ‘pictures’, as they and the narrator insist on calling them). Foremost among these pictures is Raphael’s famous L’Estasi di Santa Cecilia. Virginal, stigmatic, ascetic, penitent, vigilant, remote, marmoreal

in William Trevor
Open Access (free)
Frank O’Hara
David Herd

, ‘had gone out of our lives’ (H, 43). At O’Hara’s funeral Larry Rivers told the congregation, ‘Frank O’Hara was my best friend. There are at least sixty people in New York who thought Frank O’Hara was their best friend’ (H, 138). To gauge the significance of this, in In Memory of my Feelings: Frank O’Hara and American Art, Russell Ferguson passes on the received wisdom that the New York avant-garde of the 1950s and early 1960s consisted of no more than 300 people. The premature death of any significant artist is always mythologized, as the composer Morton Feldman

in Enthusiast!
Sarah C.E. Ross and Elizabeth Scott-Baumann

Lucy Hutchinson (1620–1681) Lucy Hutchinson was an educated republican and religious Independent (believing that church congregations should govern themselves rather than be subject to ecclesiastical or state governance). She was born in 1620 to enlightened parents, Sir Allen Apsley and Lucy St John, who furnished the young Lucy Apsley with an education rivalling that of most boys of the period. While Lucy Apsley’s later identity as a puritan and parliamentarian was influenced by her mother’s religion, her father’s strong royalist connections also influenced the

in Women poets of the English Civil War
Nehemiah Wallington’s experimental method
Kathleen Lynch

commitment to the bound blank book. We can begin to unfold the complex webs of meaning of what Wallington himself called simply his ‘books’ from these two starting points. Wallington gave these books descriptive references such as a ‘record’, a ‘memorial’, a ‘gathering’, or a ‘bundle’. In the 1650s, he increasingly adduced the language of ‘experience’, likely under the influence of the 76 lynch: extraordinarily ordinary Independents, whose gathered congregations used experience as an authorising principle for their narratives of spiritual assurance. I provisionally accept

in Texts and readers in the Age of Marvell
Abstract only
Commentary and notes
Peter Redford

, 439.   9 A. J. Loomie, ‘Matthew, Sir Toby (1577–1655)’, ODNB (Oxford: Oxford University Press, 2004), online edn 2004. 10 I am concerned here only with dating the poem; its social and religious background, and those of the following sonnet, are discussed in section 10.3.2 ‘Two Catholic Poems’, pp.  372–376 below. English verse: commentary and notes 361 the turn of the century to about 1616, he seems to have been engaged in covert activities for the government. If my conjecture is right, Part 3 belongs to this period of Parkhurst’s career as agent and secretary

in The Burley manuscript