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The sense of early modern writing

Arts of Language (Oxford: Oxford University Press, 2001 ); P. Mack (ed.), Renaissance Rhetoric (Basingstoke: Macmillan, 1994 ); P. Parker, Literary Fat Ladies: Rhetoric, Gender, Property (London: Methuen, 1987 ); N. Rhodes, The Power of Eloquence and English Renaissance Literature (London: Harvester Wheatsheaf, 1992 ); D. Summers, The Judgement of

in The sense of early modern writing
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Invisibility and erasure in The Two Merry Milkmaids

Wendy Beth Hyman (ed.), The Automaton in English Renaissance Literature (Aldershot: Ashgate, 2011), pp. 61–78; see also Wolfe, Humanism, Machinery and Renaissance Literature , pp. 203–35. For a discussion of Talus and Renaissance automata, see Sawday, Engines of the Imagination , p. 191. 63

in Making and unmaking in early modern English drama

on specific Renaissance writers that substituted interrogation for reverence, finding in Renaissance literature useful articulations of the modern. 2 All of them mined Renaissance poets for models, techniques, images, metrical forms, and rhetorical possibilities, and the construction of the individual ‘voice’ of each of our writers owes something to their engagements with Renaissance poets. Partly interrogative, partly self-serving, the modernist redescription and reuse of Renaissance poetry – even recasting of the canon of Renaissance poetry – gave impetus to

in Spenser and Donne

the Local in Seventeenth-Century England’, in Groundwork: English Renaissance Literature and Soil Science (Pittsburgh: Duquesne University Press, 2017), pp. 149–70 (p. 156). See also Mercedes Camino, ‘“Methinks I See an Evil Lurk Unespied”: Visualizing Conquest in Spenser’s A View of the Present State of Ireland ’, Spenser Studies , 12 (1990), 169–94 and John Breen, ‘The Empirical Eye: Edmund Spenser’s A View of The Present State of Ireland ’, The Irish Review , 16 (1994), 44–52. 78 For the homosocial bonds of the English in Ireland see Highley, Shakespeare

in Edmund Spenser and the romance of space
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’ (p. 3). 16 Taylor, The Sky of Our Manufacture, p. 7. On human ‘indistinction’ see Jean Feerick and Vin Nardizzi (eds), The Indistinct Human in Renaissance Literature (New York: Palgrave Macmillan, 2012). 17 Taylor separates the latter, more abstract perspective into climate – which conveys ‘ideas, politics, cultural forms, bioregions and weather patterns’ (The Sky of Our Manufacture, p. 8; see also p. 14) – but medieval geohumoralism enmeshed these spheres. On the long history of climate from classical Greece onwards, emphasising its descriptive

in Contemporary Chaucer across the centuries
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. Lawrence Manley helpfully demonstrates how epigrams ‘relied primarily not on tropes but on clever schemes of repetition, balance, and antithesis, and on witty concluding turns like epiphonema and acclamatio’.17 Even many scholars of Renaissance literature will have to turn to a literary handbook to recall those last two schemes, and that illustrates something of the problem. The epigram has suffered because of twentieth-­century unfamiliarity or discomfort with the rhetorical tradition. Unlike proverbs, whose metaphors can be unpacked, and hence with which the

in The epigram in England, 1590–1640
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distinctiveness of common law and English character, Brian Lockley, Law and Empire in English Renaissance Literature (Cambridge, 2006), esp. 113–41. 18 David J. Seipp, ‘ Bracton , the Year Books, and the “transformation of elementary legal ideas” in the early common law’, Law and History Review 7 (1989), 175–217, esp. 175. 19 See Susan Reynolds, ‘The emergence of professional law in the long twelfth century’, and the response of Paul Brand , ‘The English difference’, both in Law and History Review 21 (2003), 347

in Justice and mercy
Poetic tradition in The Parliament of Fowls and the Mutabilitie Cantos

: Princeton University Press, 1976 ), 83. 25 Angus Fletcher , ‘Complexity and the Spenserian Myth of Mutability’, Literary Imagination: The Review of the Association of Literary Scholars and Critics , 6.1 ( 2004 ), 1–22. 26 Sarah Powrie , ‘ Spenser’s Mutabilitie and the Indeterminate Universe ’, Studies in English Literature 1500–1900 , 53.1 ( 2013 ), 73–89 (85). 27 David Quint , Origin and Originality in Renaissance Literature: Versions

in Rereading Chaucer and Spenser
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Artists, histories and counter-histories

) Renaissance Literature: An Anthology (Oxford: Blackwells, 2003), 501–27.

in Shakespeare’s histories and counter-histories
Shakespeare and King James

Britaine ’ in David J. Baker and Willy Maley eds, British Identities and English Renaissance Literature (Cambridge: Cambridge University Press, 2002), pp. 135–55. 12 Major distinguishes between the ‘wild Scots ‘ and the ‘householding Scots’; see A History of Greater Britain , trans. Archibald

in Shakespeare and Scotland