sources of romance, the generation of story, and the patterns of Pericles tales’, in Mary Ellen Lamb and Valerie Wayne (eds), Staging Early Modern Romance: Prose Fiction, Dramatic Romance, and Shakespeare , Routledge Studies in RenaissanceLiterature and Culture, 11 (New York: Routledge, 2009), pp. 21–46; and Stuart Gillespie, ‘Shakespeare and Greek romance: “like an old tale still”’, in Charles Martindale and Anthony B. Taylor (eds), Shakespeare and the Classics (Cambridge: Cambridge University Press, 2004), pp. 225–37. Stanley Wells, ‘Shakespeare and romance’, in
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 RenaissanceLiterature (London: Harvester
Wheatsheaf, 1992 ); D. Summers, The
Invisibility and erasure in The Two Merry Milkmaids
Wendy Beth Hyman (ed.), The Automaton in English RenaissanceLiterature (Aldershot: Ashgate, 2011), pp. 61–78; see
also Wolfe, Humanism, Machinery and RenaissanceLiterature ,
pp. 203–35. For a discussion of Talus and Renaissance
automata, see Sawday, Engines of the Imagination , p.
on specific Renaissance writers that substituted interrogation for reverence, finding in Renaissanceliterature 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
the Local in Seventeenth-Century England’, in Groundwork: English RenaissanceLiterature 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
’ (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
RenaissanceLiterature (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
. 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 Renaissanceliterature 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
distinctiveness of common law and English character, Brian Lockley, Law and Empire in English RenaissanceLiterature (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
Poetic tradition in The Parliament of Fowls and the Mutabilitie
: Princeton University Press, 1976 ), 83.
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.
Sarah Powrie , ‘ Spenser’s Mutabilitie and the Indeterminate
Universe ’, Studies in English
Literature 1500–1900 , 53.1 ( 2013 ), 73–89 (85).
David Quint , Origin and Originality in RenaissanceLiterature: