Britaine ’ in David J. Baker and Willy Maley eds,
British Identities and English RenaissanceLiterature
(Cambridge: Cambridge University Press, 2002), pp.
Major distinguishes between the ‘wild
Scots ‘ and the ‘householding Scots’; see A
History of Greater Britain , trans. Archibald
Quoted in Lee, Great Britain’s
Solomon , p. 217.
On the associations of the names kern and
gallowglass among the New English settlers in Ireland, see Patricia
Palmer, Language and Conquest in Early Modern Ireland: English
RenaissanceLiterature and Elizabethan Imperial
Renaissance forms of humanism and fails to acknowledge its continuity. For the concept of vernacular humanism, see also Andrew
Galloway, ‘John Lydgate and the Origins of Vernacular Humanism’,
Journal of English and Germanic Philology 107.4 (2008), pp. 445–71.
23 Julia Reinhard Lupton, Afterlives of the Saints: Hagiography,
Typology, and RenaissanceLiterature (Stanford: Stanford University
Press, 1996), p. xxi. The ‘passion of secularisation’, which implies that
the processes that underlie the secularising of saintly discourse can be
traditional allegorical figure, that of ‘Weeping England’. This
personification appears frequently in English Renaissanceliterature,
particularly in the writings of exiles, as one consequence of the
period’s bitter political and religious conflicts. She is ‘the
mourning woman who mourns in some way for England or the English nation.
Sometimes the woman herself is England, mourning; sometimes she mourns England as an
. Hartmann and E. Gössmann in Antiqui und Moderni: Traditionsbewusstsein und Fortschrittsbewusstsein im späten Mittelalter , ed. A. Zimmerman (Berlin, 1974), pp. 21–57.
16 See in general J. W. Dean, The World Grown Old in Later Medieval Literature (Cambridge, Mass., 1997).
17 Reynolds, ‘Social mentalities’, p. 22. See also D. Spadafora, The Idea of Progress in Eighteenth Century Britain (New Haven, 1990).
18 Reynolds, ‘Social mentalities’, p. 25.
19 C. S. Lewis, The Discarded Image: An Introduction to Medieval and RenaissanceLiterature (Cambridge
these early chapters, establishing Dublin
as an emerging city of Renaissanceliterature. Hadfield examines the
intellectual culture of Dublin in the late sixteenth century. Focusing on
Spenser’s time in the city as secretary to Arthur, Lord Grey de Wilton,
the Lord Deputy, the chapter explores Spenser’s political and social
connections. Following on from Hadfield’s study of Spenser, David
Heffernan examines the literature of complaint emanating from late
Elizabethan Dublin. Authors composing this literature of complaint
lamented the rampant corruption and abuses
efforts at keeping women housebound, nurturing,
chaste, modest, and silent.’ Linda Woodbridge, Women
and the English Renaissance: Literature and the Nature of
Womankind, 1540 to 1620 (Urbana: University of Illinois
Press, 1984), p. 57.
Walsham, ‘“A Very
See, for example, Patricia Fumerton,
Cultural Aesthetics: RenaissanceLiterature and the
Practice of Social Ornament (Chicago: University of
Chicago Press, 1991); Jeffrey Knapp, An Empire Nowhere:
England, America and Literature from Utopia to The
Tempest (Berkeley: University of California Press,
1992); Julian Yates, Error, Misuse
The role of Noah’s wife in the Chester play of Noah’s
Backgrounds for Descriptions of the Flood in Medieval and RenaissanceLiterature’, Studies in Philology 94 (1997), pp. 137–59.
Epiphanius of Salamis, Panarion , vol. 1, trans. Frank Williams, 2nd edn (Leiden: Brill, 2009), 18.104.22.168–8, p. 91.
Anna J. Mill, ‘Noah's Wife Again’, Proceedings of the
calls concepts of wholeness into
question, the place of such concepts in critical discourse on sixteenth-
and seventeenth-century literature remains curiously unaddressed.
Cynthia Marshall, for example, implies the pre-existence of a concept of
psychic wholeness in the suggestion that ‘a Renaissanceliterature of self-shattering’ offers readers and spectators
‘an experience of psychic fracture’. 12