Dollimore, ‘Art in a Time of War’,
p. 43. The emphasis is in the text.
On new formalism, see Marjorie Levinson,
‘What is New Formalism?’, PMLA , 122:2
(2007), 558–69; for new formalism and early modern
literature, see Mark David Rasmussen (ed.), Renaissance
Ben Jonson, Robert Chester, and the Vatum Chorus of Loves Martyr
miscellanies) and mine (printed verse miscellanies), in The
Encyclopedia of English RenaissanceLiterature , ed. Alan
Stewart and Garrett Sullivan (n. p.: Wiley-Blackwell, 2012). For
more comprehensive studies of the miscellany, see Elizabeth W.
Pomeroy, The Elizabethan Miscellanies, Their Development and
Conventions (Berkeley: University of California Press
Thomas Middleton, the book, and the genre of continuation
Jeffrey Todd Knight
printed poems of The Hekatompathia in
Liber Lilliati: Elizabethan Verse and Song.
See my chapter on Liber Lilliati and
The Hekatompathia in Bound to Read: Compilations,
Collections, and the Production of RenaissanceLiterature (Philadelphia: University of Pennsylvania
medical humoralism as a means of
explaining mental and emotional processes, both those of Richard and
early modern individuals more generally. For some recent critics of
Renaissanceliterature and culture (and Shakespearian drama in
particular), Richard’s comments might confirm the notion
that humoral theory was the essential model for understanding the
emotions in the period, rooting such phenomena in
William Empson, Essays on RenaissanceLiterature, vol. 1: Donne and the New Philosophy , ed.
John Haffenden (Cambridge: Cambridge University Press,
1993), p. 159. Further references will be included in the
Strier, The Unrepentant Renaissance
thematic focus but also in its address to a feminine
audience (pp. 330–1).
16 Julia Reinhard Lupton finds in this convergence a premature effort on
Chaucer’s part ‘to force a particular blossoming of secular literature in
the interstices of hagiography’, an effort that would find more successful fruition in Boccaccio’s Decameron and Chaucer’s own Canterbury
Tales; see Lupton, Afterlives of the Saints: Hagiography, Typology, and
CONTZEN 9780719089701 PRINT (MAD0059) (G).indd 130
Chaucer and hagiographic authority
Gillespie, Print Culture, p. 185.
9 Julia Reinhard Lupton, Afterlives of the Saints: Hagiography, Typology,
and RenaissanceLiterature (Stanford, CA: Stanford University Press,
1996), p. xxi.
10 See James Simpson, Reform and Cultural Revolution, The Oxford
English Literary History, Vol. 2: 1350–1547 (Oxford: Oxford
University Press, 2002), esp. also pp. 47–50.
11 This is well known; see for example Pearsall, John Lydgate, esp.
pp. 161–91; Larry Scanlon, ‘Lydgate’s Poetics: Laureation and
Domesticity in the Temple of Glass’, in Scanlon and Simpson (eds),
Three lives of the chess-player in medieval and early-modern literature
explains the whole. “At this [story] every man laughed … for the lye.”’64 The
story, that is, was well understood as parody, a temporary carnival space where
that which was peripheral (India; Portugal; ape; at play) became the centre,
reorienting the social landscape. These stories existed in a well-established lineage of similar stories – ‘a recurring motif [within Renaissanceliterature] in ape
and monkey folk lore has to do with the animal’s ability to play chess, fetch wine
from taverns, and do other feats s eemingly requiring the ability to reason’.65 The
IBM’s Deep Blue and the Automaton Chess-Player, 1997–1769
: Springer, 2013),
pp. 145–6, for a discussion of the evolution of the term artificial intelligence.
3 W. B. Hyman, ‘Introduction’, in W. B. Hyman (ed.), The Automaton in English
RenaissanceLiterature (Farnham: Ashgate, 2011), p. 5.
4 Ibid., pp. 5–6.
5 M. Serres, Statues: The Second Book of Foundations, trans. R. Burks (London: Bloomsbury,
2015), pp. 1–4.
6 Ibid., p. 5.
7 S. During, Modern Enchantments: The Cultural Power of Secular Magic (Cambridge, MA:
Harvard University Press, 2002), p. 1.
8 R. A. Gilbert, ‘David Brewster’, in G. Budge et al. (eds
Daguerrean Mystique’, in
G. Clarke (ed.), The Portrait in Photography (London: Reaktion, 1992), p. 185. Arthur’s
tale had appeared in an article in Godey’s Lady Book in 1849.
41 See also Martin, Curious Visions, p. 90.
42 W. B. Hyman, ‘Introduction’, in W. B. Hyman (ed.), The Automaton in English
RenaissanceLiterature (Farnham: Ashgate, 2011), p. 4.
43 Spooner, ‘Technologies’, p. 673.
44 Trachtenberg, ‘Likeness as Identity’, p. 185.
45 Ibid., p. 186.
47 G. McCool, ‘Say Good Knight, Garry’, Pittsburgh Post Gazette, 12 May 1997, p. 2.
48 R. Chandrasekaran