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Mark Robson

can also be seen as a threat, since it may be penetrated for good or ill, as the comment from Iago cited above suggests. This perhaps leads to the rhyming of ‘ear’ and ‘fear’. Rhetoric is persuasion but also force, and the unease that this recognition causes is part of the classical inheritance. As we have seen, the platonic warnings concerning the pliability of a crowd are

in The sense of early modern writing
Abstract only
The mingled yarn of Elizabethan tragedy
Jonathan Bate

classical inheritances. Hybridisation is apparent as early as 1567, when John Pyckering’s Horestes brings ‘The Vice’ and ‘Counsel’ together with Clytemnestra and Orestes – and, for good measure, throws in some very English clowns, Hodge and Rusticus. 11 By the time we reach Marlowe and Shakespeare, the main character himself may be a historicised and individualised version of the Vice

in Doing Kyd
Mark Robson

another way of saying that there is only metalanguage. 30 Of course, in constituting this reflexivity, much of this material reflects a classical inheritance, which often follows and disrupts the ‘Aristotelian’ division between poetics and rhetoric. As has already been suggested, the question of poetics is opened up in Aristotle’s work through an emphasis on

in The sense of early modern writing
Forms of jesting in Renaissance England
Adam Smyth

examples. This classical inheritance reaches joke collections via early sixteenth-century humanists, like Erasmus and More, for whom jokes and the witty exchange of short textual forms was fundamental to their conception of the scholar. This humanist mediation is regularly evident in jest collections: Thomas More’s brother-in-law John Rastell published both XII. Mery Jests, of

in Formal matters
Syrithe Pugh

Instrumental Aesthetics in the 1590 Faerie Queene’, ELR (2006), 194–226. Given the Irish setting of Spenser’s late pastoral, and its gestures towards drawing on a native culture as an alternative to the classical inheritance, Sidney’s reference at the end of the Apologie for Poesy to the tradition that Irish bards can ‘rhyme to death’ those who fail to patronize them seems also relevant. (See Highley, Shakespeare, Spenser, and the Crisis in Ireland, p. 30, also calling Colin ‘an Irish Orpheus’.) MUP_Pugh_SpencerandVIrgil_Printer2.indd 291 19/07/2016 18:31 292 Spenser and

in Spenser and Virgil