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Friendship and Literary Patronage

sufficiently the enigmatical qualities of tone adopted by Spenser and Ralegh in their written interactions with each other, especially in the material appended to the 1590 Faerie Queene. Some critics, however, find the tone and meaning of these dedicatory and commendatory texts relatively straightforward. Much of that critical commentary concerns supposed differences of opinion between Spenser and Ralegh about the kind and value of the poetry they write, though issues of competition and class-consciousness creep into these discussions of poetic value. According to Patrick

in Literary and visual Ralegh
Narrative palimpsests and moribund epochalities

modern period’s heightened sense of ‘time as an urgent pressure’, 6 as a privative force, manifest in the threat of the loss of fame, and conversely, in the dangers that others’ prowess may overshadow one’s own. This is the latent threat mobilized by Ulysses’ discourse. Here is the temporal structure of masculine warrior prestige and its fragility in the face of competition, ‘emulation’ and its

in Love, history and emotion in Chaucer and Shakespeare
Transnational versions of cross-class desire in Cardenio and Mujeres y criados

and Lope – compete for the criada Inés, in a plot that parallels what occurs among their masters. Mujeres y criados shares with the Cardenio story in Cervantes, as with the various recuperated versions of Double Falsehood / Cardenio , an interest in powerful male figures who use sexual competition to assert their privilege or, conversely

in Transnational connections in early modern theatre
Virgin Queen and virgin land in Sir Walter Ralegh’s The Discoverie of the Large, Rich and Bewtiful Empyre of Guiana

sent to sawmills built on the property and used as fuel in iron production. Brewing practices required oak casks, a need also capitalised on by Ralegh. With the timber from the Irish properties, he set up a profitable business exporting wood for wine and hogshead staves. 13 Ralegh’s ongoing competition for access to resources, especially timber, manifested itself as a continuing

in Goddesses and Queens

, truth and self, but also in protean role-play and shapeshifting. The poems themselves function as stakes for (verbal) competition in a coterie context. Many of Donne’s worldly poems are not only uttered in a highly passionate vein, they are also exemplary of a notion of love as passion as it has been articulated both by Niklas Luhmann and similarly by Roland Barthes. The speakers of Donne’s divine poetry are likewise passionate, most clearly so wherever they align themselves with the suffering Christ. However, much as Donne’s ‘Holy Sonnets’ have in common with his

in John Donne’s Performances
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Chaucer and romance in the manuscript tradition

Gamelyn could thus put humour back into the notion of Chaucerian romance available to sixteenth-century poets, something notable given the long-standing critical interest in Spenser’s comic wit. 18 A central part of the humour in the Tale of Gamelyn is concerned with the theme of ‘play’, often in subversion of knighthood. This has a literal dimension: Gamelyn’s first demonstration of his prowess comes not in battle, nor even in the play-battle of a joust (as his knightly rank might suggest), but in a wrestling competition

in Rereading Chaucer and Spenser
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Performing the politics of passion: Troilus and Criseyde and Troilus and Cressida and the literary tradition of love and history

; for that imitation sought not merely to honour but also to displace the person imitated and thus upset the social hierarchy. If Shakespeare’s appropriation of Chaucer or others is ‘emulative’ in form, the content which he appropriates is also connected to ‘emulative’ factionalism: courtly social climbing, a scramble for favour which involves an aggressive competition with aristocratic peers whose

in Love, history and emotion in Chaucer and Shakespeare

, however, provide orientation. Instead of serving as remedies for the lovers’ agitation, they appear as its symptoms, cancelling each other out in their frantic competition for relevance. Even as Cressida confesses her love (3.2.106–26), panicking midway in the realization that she might be saying too much, she is fully aware that her clichéd fears are about to become real. Her words will come home, since

in Love, history and emotion in Chaucer and Shakespeare

generation. 5 Late twentieth-century scholarship asserts that the motives and methods leading to early English colonies differed little from the forces behind French, Dutch, Spanish, or even Swedish colonization. European power was expanding, and at the same time its constituent parts, nation states and dynastic states, were in constant competition within Europe and overseas. 6 Colonies, even more than commercial ventures, were strategic responses to perceived threats. They were part of the chess game of dynastic and proto

in Castles and Colonists
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of this sort. Aristotle 1 Perhaps Aristotle tempted the ‘ordinary people’. As this epigraph suggests, there was a good deal of disagreement over the causes of wind. Rather than provide an undisputed framework for future generations, though, Aristo-tle’s theories remained in competition with those from other voices

in Shakespeare’s storms