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Peter Redford

2 History Of the manuscript’s early history, little is known. Its last inscribed folio bears a poem on the death of the Earl of Strafford (1641), which may indicate the date at which the 373 folios were assembled together. Like more than half of the volume’s contents, the epitaph is in a hand identified as that of William Parkhurst, and I accept Beal’s plausible case for the whole compilation being his.1 Parkhurst was one of Sir Henry Wotton’s secretaries in his early embassies to Venice and Turin, but their association seems to have ended in around 1615,2 and

in The Burley manuscript
Open Access (free)
The Republic and Northern Ireland since 1990

9780719075636_4_001.qxd 16/2/09 9:23 AM Page 3 1 Changing history: the Republic and Northern Ireland since 1990 Michael Parker Someone asks me for directions, and I think again. I turn into A side street to try to throw off my shadow, and history is changed. (Ciaran Carson, ‘Turn Again’, Belfast Confetti, Gallery, 1989) Given the variety and energy of Irish creative and critical writing and its contribution to re-thinking relationships, histories and futures within and beyond Ireland, the first decade of the twenty-first century seems an opportune moment

in Irish literature since 1990
Secret histories as histories

II Secret history As we have seen, neoclassical artes historicae located formal narrative history at the top of a hierarchy of genres that privileged large-scale forms like epic and tragedy over more narrowly-focused forms like the lyric and the epigram. The genres that stood beneath history proper on this literary hierarchy, while comparatively less prestigious than

in Historical literatures
Rethinking history at its ‘lowest ebb’

IV History reconsidered In the previous three sections of this book, I have attempted to sketch some of the principal historiographical features of three prominent genres of Restoration and early-eighteenth-century historical literature, focusing particularly on those texts and forms that have fallen outside the conventional definition of history. I have suggested not only

in Historical literatures
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‘Churchill’s Funeral’ and ‘De Jure Belli ac Pacis’ (Canaan, 1996)

The epigraph Geoffrey Hill uses for the first poem in his sequence ‘Churchill’s Funeral’ is from Edward Elgar’s note on the ‘Cockaigne’ overture and contains the phrase ‘knowing well the history’. It is apparent that Hill’s poetry has always known history very well indeed. Historical figures and events have featured substantially from the beginning: ‘Knowing the dead, and how some are disposed’ (‘Two Formal Elegies’, For the Unfallen , 1959; CP pp. 30–1). Elegy, Requiem, ‘In Memory’, ‘The Death of’, ‘Ode on the Loss of’, ‘Funeral

in Acceptable words
Satire and John Oldmixon’s History of England During the Reigns of the Royal House of Stuart

Like Roger North, John Oldmixon was a writer who maintained a longtime interest in historical and historiographical issues – and, like North, he experimented with many of the scholarly practices that came to define modern history as a genre. In particular, Oldmixon’s historical works are remarkable for their innovative (if disingenuous) use of

in Historical literatures

History of Richard Greenow’ 1 as an example of non-combatant war fiction, and offer a reading and critique of this text which examine discourses of gender during the war period. My reading of Huxley’s novella is also a critique of Gilbert and Gubar’s reading in No Man’s Land, 2 where the text, designated a ‘farcical Kunstlerroman ’ 3 is given an unnuanced feminist reading by

in Gender and warfare in the twentieth century
South African resistance poetry in the 1970s and 1980s

Over three centuries have passed in our land, leaving feeble strings of our history to hold the decaying effigies of our past. (Oswald Mtshali, ‘Effigies Are Falling’, Fireflames ) In August 2000, in the remote veld

in African pasts

chap 2.qxd 2/2/06 1:59 pm Page 54 2 History and storytelling One year after the publication of Oranges Are Not the Only Fruit and Boating for Beginners, Jeanette Winterson published Fit for the Future (1986), a non-fictional book on fitness for women, which, as the author herself has noted, she wrote for money and because she was extremely fit at the time. As she humorously remarked in her column in the Guardian, this book might have led her career in an utterly different direction from the one it eventually took: ‘Thankfully, this is out, and what a good

in Jeanette Winterson
England, England

What Robin Hood was or who he was, in the dim underwoods of history, is unimportant. It is what folk history has made him that matters. John Fowles 1 Like the appeal in his short story ‘Melon’ to think of ‘England, England and the future’ (CC, p. 81), Barnes’s extended fiction of that name is a novel of ideas of the nation over time. It is a fictional study around issues such as the creation of the past, the re-fashioning of an imagined national community, and in particular the

in Julian Barnes