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Yulia Ryzhik

implications for poetics and literary history of modernist reinventions of Renaissance poetry, we move to three discrete but linked sections examining the influence of Spenser and Donne on Eliot, Yeats, and Joyce respectively. Finally, we seek to begin a new critical conversation about the place of Spenser and Donne in modernist intra- and intertextuality, a task too large for the present chapter. Modernism’s early modern interests involved literary history as much as practice, the remoulding of ‘Tradition’ as well as of individual talents – but

in Spenser and Donne
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The sense of early modern writing
Mark Robson

sense is made: rhetoric, poetics and aesthetics. Coming to terms with rhetoric, poetics and aesthetics, I believe, is essential for understanding not only early modern writing but also a certain influential narrative of modernity. 1 This notion of modernity is not a purely literary one, and my discussion has nothing to say about artistic ideas of modernism. Rather, the narrative I have in mind is best thought of as

in The sense of early modern writing
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Spenser, Donne, and the trouble of periodization
Yulia Ryzhik

following him on expeditions to Cadiz and the Azores, Spenser by hailing his victorious return in Prothalamion (1596). The second instalment of Spenser’s The Faerie Queene (also 1596) gives a blistering account in Book V of the European wars of religion in which Ireland, where he lived, was a major conflict zone, but it is Donne who travelled extensively on the Continent, including places where ‘mis-devotion’ reigned. 2 Spenser died in 1599 and was buried with much pomp at Westminster Abbey as if poetry itself had died with him. Yet Spenser’s voice would be heard

in Spenser and Donne
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Global Caesars
Andrew James Hartley

clearly marked by European Fascism and then in the postcolonial cultures of India and South Africa. Given the many variables which govern a play’s performance history in places with widely differing cultures and histories, it seems unreasonable to expect consistent patterns to emerge; but in the case of Caesar, some tentative observations might be made. First, the play’s political valences, though they

in Julius Caesar
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Lewis Carroll
Nicholas Royle

historical framework of modernism, we might say that she comes third in a line following Joyce and Beckett in English. Her writing provides inklips for a new English. But it’s a ‘black milk’, to recall her phrase for the reality of dreams. 8 Black milk isn’t about order and chronology: it’s about timelessness and creative chaos. It’s what is at issue in Cixous’s evocation of a writing workshop – not in the ‘creative writing class’ sense, but more the smithy of the soul she sees Joyce as finally getting back to in his writing: What was it that Joyce did if not

in Hélène Cixous
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Allison K. Deutermann and András Kiséry

Print (Princeton: Princeton University Press, 1989); Wendy Wall, The Imprint of Gender: Authorship and Publication in the English Renaissance (Ithaca: Cornell University Press, 1993); Arthur F. Marotti, Manuscript, Print, and the English Renaissance Lyric (Ithaca and London: Cornell University Press, 1995); Lawrence S. Rainey, Institutions of Modernism: Literary

in Formal matters
King Lear and the King’s Men
Richard Wilson

song, / Dark’ning [his] power to lend base subjects light’ [Sonnet 100]. 33 On all the grand Jacobean gala occasions ‘our bending author’ was truly a royal favourite, whose ‘great succession of Stuart plays’ constituted ‘one of the master oeuvres of European patronage art’, it is proposed, comparable to Velázquez’s canvases for the court of Spain, Monteverdi’s operas in Venice

in Free Will
Caesar at the millennium
Andrew James Hartley

the calendar argument to reinforce a sense of the play’s contemporary resonance for the Elizabethan audience, since it connected the Queen to the Roman dictator through popular discontent. Caesar had adjusted the calendar and created a month in his own name, while Elizabeth had failed to bring England into line with Catholic Europe, producing a ten-day discrepancy in dating. The Roman and Elizabethan

in Julius Caesar
Robert Shaughnessy

History was on Playfair’s side in the long run; 1919 also saw the appointment of William Bridges-Adams as director, who made some modest and more diplomatic attempts during his 15-year period of tenure to free the SMT from the burden of its own traditions. As You Like It reappeared in 1920 and at regular intervals thereafter, but the stag did not, and Playfair’s theatrical modernism became part of the

in As You Like It
Ronald Horton

Shakespeare would have turned to a familiar source, the poetry of Spenser, for a concentrated treatment of the seven sins—a brilliant pictorial account that had already served paradigmatic purposes for the grandest attempt in epic in sixteenth-century Europe and that might also for him. I will not contend for the inherent appeal of these materials for this subtle master while allowing that the expression

in Shakespeare and Spenser