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Marie Helena Loughlin

reject, but what the mistress of the novices22 called ‘The Ecstatic Intromission’.23 Thou couldst not have believed that such holy souls could have been capable of employing themselves in such profane exercises? […] After which24 thou shalt be my confessor,25 I will be thy penitent, and I protest thou I will as freely unbottom to thee my heart as if thou thyself feltest the purest motions of it. Agnes. After so many words, I do not think I ought to doubt of your sincerity, wherefore I will not only tell you what you desire to know of me, but I shall even take a

in Same-Sex Desire in Early Modern England, 1550–1735

Savage, King interprets attacks by Haywood on Sansom as being primarily literary and commercial in nature, caused by a shift by Hill from Haywood to Sansom as his literary patron and benefactor, not mistress. As King concludes, ‘literary rivalry can be a potent force as well, as we know from countless squabbles between Augustan male writers, and Haywood’s [representation of Sansom] is, significantly, scathing in its assessment of Sansom’s poetic abilities’.18 Interestingly, these two examples also demonstrate the complexities of the relationship between the realm of

in Early modern women and the poem
Michael J. Franklin

-rooms, &c. &c. in a style, no set of words I am mistress of can convey to your imagination;—and under this prodigious structure are the family offices in general; the exceptions are store-houses, with the offices, at a distance, instead of gardens. The hall is, it seems, on all occasions, the place where dinner and supper are served up; and, when illuminated, as the lustres† and girandoles† bespeak, must be fit for the reception of a royal guest. The outside of the walls is washed with a white composition, called chinam,† that, in like manner with the scenes in your

in Hartly House, Calcutta
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Representations of the house in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke

time-frames, both under siege by the same strong winds.31 The mistress of novices has sent all the novices Upstairs into the choir to practise The service for deliverance from storms and thunder. Their light dapples the sharkskin windows, The harmonium pants uphill, The storm plucks riffs on the high tower.32 9780719075636_4_008.qxd 156 16/2/09 9:25 AM Page 156 Poetry The retreat upstairs is one that both protects and exposes the novices in the face of the coming storm, yet they only ‘practise’ the service, postponing the fullest test of the power of prayer

in Irish literature since 1990
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Advice, etiquette and expectation

the author feels eminently qualified to teach the “ropes”’.13 Gould insisted that following his instructions was paramount: ‘without a full knowledge of certain details the novice loses half the pleasures of the trip’.14 Etiquette writers proffered two other reasons why it was important to follow their advice. Firstly, they emphasized that ships and trains were public spaces.15 Emily Post instructed women in 1937 that ‘You behave as you would anywhere in public’ when at sea.16 Vogue’s Book of Etiquette outlined the complex nature of the ship’s environment: ‘There is

in Women, travel and identity

surprisingly, however, after government documents and sermons, it was broadside ballads and small pamphlet treatises that made up the bulk of what was printed in 1675. Many of the most amusing (to us) stress the contemporary anxieties over the King’s lack of an heir and his attention to his many highly visible mistresses, as well as the increasing visibility of Catholicism at his court and that of his brother James.10 There was also no shortage of cheap pamphlets reporting sensational murders and trials, such as The Bloody Innkeeper or Sad and Barbarous News from

in Reading and writing recipe books, 1550–1800
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morbid fancy’. Possibly there was a flicker of this future 82 Thomas ‘Jupiter’ Harris in his behaviour, in his need for control and the fervour with which he held on to it.48 One man, other than Harris and Rutherford, believed that he had suffered because of it. The straight-talking Charles Macklin felt that he had been left out in the cold. The great Shylock had been overlooked in favour of mere novices and ‘under Actors’ because of daring to speak his mind to Colman. Advising caution, Macklin had told him ‘not to plague or fret himself by contending with his

in Thomas ‘Jupiter’ Harris
Marsh and the female offender

deeply informed by the notion of hereditary criminality.10 As the vampiric contagion spreads in London, Van Helsing explains to the ­gathering of brave white men and to Mina Harker that Dracula is ‘predestinate 48 Marsh and the female offender [sic] to crime’. Mina, apparently no novice to racial theory, takes his drift, agreeing that the count is ‘a criminal and of criminal type. Nordau and Lombroso would so classify him.’11 In the Egyptian sorceress who invades London in The Beetle (1897), Marsh produced a criminal deviant quite similar to Dracula.12 Just as Dracula

in Richard Marsh, popular fiction and literary culture, 1890–1915