held forth by the Platonic Socrates in his trenchant criticism of sophistic rhetoric, and in his description of a philosophical rhetoric grounded upon true knowledge and always striving for justice. 1 Literary forms are fully social forms and invite an assessment that is both ethical and political. Despite much
2 Books, politics and society in Renaissance Dublin Raymond Gillespie On 27 July 1662 James Butler, scion of one of the most prominent AngloIrish families and the newly created first duke of Ormond, arrived in Dublin to take up his post of lord lieutenant of Ireland. Describing that event in 1952, the architectural historian Maurice Craig used what must be one of the most striking phrases in the historical writing about seventeenth-century Ireland: ‘The Renaissance, in a word, had arrived in Ireland.’1 In one sense Craig was right. It was only in the late
Penelope and Arachne in early modern drama
Nathalie Rivère de Carles
The myths of Penelope and Arachne connect the three ‘lives’ Aristotle defines as the components of the human quest for happiness: sensual enjoyment, political achievement and intellectual contemplation. 1 Arachne’s sensuous tapestry and Penelope’s erotic delaying and performance of uxorial love are essential components of their mythical lives. However, the myths do not
-abasement and self-advancement in the hierarchy of power and favour. The main contention of this analysis is that the convergence of female pleading with the hidden operation of divine providence or fateful coincidences lays the bedrock for a political partnership that will ultimately deliver justice and preferment for the persecuted Jewish diaspora. Getting to grips with the Book of
David M. Bergeron
This book presents a biography of the poetics and politics of London in 1613, from Whitehall to Guildhall, that is, Shakespeare's London. It examines major events at court, such as the untimely death of Prince Henry and its aftermath, and the extravagant wedding of Princess Elizabeth to Frederick of Germany and her journey to the Continent. The city flourished with scores of publications on a vast array of topics, including poetry, travel narratives, music, and, of course, plays. The book offers summaries and analyses of most of these texts, knowing that some of them may not be well-known to all readers. Many of these publications had a kind of link to the court. In order to understand the context of the year 1613, the book actually begins in October 1612 with Prince Henry's illness and death in November, which had a major impact on what happened in 1613. It proceeds more or less chronologically from this event to Princess Elizabeth's wedding and the stunning array of dramatic performances at court, and includes the journey to her new home in Germany. As part of the year's cultural nexus, the narrative reaches into the Guildhall experience to explore the riches of the books that emanated from London's printers and to examine specifically the drama performed or published in 1613. The final major focus centres on the Carr-Howard wedding at the year's end, full of cultural activities and ripe with political significance.
Philhellene Protestantism, Renaissance translation and English literary politics
Relatively late manifestations of the European philhellene revival of Greco-Roman letters presented to readers complex, extended prose fiction in which the trials of love mask an implicit moral and political allegory. Inevitably, coming during the Reformation, Counter-Reformation and the Catholic Reformation, this cultural phenomenon was not without its religious and political dimensions. Longus, Achilles Tatius and Heliodorus were the three principal English exponents of rhetorically conscious Greco-Roman erotic romance. This book enhances the understanding of the erotic romances of Philip Sidney, Shakespeare, and Lady Mary Sidney Wroth by setting them within an integrated political, rhetorical, and aesthetic context. It investigates how Renaissance translators alter rhetorical styles, and even contents, to accord with contemporary taste, political agendas and the restrictions of censorship. Particular attention is paid to differences between the French courtly style of Jacques Amyot and François de Belleforest and the more literal translations of their English counterparts. Valuable perspective on the early translations is offered through the modern English versions in B.P. Reardon's Collected Ancient Greek Novels. The book considers the three texts of Sidney's Arcadia, as a political romance sharing many of the thematic and rhetorical concerns of the ancients. It focuses on a narrow range of Shakespeare's plays including Julius Caesar and Antony and Cleopatra. The book identifies Mary Sidney Wroth's masque-like prose allegory, The Countess of Montgomery's Urania, as philhellene Protestant political propaganda.
This is a companion to Pastoral poetry of the English Renaissance: an anthology (2016), supporting the earlier volume with a range of critical and textual material.
The book-length Introduction traces the course of pastoral from antiquity to the present day. The historical account is woven into a thematic map of the richly varied pastoral mode. Pastoral is linked to its social context, in terms of not only direct allusion but its deeper origins and affinities. English Renaissance pastoral is set in this total perspective. Besides the formal eclogue, the study covers many genres: lyric, epode, georgic, country-house poem, ballad, romantic epic, drama, prose romance. Major practitioners like Theocritus, Virgil, Sidney, Spenser, Drayton and Milton are individually discussed. The Introduction also charts the many means by which pastoral texts circulated in that age, with implications for the history and reception of all Early Modern poetry.
All poems in the Anthology were edited from the original manuscripts and early printed texts. The Textual Notes in the present volume comprehensively document the sources and variant readings. There are also notes on the poets, and analytical indices of themes, genres, and various categories of proper names.
Edited by: Willy Maley and Andrew Murphy
This book explores, from a variety of critical perspectives, the playwright's place in Scotland and the place of Scotland in his work. The influence of Scotland on William Shakespeare's writing, and later on his reception, is set alongside the dramatic effects that Shakespeare's work had on the development of Scottish literature. The Shakespeare's work of Scottish literature stretches from the Globe to globalisation, and from Captain Jamy and King James to radical productions at the Citizens' Theatre in Glasgow. Shakespeare have strong Scottish connections by virtue of his theatre company's being brought under the sponsorship of the Scottish king James VI immediately after his accession to the English throne in 1603. Jonathan Goldberg and Alvin Kernan have traced the impact of royal patronage on Shakespeare's work after the Union, finding Scottish themes at play not just in Macbeth, but also in Cymbeline, King Lear, Hamlet, and in other plays. Then, the book outlines some of the issues and problems raised by Scotland and Scottish history for English readers in the last decade of Elizabeth's reign. Shakespeare wrote his English plays in Elizabeth's reign and his British plays after 1603, though Henry V, first performed in 1599, might be regarded as a proto-British play. Unlike Henry V, Shakespeare's most English play, where national identity is of the essence, in Macbeth, Scotland is a blot on the landscape. Shakespeare's political drama moves from a sense of England and Scotland as independent kingdoms into an alignment with the views of Unionist King James.
Art and power on Shakespeare’s stage
This book is a study of theatre and sovereignty that situates William Shakespeare's plays in the contraflow between two absolutisms of early modern England: the aesthetic and the political. It is a book about art and power on Shakespeare's stage, and argues that his plays are systematically engaged in untying freedom from royalty by dismantling sovereignty in all its forms. The book tracks the pre-Kantian nucleus of willed nonentity or interested disinterestedness in Shakespeare's own recorded words. The passive aggression of the creaturely voice that answers power back with the delinquent alterity of such a bad echo is found to be embodied in Shakespeare's dependent relations with his own Tudor overlords. In Julius Caesar, cries of 'peace, freedom, and liberty!' reverberate within the monumental irony of the Globe playhouse's imitation imperial design. The book views Hamlet as the great refusal of the absolutist system symbolized by certain triumphal facades. It considers King Lear as a staging of the challenge to speak freely by command which confronted the dramatist when the players were, after all, co-opted to proclaim the Stuart monarch's 'Free and Absolute' power. Shakespeare's obsession with doubleness arises in Macbeth from the play's barbaric circumstances. The book also argues that Antony and Cleopatra be viewed as an equivocation before the regime of absolutism, and a tactical surrender to the perspective technology focused on the sovereign only in order to subvert it.
Andrew James Hartley
If honour and principle were the watchwords for Caesars of the nineteenth century, and totalitarianism the core of twentieth, the word which ghosts twenty-first-century productions most clearly is 'spin'. This book traces this evolutionary journey, and discusses productions because they somehow speak to ideas about the play which characterise their period of production, or they have significant features in their own right. It first gives an account of productions of the play prior to the Second World War, right from the stagings at the Globe Theatre's in 1599 to William Bridges-Adams's productions till 1934. The 1937 Orson Welles's production of Julius Caesar, staged at New York's Mercury Theatre was decked out with all the trappings and scenic theatricality of contemporary European Fascism. Shakespeare's play becomes a forum for a consideration of an ethics of American identity with John Houseman's 1953 film. The book discusses three modernist productions of Lindsay Anderson, John Barton and Trevor Nunn, and the new versions of the play for the British TV. The productions under Thatcher's Britain are also focused as well as the unknown accents, especially the Indian and African ones. The productions of Italy, Austria and Germany productions have eschewed direct political association with past or present regimes. The book also presents a detailed study of two productions by a single company, Georgia Shakespeare. In the new millennium, the play's back-and-forth exchange between its long past and the shrill and vibrant insistence of its present, have taken centre stage.