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Renaissance city of literature

From its Nobel laureates to its literary festivals, modern-day Dublin lives up to its role as a literary capital. The question of whether Ireland experienced a cultural and literary Renaissance has received increasing scholarly attention in recent years. This book extends the discussion by engaging with the specific literary culture of its capital city. It begins with an argument for the internationalised literary culture of late medieval Dublin by an analysis of James Yonge's 'Memoriale'. The citizens of Dublin engaged with and actively read texts imported from London, as Dublin's own printing was limited. The book presents case studies that establish Dublin as an emerging city of Renaissance literature by focusing on Edmund Spenser's political and social connections and by examining the literature of complaint emanating from late Elizabethan Dublin. It analyses the constructed authorial personae of Richard Bellings, James Shirley and Henry Burnell residing in Dublin, and discusses the concepts of literary friendship. Sir James Ware's scholarly achievements are analysed and his extensive intellectual community are investigated, revealing an open-minded Dublin community. In addition to being a representative Renaissance activity, translation was harnessed in the country as an 'instrument of state', as shown by translations of Gaelic poetry. The Renaissance literary production in Dublin had a multi-linguistic character with Latin orations taking place in the Trinity College Dublin. The book also addresses the question of whether the English-language drama composed and staged in Restoration Dublin is most accurately described as Anglo-Irish drama or 'English drama written in Ireland'.

Jason Harris

will offer a stylistic analysis that sets these texts in their historical and literary context as a contribution to understanding Dublin’s profile as a Renaissance city of literature and learning.5 The use of the term ‘Renaissance’ in this context requires some explanation. For the most part the Latin writings of seventeenth-century scholars are composed in a style that aims at competency and clarity rather than literary accomplishment; oratory, however, is a case apart.6 Latin ­orations   4 In particular, I have chosen not to discuss here the orations of James

in Dublin
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Kathleen Miller

.iv, suggesting do Búrc consulted books printed in English.44 Thus, translation gestures to what different linguistic groups were reading and writing, and which books were available to them. Of course, decisions to communicate in a particular language could make specific statements, as with the Latin orations that emerged from Trinity College Dublin. These works were not only intended to convey the university’s philosophy and broader Renaissance ideals, but they carried in their Latin medium the appropriate tenor for their messages. Jason Harris notes that ‘to speak Latin in a

in Dublin
Steve Sohmer

them, etc.’ 17 Nashe now approached his main event. After Harvey concluded his Latin oration ‘by some better friends than he was worthy of [probably the Earl of Leicester] ... he was brought to kiss the Queen’s hand, and it pleased her Highness to say (as in my former book I have cited) that he looked something like an Italian’. 18 The effect on

in Reading Shakespeare’s mind
Jean R. Brink

their mottoes and crests decorated with their arms. We know specific details about the tokens presented: the Queen received gloves that cost 60s, Burghley's and Leicester's gloves cost 20s each; Thomas Radcliffe, Earl of Sussex and Lord Chamberlain, received a pair of gloves valued at 4s 2d. A Latin oration was delivered by the University Orator, Mr Bridgewater of King's College, who held the position for which Harvey was later to apply

in The early Spenser, 1554–80
Linda Shenk

asked for in her 1592 Latin oration at the University of Oxford). 31 In Seeing Love , Essex uses this maxim again but now gives its power to Elizabeth in a manner that echoes the sonnet-oracle and that prepares the way for Essex’s intimation of the queen’s divine perspective. Essex subtly imbues Elizabeth with God-like perception when the attendant tells Elizabeth that, once she

in Essex
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Annaliese Connolly and Lisa Hopkins

taceo’ – ‘I see and keep silent’ 22 – and she repeatedly refers to her own uncertainty about whether to speak or to keep silent: in a Latin oration at the University of Oxford in 1566 she began ‘For a long time, truly, a great doubt has held me: Should I be silent or should I speak? If indeed I should speak, I would make evident to you how uncultivated I am in letters; however, if I remain silent my incapacity

in Goddesses and Queens
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The Reformation under James V
Alec Ryrie

humanist scholar, found his way to Scotland in 1528, he was fêted at court, and remained there for three years. James gave a fair degree of shelter and patronage to Scottish scholars as well. It was useful to have such people on hand for important state occasions. In 1537 Sir David Lindsay produced a formal – and carefully politically calibrated – poem mourning the death of the short-lived Queen Madeleine. The following year, he was joined by Sir James Foulis, the King’s Secretary, and Adam Otterburn, the King’s Advocate, in producing formal Latin orations to greet her

in The origins of the Scottish Reformation
Syrithe Pugh

emphasis is in keeping with the lay’s echoes of Mulcaster’s text on the pre-coronation entry twenty years before, at which Elizabeth was a mere twenty-five years of age. If the Latin oration and verses at St Paul’s School in that text looked forward to her being blessed with children (needed for stability in any hereditary monarchy), the rest of the progress makes it clear that the hope would have been for the children of a securely Protestant marriage, as Elizabeth is required again and again to commit to upholding the Protestant faith in England. What has happened to

in Spenser and Virgil
Marie Helena Loughlin

Desiderius Erasmus's Scriptural commentaries and editions of classical writers and the Church fathers profoundly influenced Renaissance scholarship and literature. Although primarily concerned with heterosexual intercourse and transgressive heterosexual pleasures, Lucian's and Aretino's works also contain scenes of female same-sex sexual acts. Ben Jonson's successes on the stage, including Volpone, The Alchemist, and Bartholomew Fair were matched by his successes at court, where he wrote masques for Queen Anne and lyric verse. Writer of political satires, and supporter of religious toleration, parliamentary democracy, and civil liberty, Andrew Marvell is best known for his lyric poetry, most published posthumously. Frederick Scheffer's and William King's 'learned' footnotes and appendices comprise some of the work's most vicious assaults on Myra, as well as an index of classical and contemporary beliefs about female homoerotic relationships, desires, and sexual acts.

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