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.
Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power. This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.
This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas. As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.
produced legislation, treaties, proclamations, letters, tax
lists. Little of this huge mass of material has been translated, or ever
published. The only areas to receive any sort of consistent coverage are
Florence and the artistic/humanist ‘Renaissance’:
translations include some early chronicles and later diaries, 2 art historical
humanism, 4 and
, pp. 98–100.
48 Heliodorus, An Ethiopian Story , trans. J. R. Morgan, in Collected Ancient Greek Novels , ed. B. P. Reardon (Berkeley, Los Angeles and London: University of California Press, 1989), pp. 527–8; my use of Reardon’s edition follows the practice established by Victor Skretkowicz in his unparalleled study of Greco-Roman erotic romance and English philhellenism ( European Erotic Romance: Philhellene Protestantism, RenaissanceTranslation and English Literary Politics [Manchester: Manchester University Press, 2010]); see Skretkowicz, European Erotic
brings a sense of new departures, especially, I suggest, in a new historical
emphasis which examines the gap between original and source, between
antiquity and modernity, in ways that enhance our awareness of cultural
as well as linguistic encounters. This is true in general of Renaissancetranslation, imitation and appropriation, and it is true of translation in
Ireland. The role of Dublin, in particular, as the point of cultural contact
between nations and languages, as the centre out of which the foreign is
disseminated, has not been sufficiently appreciated
Sir Philip Sidney, humility and revising the Arcadia
Richard James Wood
–24. See also Skretkowicz, European Erotic Romance: Philhellene Protestantism, RenaissanceTranslation and English Literary Politics (Manchester: Manchester University Press, 2010), pp. 168–224.
13 Katherine Duncan-Jones, ‘Sidney in Samothea: A Forgotten National Myth’, Review of English Studies xxv (1974), p. 174; see also William A. Ringler, Jr, ‘Arthur Kelton’s Contributions to Early British History’, The Huntington Library Quarterly 40.4 (August 1977), pp. 353–6, W. L. Godshalk, ‘Correspondence’, Review of English Studies xxix (1978), pp. 325–6, W. L
Anxiety and English
RenaissanceTranslation’, in Helen Smith and Louise Wilson
(eds), Renaissance Paratexts
(Cambridge: Cambridge University Press, 2011), pp.
107–120, esp. pp. 110, 117–18.
W. Alexander, ‘To M. Michaell
Drayton ’, in M. Drayton, Englands
a sword, Theagenes engages
in combat with the only remaining pirate, Peloros, ‘a man of
enormous courage and a practised killer, who had butchered victims
beyond number’ (5.32; Reardon, p. 470). This bleak description
of Peloros, appropriately represented in Renaissancetranslations,
establishes Theagenes’ heroic stature in preparation for his
trials during the denouement
, Lapo da Castiglionchio the
Younger (1405–1438) and the Art of Italian RenaissanceTranslation’, Illinois
Classical Studies, 22 (1997), pp. 121–55.
184 Bruni, History of the Florentine People, pref., p. 3.
• Rhetoric and the writing of history •
a result, warns that ‘this will involve rejecting some popular and
fabulous opinions’ (vulgaribus fabulosisque opinionibus).185 Although,
as far as Bruni himself was concerned, his subsequent analysis
of the various surviving sources for the foundation of Florence
appears to have been a necessary conjectural