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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'.

Richard Bellings, James Shirley and Henry Burnell
Marie-Louise Coolahan

5 Renaissance Dublin and the construction of literary authorship: Richard Bellings, James Shirley and Henry Burnell Marie-Louise Coolahan That quintessentially Renaissance literary project – the ­humanist ­dialogue translated – was apparently undertaken in Dublin in the early 1580s by the colonial administrator and writer Lodowick Bryskett. Not published until 1606, Bryskett’s A discourse of civill life (adapted from the Italian Giambattista Giraldi Cinthio’s Tre dialoghi della vita civile of 1565) was careful to represent its author at the centre of another

in Dublin

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.

Raymond Gillespie

literary adaptation, according to Ann Fogarty, Nugent’s Cynthia ‘resorts to a metropolitan English mode when it comes to seeking an artistic vehicle for his ideas and feelings’, despite his dissatisfaction with the English state that is clear in the poem.34 The same sort of resort to the metropolitan literary values of London can be seen in others from among the Old English who were inhabitants of the Dublin area. Richard Bellings, from Castleknock near Dublin, when a student at the Inns of Court in London, turned his attention to that most emblematic text of the English

in Dublin
Geoff Baker

but Catholicke Religion’.139 Furthermore, on the advice of his friend Richard Bellings, who wrote an unpublished manuscript on the Irish Rebellion, Blundell turned to a recently printed pamphlet to help reconcile what he saw as the unfair criticism 152 Reading the confessional divide of the Irish, recording in the Historica that ‘as for the particular outragious Actions, those which concern the Vindicating the Irish by way of retaliation could not be expressed more Emphatically & faithfully then by that small book intitled a Collection of some murthers & massacres

in Reading and politics in early modern England
The case of the Irish Rebellion, 1641–53
Nicolas Kwiatkowski

, and Memory in Modern Ireland (Dublin: Four Courts Press, 2003). 5 On this, see Jane Ohlmeyer and John Kenyon (eds), The Civil Wars. A Military History of England, Scotland and Ireland 1638–1660 (Oxford: Oxford University Press, 1998); Micheal Ó Siochrú, God’s Executioner – Oliver Cromwell and the Conquest of Ireland (London: Faber & Faber, 2008); Edwards, Lenihan and Tait (eds), Age of Atrocity; Nicholas Canny, Making Ireland British, 1580–1650 (Oxford: Oxford University Press, 2001). 6 Richard Bellings, ‘History of the Confederation and War in Ireland, c. 1670

in The hurt(ful) body
Geoff Baker

texts that he read. Some, such as his editions of Livy and Plutarch, may well have been part of his inheritance, though the majority he acquired himself. As we have already seen, Blundell was at the centre of a network of readers with whom he exchanged material, and from whom he gained access to manuscripts, such as Richard Bellings’s History of the Irish Wars.88 When Blundell found that a friend was visiting London, they were invariably sent with a list of books to purchase on his behalf, often including details of the best shops to try.89 For instance, having asked

in Reading and politics in early modern England
David Finnegan

convinced many leading Irish Catholics that the time had now come to take arms, after the example of the Scots, to prevent their destruction.27 Most Irish historians agree that a small clique of Ulster natives, men of ‘desperate and broken fortunes’ in Richard Bellings’s memorable phrase, planned and executed the 1641 Rising.28 This is not a convincing explanation, however, as considerable evidence exists to support the argument that the rebellion involved Catholics across Ireland. Although the original plot cannot definitively be recovered, it is indisputable that all

in Irish Catholic identities
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Kathleen Miller

classes with encouraging trade and protecting their families, and the affliction of plague epidemics that could attack each capital’s population. In addition, Dublin boasted the first professional theatre in the British Isles after London. These connections extended into each city’s literary culture, with many of the Dublin authors addressed in this volume identifying equally with England, including Shirley, Richard Bellings and Spenser (whose A view of the present state of Ireland was set in England), as well as Richard Nugent and Stanihurst, who each had connections

in Dublin
Sir Philip Sidney, humility and revising the Arcadia
Richard James Wood

Seven . Richard Bellings’s A Sixth Booke to the Countesse of Pembrokes Arcadia , written during his time as a student at Lincoln’s Inn, which began in 1619, and first published in 1624, has Amphialus fight (in the name of his now beloved, though absent, Helen) in a tournament to celebrate the weddings of Sidney’s princesses. Eventually, Amphialus and Helen are united by Basilius, who forgives the courteous knight his past deeds. 43 Anna Weamys’s A Continuation of Sir Philip Sydney’s Arcadia: Wherein is handled The Loves of Amphialus and Helena Queen of Corinth

in Sidney's Arcadia and the conflicts of virtue