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Essays on text and context

This collection of sixteen essays, the first devoted to John Derricke’s work, offers new readings of, and new sources behind, The Image of Irelande: With a Discoverie of Woodkarne (1581), all to better explicate facets of this difficult and complex book. While prior scholarship on Derricke was largely confined to commentary on the illustrations, the essays in this volume encompass a broad range of approaches to the Image of Irelande in its entirety. Although on the face of it, The Image is blatantly pro-Sidney and anti-Irish propaganda, and has always been so received, the essays in this collection combine to suggest that Derricke’s book is in fact far more culturally and politically daring than has been assumed, with a highly sophisticated textual and visual presentation only now brought into focus. In addition to scrutinizing Derricke’s poetic and iconographic practices, the essays include insights from architecture and archaeology, print history and reading practices, studies of civic display and colonial ideologies. The collection, divided into five sections (Ideologies, Archaeologies, Print and publication, Influences, and Interpretations), establishes a basis on which to build future analyses of Derricke’s enigmatic book.

Spenser, Sidney, and the early modern chivalric code
Jean R. Brink

, during the tide of ridicule that engulfed Harvey following the publication of Familiar Letters , not one contemporary questioned Spenser's association with either the Sidneys or Leicester House: it was Harvey who was mocked for presuming to claim acquaintance with the nobility and courtiers. Sir Henry Sidney Leicester, though the most prominent figure in the political party Spenser came to support, was not necessarily his

in The early Spenser, 1554–80
Abstract only
Derricke, Dürer, and Foxe
Thomas Herron

The sources and aesthetic principles behind the famous woodcuts to John Derricke’s 1 Image of Irelande: with a discoverie of Woodkarne (London 1581) are not well understood. The woodcuts – like the long multi-part, multi-genre poem that accompanies them – denigrate native Irish culture and leaders while celebrating the military campaigns of Sir Henry Sidney, three-times Lord Deputy of Ireland, against his foes. The work is dedicated to Henry’s son, the poet Philip, and is often cited as a classic

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Stuart Kinsella

: two by ID and four by FD. Was ID John Derricke himself? Where did this artistry come from? Can it have emerged preformed in England? Where could one hone such woodcutting skills? What was his relationship with John Day, England’s ‘most important publisher of illustrated books in the second half of the sixteenth century’, 2 and how did the artist become part of the entourage of Sir Henry Sidney in Ireland, so as to record events of his lord deputyship during the mid-1570s? Hiram Morgan alone has highlighted that the

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
William O’Neil

Ireland, polemicists employed these two symbols to advance their preferred strategies. As Christopher Maginn explains, ‘Tudor politicians and writers most often thought and wrote in terms of a very simple twofold approach to the kingdom of Ireland: that the crown should proceed there either by the “sword”, that is by coercion and military conquest, or by the extension of the “law”, that is by persuasion and assimilation.’ 10 Such was the rhetoric with the recall of Sir Henry Sidney – for William Gerrard, for Sir Henry

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
James Lyttleton

time in Ireland, when he was probably in the employ of Sir Henry Sidney, then Lord Deputy of Ireland during the years 1565–71 and 1575–78. 1 Liam Miller in a preface to a reproduction of The Image in 1985 believes that Derricke was an eyewitness given the accurate rendering of Irish dress and the topography of Dublin. 2 The best-known images in the book, such as the Irish lord and his entourage feasting in the open air, the English army on the march, and the submission of Turlough O’Neill, have been used frequently

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Derricke’s rebel poems
Elisabeth Chaghafi

into greate miserie (by Sir Henry Sidney the Lorde Deputies daily instigation)’ (H.i. r ). 6 Additionally, Derricke’s use of a ballad-like stanza form acts as a clue to his readers regarding how they are supposed to read the book: as a caution against rebellion in general and Irish rebellion in particular, but also as ‘pleasaunt’ entertainment. Although Derricke’s book is aimed at an English readership and does not attempt to make the woodkern themselves see sense, it clearly seeks to make its readers see the

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Aesthetico-political misprision in Derricke’s A Discoverie of Woodkarne
Thomas Cartelli

, premised on strategic acts of misrepresentation. 18 In Derricke’s case, these deformations operate both on the level of idealization (of Sir Henry Sidney and his fellow Englishmen) and of demonization (of the Irish) to appeal to already established English assumptions of religious and cultural superiority, while promoting or intensifying their application to the English reader’s understanding of Ireland and the native Irishry. The polyscenic narrative illustration that immediately precedes the feasting

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Martial identities and the subject of conquest in Derricke’s Image of Irelande
Maryclaire Moroney

John Derricke’s Image of Irelande: with a Discoverie of Woodkarne (1581) famously features a sequence of woodcuts purporting to illustrate a series of military engagements between Irish troops and the forces commanded by Sir Henry Sidney, Lord Deputy of Ireland during the later 1570s. The images have long been used by historians and literary scholars to illustrate studies of Elizabethan Ireland, and to that end, the woodcuts have been scrutinised for their accuracy in depicting Irish clothing, hairstyles

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Sir Henry Sidney’s return to Dublin as depicted in Derricke’s Image of Irelande
Bríd McGrath

John Derricke’s Image of Irelande promotes Sir Henry Sidney’s legacy as a model English chief governor of Ireland, glossing over his policy failures and his fractured relationship with the Old English political class. It asserts that, by a combination of military action and diplomacy, Sidney extended Crown control into areas previously dominated by Gaelic lords and engaged tirelessly in state-building and reform of Ireland’s political and administrative systems and structures. Sidney’s achievements in

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne