Search results

Lucy Hutchinson and the classicisation of scripture

Chapter 1 Women’s poetry and classical authors: Lucy Hutchinson and the classicisation of scripture Edward Paleit Introduction: the distant muses – early modern women poets and classical antiquity E arly modern women poets’ search for cultural authority and poetic  voice involved a vexed, sometimes contradictory relationship to literary models (as Sarah Ross and Line Cottegnies explore further in chapters 2 and 3). Classical poetry was especially awkward for women writers to accommodate and imitate, for a variety of social and cultural reasons. Greek and

in Early modern women and the poem

7 Reading classical authors in Capgrave’s Life of St Katherine Sarah James To characterise John Capgrave as a writer of ‘literature’ has been, until recently, to court controversy, if not outright dissent. In his foreword to the Early English Text Society’s edition of Capgrave’s Life of St Katherine, Frederick Furnivall spares no time to consider what, if any, literary merit might attach to the work, being instead concerned to provide a rather patronising author portrait before launching into an embittered attack upon Carl Horstmann’s editorial decision

in Sanctity as literature in late medieval Britain
Editor: Susan Wiseman

In examining early modern women and the poem, this book explores how women use poetry, and how poems use women, in England and Scotland in the period 1550–1680. Several decades of critical writing on 'women's poetry', 'gender and poetry', and the representation of women, or gender, in poetry have produced a rich and complex critical and scholarly field. The book looks at the primary and secondary evidence concerning two key elements in the analysis of early modern women's writing, namely, women and the poem. It first explores the way women understood the poem in terms of the reception, influence and adaptation of past models and examples, working from the reception of classical texts. It focuses on the resources women writing poetry knew and encountered in chapters on classical inheritance, the religious sonnet sequence and the secular sonnet sequence. The book then examines the world of reading and readers, and looks at poems in terms of friendships, quarrels, competitions, coteries, networks and critical reception, both then and later. It also emphasises the tales that poems tell, and how those stories both register and shape the understanding of women and the poem in the world of potential readers. In examining women and the poem, the use of women as signifiers and bearers of meaning in poetry is as significant as women's literary production.

in otherwise non-comic contexts was not restricted to the medieval period; classical authors could be similarly inclusive. But some neoclassical critics regarded the receptivity of the Elizabethans to this aspect of their classical sources as evidence that the age of Shakespeare had struggled to ‘emerge from barbarity’. 81 Thus, where George Chapman’s Iliad followed its Homeric source in being funny in places, Pope, in his later translation, was compelled to ‘correct’ his predecessors’ lapses of decorum. In Jessica Wolfe’s words, ‘Chapman is far more

in Comic Spenser

Sanctity as literature in late medieval Britain explores how sanctity and questions of literariness are intertwined across a range of medieval genres. “Sanctity” as a theme and concept figures as a prominent indicator of the developments in the period, in which authors began to challenge the predominant medieval dichotomy of either relying on the authority of previous authors when writing, or on experience. These developments are marked also by a rethinking of the intended and perceived effects of writings. Instead of looking for clues in religious practices in order to explain these changes, the literary practices themselves need to be scrutinised in detail, which provide evidence for a reinterpretation of both the writers’ and their topics’ traditional roles and purposes. The essays in the collection are based on a representative choice of texts from the fourteenth to the early sixteenth centuries, covering penitential literature, hagiographical compilations and individual legends as well as romance, debates, and mystical literature from medieval and early modern England, Scotland, Wales, and Ireland. For researchers and advanced students of medieval literature and culture, the collection offers new insights into one of the central concepts of the late medieval period by considering sanctity first and foremost from the perspective of its literariness and literary potential.

Abstract only

This chapter, which notes that ruins have traditionally been thought of as uncanny, haunted places, deals with the fragments of past civilisations and with several classical authors: Virgil, Horace and Lucan. Ruins have often been associated with the supernatural, either because it is believed that ruins are haunted or because the ruins are themselves strongly identified with corpses or ghosts. Ruins have a particular affinity with allusion, as both can be described as fragments that invite the reader or viewer to import a missing original to complete the picture. The discussion notes that, when used as an uncanny allusion marker, ruins dramatise the later author's sense of belatedness.

in A familiar compound ghost
Abstract only

The Introduction begins by placing the present volume in the context of previous and current work on the subject of medieval knowledge. It goes on to give an outline of medieval perspectives on the meaning, value and transmission of knowledge, noting the influence of classical authors and tracing the development of ideas about knowledge through the writings of key Christian thinkers. Isidore of Seville is identified as the key influence of the medieval encyclopaedic tradition and particular attention is paid to the authoritative work of Augustine, Bede and Aquinas. The introduction relates aspects of these medieval perspectives to specific chapters of the book and also highlights the relationship between religious and secular traditions. It ends with a succinct outline of each chapter.

in Aspects of knowledge
Medea and the poetics of fratricide in early modern English literature

against patriarchy and monarchy, imagining himself in the position of her grieving father Aeëtes. However, as I shall show, Herrick’s choice of Apsyrtus, like Shakespeare’s, is rooted in the knowledge of a combination of classical sources (particularly Ovid and Seneca) and in early modern translations of both classical authors. Moreover, both Herrick and Shakespeare use the figure of Apsyrtus, entirely

in Interweaving myths in Shakespeare and his contemporaries
The last Saite ruler, Psamtek III

Africa, would have been a natural objective of the imperialist policy established by his father Cyrus, which Cambyses now continued to pursue.3 But the Classical authors4 narrate an alternative sequence of events, presumably a pretext, as to why Persia invaded Egypt. According to their accounts Cambyses had demanded a daughter of Ahmose II for his wife. Ahmose II was reluctant to agree to this request as he feared his daughter would become merely a concubine and not a royal wife. Instead he sent Nitetis, the daughter of the previous ruler, Haaibra, rather than his own

in Egypt of the Saite pharaohs, 664–525 BC
C. E. Beneš

). 18 Pliny the Elder, Natural history 3.7–8; fig. 2 . As was usual in the Middle Ages, Jacopo conflates the two classical authors called Plinius Secundus—the letter-writer Pliny the Younger ( c. 61–113), governor of Bithynia, and his uncle Pliny the Elder (23–79), author of the Natural history . Only twenty years after Jacopo's death did Giovanni Mansionario of Verona disentangle them in his

in Jacopo Da Varagine’s Chronicle of the city of Genoa