Thomas Heywood was unusual in the diversity and sheer quantity of his output, and fascinatingly individual in his classicism. This volume offers a ground-breaking investigation of his engagement with the classics across a writing career that spanned more than 40 years. It is the first in-depth study of his classicism, and it features a variety of perspectives. The introduction and twelve essays trace how the classics shaped Heywood’s writing in a wide variety of genres – translation, drama, epyllic and epic verse, compendia, epigrams, panegyrics and pamphlets – and informed both his many pageants and the warship he helped design for Charles I. Close readings demonstrate the depth and breadth of his classicism, establishing the rich influence of continental editions and translations of Latin and Greek texts, early modern mythographies, chronicles and the medieval tradition of Troy as revived by the Tudors. The essays probe Heywood’s habit of juxtaposing different and often disjunctive layers of a capaciously conceived ‘classical tradition’ in thought-provoking ways, attend to his use of the multiplicitous logic of myth to interrogate gender and heroism, and consider the way he turns to antiquity not only to celebrate but also to defamiliarise the theatrical or political present. Different contributions focus on A Woman Killed with Kindness, Oenone and Paris, Loves School, The Rape of Lucrece, Troia Britanica, the Ages plays, Gynaikeion, Pleasant Dialogues and Dramma’s, Apology for Actors and Sovereign of the Seas. Classical reception thus provides an illuminating, productively cross-generic angle for approaching Heywood’s prolific output and idiosyncratic aesthetic.
For educated poets and readers in the Renaissance, classical literature was as familiar and accessible as the work of their compatriots and contemporaries – often more so. Their creative response to it was not a matter of dry scholarship or inert imitation, but rather of engagement in an ancient and lively conversation which was still unfolding, both in the modern languages and in new Latin verse. This volume seeks to recapture that sense of intimacy and immediacy, as scholars from both sides of the modern disciplinary divide come together to eavesdrop on the conversations conducted through allusion and intertextual play in works from Petrarch to Milton and beyond, and offer their perspectives on the intermingling of ancient and modern strains in the reception of the classical past and its poetry. The essays include illuminating discussions of Ariosto, Du Bellay, Spenser, Marlowe, the anonymous drama Caesars Revenge, Shakespeare and Marvell, and look forward to the grand retrospect of Shelley’s ‘Adonais’. Together, they help us to understand how poets across the ages have thought about their relation to their predecessors, and about their own contributions to what Shelley would call ‘that great poem, which all poets… have built up since the beginning of the world’.
Pasts at play examines nineteenth-century children as active consumers of a variety of British pasts, from the biblical and classical to the medieval and early modern. This interdisciplinary collection bridges different disciplinary approaches to chart shifting markets for historical education between 1750 and 1914: a critical period in the development of children's culture, as children became target consumers for publishers. Boys and girls across the social classes often experienced different pasts simultaneously for the purpose of amusement and instruction. Play provides a dynamic lens through which to explore children’s interaction with the past as a didactic vehicle. Encompassing the past as both subject and site for production and consumption of earlier pasts (historical, mythical or imagined), each contributor reconstructs children’s encounters with different media to uncover the cultural work of individual pasts and exposes the key role of playfulness in the British historical imagination. These ten essays argue that only through exploring the variety of media and different pasts marketed to children can we fully understand the scope of children’s interactions with the past. Sources, from games to guidebooks and puzzles to pageants, represent the range of visual, performative, material and textual cultures analysed here to develop fresh methodologies and new perspectives on children’s culture and the uses of the past. Bringing together scholars from across a range of disciplines, including Classics, English and History, this volume is for researchers and students interested in the afterlives of the past, the history of education, and child consumerism and interaction.
contacts with the Roman world.
Finally, before we get stuck in, a final word about Classicalreception. As we’ve noted, the Roman world in popular culture won’t necessarily be a world that would be recognisable to a contemporary Roman: as a writer, historian, or designer, one may strive for historical accuracy in design, but how that design is adapted, used, and acted upon is a component of Classicalreception , that is, how the ancient world is interpreted by the current audience who engages with it. This is especially true with depictions of
Britain, 1905–2016’ project (AHRC; KCL) have emphasised the legacy of different pasts.
Alongside these projects, there has been a sustained scholarly interest in classicalreception and medievalism
– and an increased awareness of different sorts of sources and encounters with the past.
In the past decade, there has also been a developing literature on the ways in which
Janice Valls- Russell, Agnès Lafont, and Charlotte Coffin
Focusing on interweaving processes in early modern appropriations of
myth, the chapters draw on a variety of approaches to ask how the uses
of mythological stories enabled writers to play with representations of
history, gender and desire. Building on recent research in different
areas of early modern studies (classicalreception, history of the book,
medieval heritage, theatre history), this volume seeks to heighten
A. Baker , ‘“ Everything good we stood for”: Exhibiting Greek
Art in World War II ’, ClassicalReceptions Journal , 8 : 3 ( 2016 ), pp.
414 –1 5 .
Mellor, ‘Sketch’, p. 106.
T. Laqueur , ‘ Bodies, Details, and the Humanitarian
various schools marshalled as examples of differing opinions, all of which prove to be mistaken when compared with the Christian perspective. That said, this section enumerates the principal characters on the stage of John’s intellectual theatre: Cicero and Seneca, but also Aristotle, Plato, Epicurus and other minor Greek philosophers.
In fact, this discussion of interpretations of free will and fate ably demonstrates the variety of sources used by John, as well as a further distinctive feature of classicalreception in the medieval period
aspects of his prolific output, and inspired by the exciting developments in the study of early modern classicalreception and translation over the past couple of decades. The classics, as we have seen, relate in an intimate and defining way to Heywood’s responses to genre, at the same time as providing us with insights into the laboratory of his imaginative process. They enable us to probe his approach to his varied audiences and his self-presentation as a poet, playwright and designer. By focusing on Heywood’s multifaceted reception of the classics, we therefore hope
and Tanya Pollard, ‘Introduction’, in Tania Demetriou and Tanya Pollard (eds), Homer and Greek Tragedy in Early Modern England's Theatre , Special Issue, ClassicalReceptions Journal 1 (2017), p. 18.
Not coincidentally, Mary's grief retained something of Hecuba's rage, which resurged in the literary memory of post-Reformist England after the silencing of the Mater Dolorosa of the medieval Passion plays. On this see Goodland