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'.
’s insistence on English as the proper language of literary renaissance and resistance than to the Norquay_02_Ch1 16 22/3/02, 9:43 am 17 Crossing the language barrier opposing view of Hugh MacDiarmid, who championed the vernacular. The letter of Yeats lives on, if not the spirit. Douglas Dunn is one of many Scottish critics who have argued for the degree to which MacDiarmid’s was a project of recovery and renewal, a cultural enterprise that was national as much as linguistic or literary: MacDiarmid was trying to make a nation as well as poetry. He did so with a language
relation to Robert Burns: I don’t think we need a national bard. I think folk call him that out of laziness, because they can’t be bothered to read what’s been written since. It’s a monolithic attitude, where every era seems to have enshrined one male. A vibrant culture, as we have, is in the hands of many, many people. (quoted in Dunkerley, 1996)13 Hugh MacDiarmid, the writer who bestrode the Scottish literary renaissance (in many ways defining it), had an iconographic function similar to Burns in Scottish intellectual and literary life after the Second World War. The
communities associated with Bellings, Shirley and Burnell, celebrated and crystallised in print, highlight the fitfulness of any literary renaissance in Dublin. Such moments were short-lived, representing ‘re-mort’ rather than ‘re-naissance’. The ‘soft peace’ hailed by Bellings’ friend could not withstand political volatility for long. The seeds cast by such influential writers as Sidney and Spenser did not take root in any prolonged way, notwithstanding the fact that their reputations enjoyed longevity. The extent to which Ireland experienced a renaissance has been subject
(Toronto: Iter Inc. and the Centre for Reformation and Renaissance Studies, 2014) Ezell, Margaret J. M., ‘The Laughing Tortoise: Speculations on Manuscript Sources and Women’s Book History’, English Literary Renaissance, 38 (2008): 331–55 Hutton, Sarah, ‘Hester Pulter (c. 1596–1678): A Woman Poet and the New Astronomy’, Etudes Epistémè, 14 (2008): 77–87 Marcus, Leah, ‘Herrick’s “Hesperides” and the “Proclamation Made for May” ’, Studies in Philology, 76.1 (1979): 49–74 Marcus, Leah, The Politics of Mirth: Jonson, Herrick, Milton, Marvell, and the Defense of Old Holiday
Tragedy ’, English Literary Renaissance 38 : 1 ( 2008 ): 3–33 . Cutts , D. , ‘ Writing and revenge: The struggle for authority in Thomas Kyd’s The Spanish Tragedy ’, Explorations in Renaissance Culture 22 ( 1996 ): 147–59 . Dillon , J. , ‘ The Spanish Tragedy and staging languages in Renaissance drama ’, Research Opportunities in Renaissance Drama 34 ( 1995 ): 15–40 . Díaz-Fernández , J. R
city’s oldest literary venues, Marsh’s Library, for a conference entitled ‘Dublin: Renaissance City of Literature?’ Contributors travelled from universities in the USA, England and across Ireland, representing disciplines including classics, literature and history, to debate the character of the literary culture of early modern Dublin. This volume emerges from that event. The question of whether Ireland experienced a cultural and literary Renaissance has received increasing scholarly attention in recent years, and this volume extends the discussion by engaging with
return of focus to the domestic sphere that signals a regressive trend in women’s writing: In those hundred years [between 1524 and 1623] appeared more translations, varied female personae and experiments with genre, style and voice as women steadily strove to establish a legitimate place for their own literary experience. If this constitutes a literary renaissance for women
This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.
, but is damaging to early modern studies as well, whether we consider the period a bounded one on both sides, markedly different from both before and after, or an open-ended one, inaugurating an increasingly distant ‘modernity’. 25 One effect of the narrative of rupture on either end of the English literary Renaissance is fragmentation within the field. 26 In this respect too, Spenser and Donne seem to stand on opposite sides of the divide, and this perception is symptomatic of the receding present in relation to the ‘early modern’ moment. It is Donne who is