Sir Walter Raleigh's literary legacy consists of a highly fragmented oeuvre including many unprinted or pirated poems and works of disputed authorship. No collection of Raleigh's poetry produced under his own direction or that of a contemporary, either in print or in manuscript, exists. This book is a collection of essays by scholars from Great Britain, the United States, Canada and Taiwan that covers a wide range of topics about Raleigh's diversified career and achievements. Some essays shed light on less familiar facets such as Raleigh as a father and as he is represented in paintings, statues, and in movies. Others re-examine him as poet, historian, as a controversial figure in Ireland during Elizabeth's reign, and looks at his complex relationship with and patronage of Edmund Spenser. The theme of Raleigh's poem is a mutability that is political: i.e., the precariousness of the ageing courtier's estate, as revealed by his fall from eminence and the loss of his privileged position in court. The Cynthia holograph engages in complex ways with idealistic pastoral, a genre predicated upon the pursuit of otium (a longing for the ideal and an escape from the actual). The Nymph's reply offers a reminder of the power of time and death to ensure the failure of that attempt. There were patrilineal imperatives that might have shaped Raleigh's views of sovereignty. Raleigh's story is an actor's story, one crafted by its own maker for the world-as-stage.

Scriptural tradition and the close of The Faerie Queene
Margaret Christian

, headbands, bonnets, earrings, nose jewels, veils, wimples, and 9 J. B. Lethbridge, “Spenser’s Last Days: Ireland, Career, Mutability, Allegory,” in Edmund Spenser:  New and Renewed Directions, ed. J.  B. Lethbridge (Madison, NJ:  Fairleigh Dickinson, 2006), 302–36, provides an overview of the debate over the cantos’ relation to the rest of The Faerie Queene. 10 Thomas Drant, Two sermons preached, the one at S. Maries Spital on Tuesday in Easter weeke 1570 and the other at the court at Windsor for the Sonday after twelfth day, … 1569 (London, 1570?), sig. I5v, STC (2nd

in Spenserian allegory and Elizabethan biblical exegesis
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‘Look, let’s start all over again. What’s she like?’
Felicity Chaplin

iconography but is in fact built into it. This apparent contradiction is accounted for within iconography itself as a methodology, the two aspects of which are stability and mutability. Since a type is only type because of recognisable motifs, certain motifs must be established which have both universal, and particular or historical validity. The universality of the type appears through an accumulation of its particulars, and this is primarily why there is such slippage between the concept of la Parisienne and its associated categories, and her physical embodiment in the

in La Parisienne in cinema
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Gwilym Jones

.3.34–5). During the early modern period, Luther was described approvingly as ‘that sonne of thunder’, and condemned as one who ‘hath stered a mighty storme and tempest in the chirche’. 6 As we have seen, Shakespeare’s attention to the contradictions and mutability of weather interpretation is evident in all of his storm plays, and particularly in Julius Caesar . The relationship

in Shakespeare’s storms
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Caroline Bassett

lives because it is contingent and mutable, because it is changing and transforming rather than fading in response to alterations in the material conditions under which we live, which are themselves articulations of a social totality. Fredric Jameson argued that the cultural object, ‘as though for the first time, brings into being that very situation to which it is also at one and the same time, a reaction’ (Jameson, 1981: 82). It is thus socially symbolic, the bearer of the time in which it was made. Narrative, a continuous reaction to information and its

in The arc and the machine
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Final vistas of Spenser and Shakespeare
Robert Lanier Reid

Spenser’s mutability-song: conclusion or transition? The Mutabilitie Cantos’ relation to The Faerie Queene remains a mystery. Is it a separate poem? – perhaps, considering its extensive and complete dramatic action, with a parallel comic subplot. Or a medullar episode of an uncompleted legend? – this seems more

in Renaissance psychologies
Mark S. Dawson

. The human form was apparently conceived of as ‘fluid’ and ‘permeable’, or ‘mutable’ and ‘fluxable’.6 English bodies were ‘innately malleable’, ‘protean’, and ‘exceedingly pliant and vulnerable’ because their constituent humours were thought always and everywhere at the mercy of the immediate surroundings.7 Historians of early modern medicine and natural philosophy make similar arguments. Well into the eighteenth century, Erica Charters suggests, army doctors and naval surgeons viewed bodies as ‘fluid, malleable entities, easily physiologically modified under the

in Bodies complexioned
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Jill Kirby

equally be claimed by those who equate some of the language of nerves with depression – such is the mutability of this grey area of human experience. 4 Certainly, in response to the claim that cases of depression had hugely increased by the end of the twentieth century, Callahan and Berrios argued that numbers of sufferers had hardly changed since the 1950s, but that depression was previously hidden behind other labels, with both formal medical diagnostic categories and vernacular usage contributing to this concealment. 5 Throughout the

in Feeling the strain
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Mark S. Dawson

mutability has been deemed inconsistent with the essentialism upon which racism would rely – the ideas that somatic differences are enduringly innate because they are inherited, and that outward contrasts, especially skin colours, must always be both signifier and signified. Humoralism’s demise therefore becomes a prerequisite for racism, with Mary Floyd-Wilson’s particularly influential study boldly stating that the ‘racial stereotypes [which] facilitated the Atlantic slave trade were incompatible with geohumoral tenets’.15 Others aver that there was a fundamental

in Bodies complexioned

This book sets the scene for the reinterpretations and explorations of the ways William Shakespeare and his contemporaries worked mythological material on their looms. In Ovid, each text leaves a trace in the others, introducing an enriching leaven that expands the text. Reading Holinshed's efforts to place Samothes or Brutus on England's family tree, one feels sorry for those chroniclers who had to reconcile a variety of founding tales and defend mutable causes. Founding myths need a renowned ancestor; warlike feats; identification with a territory, continuity, purity of blood; and someone to tell the story: fame must be recorded by pen if it is to survive marble monuments. The book discusses the Trojan matter of King John, which powerfully structures and textures the scenes of the siege of Angiers and, more specifically, the tragic fates of Constance and Arthur. It also considers some metamorphoses of Shakespeare and Ovid. The book reiterates imaginative association, influence, historically diachronic descent study, as evidenced in that kind of critical work that finds in a keyword an attractive pretext for projecting an author's particular interest or, a critic's. Yves Peyré's work opens perspectives on post-Shakespeare reworkings and Shakespearian myths that were also explored during the ESRA conference and inspired a separate collection of essays, Mythologising Shakespeare: A European Perspective.