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For women writers, the decades of the English Civil War were of special importance. This book presents a complex and rewarding poetic culture that is both uniquely women-centred and integrally connected to the male canonical poetry. It brings together extensive selections of poetry by the five most prolific and prominent women poets of the English Civil War: Anne Bradstreet, Hester Pulter, Margaret Cavendish, Katherine Philips, and Lucy Hutchinson. All these five women were attracting new and concerted attention as poets by seventeenth-century women. Bradstreet's poems first appeared in The Tenth Muse Lately Sprung up in America, and the later volume of Several Poemsincluded revised texts of those poems and several new ones. Each version of the poems spoke more directly on the context of the English Civil War. Pulter's poems construe Broadfield as a place of unwelcome isolation: she describes herself as 'shut up in a country grange', 'tied to one habitation', and 'buried, thus, alive'. Philips's poetry was first printed in 1664, her state-political poems, on members of the royal family and events of the Civil War, Interregnum, and Restoration, suggest Philips as a poet writing on matters of political significance. Cavendish's two major editions of Poems and Fancies in 1653 and 1664 each have strongly competing claims both to textual authority and to the more resonant political moment. Across poetry and prose, print and manuscript, Hutchinson's writing bears the marks of her fervent hostility to corrupt rulers and her remarkably broad education, adventurous reading habits, and energetic intellect.

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Sarah C.E. Ross and Elizabeth Scott-Baumann

). Together, these texts reveal the diversity and complexity of women’s poetry in the mid-century, and enable a more comprehensive understanding of a seventeenth-century women’s poetic culture that traversed political affiliations and material forms. Prominent male poets and their complex works loom large in seventeenth-century literary history. Robert Herrick, Thomas Carew, Richard Lovelace, and John Suckling are known for the delights of poems that invite us to ‘Gather ye rosebuds while ye may’, rallying a Cavalier poetics of friendship and pleasure against political

in Women poets of the English Civil War
Thomas Watson, Christopher Marlowe, Richard Barnfield
Tania Demetriou

interests was there in the poetic culture of the early 1590s and that they offer a new perspective on Christopher Marlowe’s Hero and Leander and the development of the poetic tradition known as Elizabethan or ‘Ovidian’ epyllia. To understand this we need to reappraise the impact of the Greek epyllion on this period’s poetic activities, not least through the innovative and popular classicism of

in Interweaving myths in Shakespeare and his contemporaries
Author: James Doelman

While among the most common of Renaissance genres, the epigram has been largely neglected by scholars and critics: James Doelman's The Epigram in England: 1590-1640 is the first major study on the Renaissance English epigram since 1947. It combines awareness of the genre's history and conventions with an historicist consideration of social, political and religious contexts. Tracing the oral, manuscript and print circulation of individual epigrams, the book demonstrates their central place in the period's poetic culture.

The epigram was known for brevity, sharpness, and an urbane tone, but its subject matter ranged widely; thus, this book gives close attention to such sub-genres as the political epigram, the religious epigram and the mock epitaph. In its survey the book also considers questions of libel, censorship and patronage associated with the genre.

While due attention is paid to such canonical figures as Ben Jonson and Sir John Harington, who used this humble (and sometimes scandalous) genre in poetically and socially ambitious ways, the study also draws on a wide range of neglected epigrammatists such as Thomas Bastard, Thomas Freeman and "Henry Parrot". More subject than author-oriented, epigrams often floated free, and this study gives full attention to the wealth of anonymous epigrams from the period. As epigram culture was not limited by language, the book also draws heavily upon Neo-Latin epigrams.

In its breadth The Epigram in England serves as a foundational introduction to the genre for students, and through its detailed case studies it offers rich analysis for advanced scholars.

Open Access (free)
Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

Sarah C. E. Ross

revealing point of comparison for hers. Together, the two Melvilles’ religious sonnet sequences are illu­ strative of a Scottish religio-poetic culture that is itself in urgent need of fuller exploration, and that allows us to expand our understanding not only of women’s relationship to the poem but also of the religious sonnet sequence as a poetic genre in early modern Britain. Elizabeth Melville’s three sonnet sequences, recently published for the first time in Jamie Reid-Baxter’s Poems of Elizabeth Melville, Lady Culross, are preserved at the end of the ‘Bruce

in Early modern women and the poem
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Reading early modern women and the poem
Patricia Pender and Rosalind Smith

voice. The availability of poetry that ventriloquised the voice of the early modern woman writer to historical women poets becomes clearer as we understand more of the links between oral and literate cultures in the period, together with the roles performance and collaboration played in poetic cultures.7 As Matt Cohen suggests, early modern textual transmission was ‘choral’, the ‘aggregate work’ of writers, scribes, typesetters, editors, booksellers, readers and performers.8 A single text did not exist in a unique iteration, but was remade in its subsequent

in Early modern women and the poem
Helen Hackett

chapter 5. Furthermore, participation in literary culture could take forms other than authorship, including collecting, selecting, transcribing, editing, juxtaposing, endorsing and exchanging poems. Such were the activities of Constance Aston Fowler, who apparently never authored a poem, but was very active in poetic culture and a poetic community. Some time in the mid-1630s, when probably in her mid-teens, Constance1 began compiling a manuscript verse miscellany, now in the Huntington Library (MS HM 904).2 She was one of five children of Walter Aston, Baron of Forfar

in Early modern women and the poem
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Tom Betteridge

Elizabethan political and poetic culture. 1579 saw the publication of Edmund Spenser’s Shepheardes Calender which built on the work of early English Protestant writers. In particular, Spenser combined in his volume Barnabe Googe’s image of a band of godly shepherds with a celebration of Elizabeth’s queenship. In The Shepheardes Calender Cupido becomes Cynthia, a fit object for the song of godly shepherds if not a full member of their bond. In 1583 William Cecil’s The Execution of Justice in England and Sir Thomas Smith’s De Republica Anglorum were published. These works can

in Literature and politics in the English Reformation
A brief survey
Éamonn Ó Ciardha

the greater Gaelic-speaking polity in the eighteenth century and the poet increasingly functioned as the spokesman of his peers. This ‘democratisation’ has numerous manifestations. Irish poetic culture adopted a toasting and drinking component; poets regularly addressed their verse to Ireland in its various female guises (Róisín, Caitlín, Meadbhín), or to its aristocracy, clergy and people. Moreover, they often based their popular political verse on European dynastic war-news, gleaned from Englishlanguage newspapers, thereby acting as the medium for the transmission

in Irish Catholic identities