Search results

Victoria Bladen

spectral. In Shakespeare's plays, the monarch's throne is a particularly haunted space. In Richard III (1597), Julius Caesar (1599), Hamlet (1600) and Macbeth (1606), political leaders, or those close to the centres of power, are subject to visitations from ghosts who had held power themselves or been murdered as part of the brutal process of obtaining or maintaining power. Thus, the ghosts not only unsettle, rendering the boundary between the living and the dead porous, but also implicitly challenge monarchs’ positions, undermining assumptions of legitimacy and

in Shakespeare and the supernatural
Elizabeth Fowler

held forth by the Platonic Socrates in his trenchant criticism of sophistic rhetoric, and in his description of a philosophical rhetoric grounded upon true knowledge and always striving for justice. 1 Literary forms are fully social forms and invite an assessment that is both ethical and political. Despite much

in Shakespeare and Scotland
Raymond Gillespie

2 Books, politics and society in Renaissance Dublin Raymond Gillespie On 27 July 1662 James Butler, scion of one of the most prominent AngloIrish families and the newly created first duke of Ormond, arrived in Dublin to take up his post of lord lieutenant of Ireland. Describing that event in 1952, the architectural historian Maurice Craig used what must be one of the most striking phrases in the historical writing about ­seventeenth-century Ireland: ‘The Renaissance, in a word, had arrived in Ireland.’1 In one sense Craig was right. It was only in the late

in Dublin
Penelope and Arachne in early modern drama
Nathalie Rivère de Carles

The myths of Penelope and Arachne connect the three ‘lives’ Aristotle defines as the components of the human quest for happiness: sensual enjoyment, political achievement and intellectual contemplation. 1 Arachne’s sensuous tapestry and Penelope’s erotic delaying and performance of uxorial love are essential components of their mythical lives. However, the myths do not

in Interweaving myths in Shakespeare and his contemporaries
Alison Thorne

-abasement and self-advancement in the hierarchy of power and favour. The main contention of this analysis is that the convergence of female pleading with the hidden operation of divine providence or fateful coincidences lays the bedrock for a political partnership that will ultimately deliver justice and preferment for the persecuted Jewish diaspora. Getting to grips with the Book of

in Biblical women in early modern literary culture 1550–1700
Amanda L. Capern

102 Chapter 5 Visions of monarchy and magistracy in women’s political writing, 1640–​80 Amanda L. Capern I t is now three decades since Patricia Crawford wrote a survey of women’s published writing in the seventeenth century, observing that the ‘impact of the Civil Wars and Interregnum upon women’s publications was remarkable’.1 The suggestion echoed Joan Wallach Scott’s theory that wars and political turmoil produce shifts in gender and politics.2 Crawford calculated that women’s print output may have accounted for 1.2 per cent of all publications after 1640

in From Republic to Restoration
Felicity Lyn Maxwell

4 Upper servants’ letters and loyalties in the Shrewsbury–Stuart domestic politics of the 1580s Felicity Lyn Maxwell The breakdown of the earl and countess of Shrewsbury’s marriage in the early 1580s was a public affair with far-reaching implications. Because of the couple’s high-profile responsibilities as landed aristocrats and especially as guardians of Mary Stuart, exiled Queen of Scots, Elizabeth I and her privy council kept a watchful eye on their affairs, while at the household and regional levels, the earl and countess’s disputes affected the daily

in Bess of Hardwick

Shakespeare and the supernatural explores the supernatural in Shakespearean drama, taking account of historical contexts and meanings together with contemporary approaches to these aspects in performance on stage, screen and in popular culture. Supernatural elements constitute a significant dimension of Shakespeare’s plays, contributing to their dramatic power and intrigue: ghosts haunt political spaces and psyches; witches foresee the future; fairies meddle with love; natural portents foreshadow events; and a magus conjures a tempest. Although written and performed for early modern audiences, for whom the supernatural was still part of the fabric of everyday life, the plays’ supernatural elements continue to enthral us and maintain their ability to raise questions in contemporary contexts. The collection considers a range of issues through the lens of five key themes: the supernatural and embodiment; haunted spaces; supernatural utterance and haunted texts; magic, music and gender; and present-day transformations. The volume presents an introduction to the field, covering terminology and the porous boundaries between ideas of nature, the preternatural and the supernatural, followed by twelve chapters from an international range of contemporary Shakespeare scholars whose work interrogates the five themes. They provide new insights into the central issues of how Shakespeare constructs the supernatural through language and how supernatural dimensions raise challenges of representation and meaning for critics and creators. Shakespeare and the supernatural will appeal to scholars, dramatists, teachers and students, providing valuable resources for readers interested in Shakespeare or the supernatural in drama, whether from literary, historical, film or performing arts perspectives.

This book presents a biography of the poetics and politics of London in 1613, from Whitehall to Guildhall, that is, Shakespeare's London. It examines major events at court, such as the untimely death of Prince Henry and its aftermath, and the extravagant wedding of Princess Elizabeth to Frederick of Germany and her journey to the Continent. The city flourished with scores of publications on a vast array of topics, including poetry, travel narratives, music, and, of course, plays. The book offers summaries and analyses of most of these texts, knowing that some of them may not be well-known to all readers. Many of these publications had a kind of link to the court. In order to understand the context of the year 1613, the book actually begins in October 1612 with Prince Henry's illness and death in November, which had a major impact on what happened in 1613. It proceeds more or less chronologically from this event to Princess Elizabeth's wedding and the stunning array of dramatic performances at court, and includes the journey to her new home in Germany. As part of the year's cultural nexus, the narrative reaches into the Guildhall experience to explore the riches of the books that emanated from London's printers and to examine specifically the drama performed or published in 1613. The final major focus centres on the Carr-Howard wedding at the year's end, full of cultural activities and ripe with political significance.

Philhellene Protestantism, Renaissance translation and English literary politics

Relatively late manifestations of the European philhellene revival of Greco-Roman letters presented to readers complex, extended prose fiction in which the trials of love mask an implicit moral and political allegory. Inevitably, coming during the Reformation, Counter-Reformation and the Catholic Reformation, this cultural phenomenon was not without its religious and political dimensions. Longus, Achilles Tatius and Heliodorus were the three principal English exponents of rhetorically conscious Greco-Roman erotic romance. This book enhances the understanding of the erotic romances of Philip Sidney, Shakespeare, and Lady Mary Sidney Wroth by setting them within an integrated political, rhetorical, and aesthetic context. It investigates how Renaissance translators alter rhetorical styles, and even contents, to accord with contemporary taste, political agendas and the restrictions of censorship. Particular attention is paid to differences between the French courtly style of Jacques Amyot and François de Belleforest and the more literal translations of their English counterparts. Valuable perspective on the early translations is offered through the modern English versions in B.P. Reardon's Collected Ancient Greek Novels. The book considers the three texts of Sidney's Arcadia, as a political romance sharing many of the thematic and rhetorical concerns of the ancients. It focuses on a narrow range of Shakespeare's plays including Julius Caesar and Antony and Cleopatra. The book identifies Mary Sidney Wroth's masque-like prose allegory, The Countess of Montgomery's Urania, as philhellene Protestant political propaganda.