Complete Works in Verse and Prose. Edited, with a New Life, Based On
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Proem Shakespeare S 'Plaies and Poems"
Proem Shakespeare s 'Plaies and Poems" In 1640, the publisher John Benson presents to his English reading public a Shakespeare who is now largely lost to us: the national author of poems and plays. By printing his modest octavo edition of the Poems: Written By Wil. Shake-speare. Gent., Benson curiously aims to complement the 1623 printing venture of Shakespeare's theatre colleagues, John Heminge and Henry Condell , who had presented Mr. William Shakespeares Comedies, Histories, & Tragedies in their monumental First Folio. Thus, in his own Dedicatory Epistle "To the Reader," Benson remarks that he presents "some excellent and sweetly composed Poems," which "had nor the fortune by reason of their lnfancie in his death, to have the due accommodation of proportionable glory, with the rest of his everliving Workes" (*2r). Indeed, as recent scholarship demonstrates, Benson boldly prints his octavo Poems on the model ofHeminge and Condell 's Folio Plays. ' Nor simply does Benson's volume share its primer, Thomas Cores, wirh rhe 1632 Folio, bur both editions begin with an identical format: an engraved portrait of the author; a dedicatory epistle "To the Reader"; and a set of commendatory verses, with Leonard Digges contributing an impor tant celebratory poem to both volumes. Benson's engraving by William Marshall even derives from the famous Martin Droeshout engraving in the First Folio, and six of the eight lines beneath Benson's engraving are borrowed from Ben Jonson's famed memorial poem to Shakespeare in char volume. Accordingly, Benson rakes his publishing goal from Heminge and Conde!!. They aim to "keepe the memory of such worthy a Friend, & Fellow alive" (Dedicatory Epistle to the earls ofPembroke and Montgomery, reprinted in Riverside, 94), while he aims "to be serviceable for the con tinuance of glory to the deserved Author" ("To the Reader," *2v). -
Spenser, Donne, and the Trouble of Periodization Yulia Ryzhik
Introduction: Spenser, Donne, and the trouble of periodization Yulia Ryzhik The names Edmund Spenser and John Donne are rarely seen together in a scholarly context, and even more rarely seen together as an isolated pairing. When the two are brought together, it is usually for contrast rather than for comparison, and even the comparisons tend to be static rather than dynamic or relational. Spenser and Donne find themselves on two sides of a rift in English Renaissance studies that separates the sixteenth century from the seventeenth and Elizabethan literature from Jacobean.1 In the simplest terms, Spenser is typically associated with the Elizabethan Golden Age, Donne with the ‘metaphysical’ poets of the early seventeenth century. Critical discourse overlooks, or else takes for granted, that Spenser’s and Donne’s poetic careers and chronologies of publication overlapped considerably. Hailed as the Virgil of England, and later as its Homer, Spenser was the reigning ‘Prince of Poets’, and was at the height of his career when Donne began writing in the early 1590s. Both poets, at one point, hoped to secure the patronage of the Earl of Essex, Donne by following him on expeditions to Cadiz and the Azores, Spenser by hailing his victorious return in Prothalamion (1596). The second instalment of Spenser’s The Faerie Queene (also 1596) gives a blistering account in Book V of the European wars of religion in which Ireland, where he lived, was a major conflict zone, but it is Donne who travelled extensively on the Continent, including places where ‘mis-devotion’ reigned.2 Spenser died in 1599 and was buried with much pomp at Westminster Abbey as if poetry itself had died with him. -
Elizabethan Sonnet Sequences and the Social Order Author(S): Arthur F
"Love is Not Love": Elizabethan Sonnet Sequences and the Social Order Author(s): Arthur F. Marotti Source: ELH , Summer, 1982, Vol. 49, No. 2 (Summer, 1982), pp. 396-428 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.com/stable/2872989 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to ELH This content downloaded from 200.130.19.155 on Mon, 27 Jul 2020 13:15:50 UTC All use subject to https://about.jstor.org/terms "LOVE IS NOT LOVE": ELIZABETHAN SONNET SEQUENCES AND THE SOCIAL ORDER* BY ARTHUR F. MAROTTI "Every time there is signification there is the possibility of using it in order to lie." -Umberto Ecol It is a well-known fact of literary history that the posthumous publication of Sir Philip Sidney's Astrophil and Stella inaugurated a fashion for sonnet sequences in the last part of Queen Elizabeth's reign, an outpouring of both manuscript-circulated and printed collections that virtually flooded the literary market of the 1590's. But this extraordinary phenomenon was short-lived. With some notable exceptions-such as the delayed publication of Shake- speare's sought-after poems in 1609 and Michael Drayton's con- tinued expansion and beneficial revision of his collection-the composition of sonnet sequences ended with the passing of the Elizabethan era. -
Poetry As Correspondence in Early Modern England
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Unfolding Verse: Poetry As Correspondence In Early Modern England Dianne Marie Mitchell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Mitchell, Dianne Marie, "Unfolding Verse: Poetry As Correspondence In Early Modern England" (2017). Publicly Accessible Penn Dissertations. 2477. https://repository.upenn.edu/edissertations/2477 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2477 For more information, please contact [email protected]. Unfolding Verse: Poetry As Correspondence In Early Modern England Abstract This project recovers a forgotten history of Renaissance poetry as mail. At a time when trends in English print publication and manuscript dissemination were making lyric verse more accessible to a reading public than ever before, writers and correspondents created poetic objects designed to reach individual postal recipients. Drawing on extensive archival research, “Unfolding Verse” examines versions of popular poems by John Donne, Ben Jonson, Mary Wroth, and others which look little like “literature.” Rather, these verses bear salutations, addresses, folds, wax seals, and other signs of transmission through the informal postal networks of early modern England. Neither verse letters nor “epistles,” the textual artifacts I call “letter-poems” proclaim their participation in a widespread social -
The Epilogue of Tennyson's in Memoriam
THE EPILOGUE OF TENNYSON'S IN MEMORIAM: MARRIAGE AS A FORCE OF TRANSFORMATION By LIBBY STOTT YOUNG Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1980 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 1984 Thes,;s ,q 8 l,1 '/1:')~ C.e:ir, ;i THE EPILOGUE OF TENNYSON'S MARRIAGE AS A FORCE OF TRANSFORi\fATION Thesis Approved ( 17dAh~ ~. J? eJ_J, Dean of the Graduate College PREFACE This study examines the imagery, scientific metaphor, and literary conventions that Alfred Tennyson uses in the Epilogue of In Memoriam, particularly those concern ing the power of marital love. The study discusses the aspects of disorder and order, death and life, and degen eracy and progress. It explores the connection of love with the force that transforms negative images into posi tive ones. The findings of the study are that Tennyson incor porates several literary conventions to convey that love can indeed transform disorder, death, and degeneracy into order, life, and progress. Tennyson draws upon pagan, Judea-Christian, and Renaissance literature. Scientific metaphor supports the power of love, and the images of the Epilogue incorporate and transform the images of the elegy. The members of my thesis committee have been splendid ly supportive and enlightening. I thank Dr. John Milstead, my advisor, for his example of intellectual vitality. I have been influenced by his example since my freshman year in college; during graduate school I have gained an increas ing appreciation of Dr. -
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title The Protestant Reformation and the English Amatory Sonnet Sequence: Seeking Salvation in Love Poetry Permalink https://escholarship.org/uc/item/16m3x3z4 Author Shufran, Lauren Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ THE PROTESTANT REFORMATION AND THE ENGLISH AMATORY SONNET SEQUENCE: SEEKING SALVATION IN LOVE POETRY A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Lauren Shufran June 2017 The Dissertation of Shufran is approved: ____________________________________ Professor Sean Keilen, chair ____________________________________ Professor Jen Waldron ____________________________________ Professor Carla Freccero _____________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Lauren Shufran 2017 TABLE OF CONTENTS Abstract iv Acknowledgements vi Introduction 1 Chapter 1: “Till I in hand her yet halfe trembling tooke”: Justification in Edmund Spenser’s Amoretti 18 Chapter 2: Thomas Watson’s Hekatompathia: Reformed Grace and the Reason-versus-Passion Topos 76 Chapter 3: At Wit’s End: Philip Sidney and the Postlapsarian Limits of Reason and Will 105 Chapter 4: “From despaire to new election”: Predestination and Astrological Determinism in Fulke Greville’s Caelica 165 Chapter 5: Mary Wroth’s “strang labourinth” as a Predestinarian Figure in Pamphilia to Amphilanthus 212 Chapter 6: Bondage of the Will / The Bondage of Will: Theological Traces in Shake-speares Sonnets 264 iii ABSTRACT THE PROTESTANT REFORMATION AND THE ENGLISH AMATORY SONNET SEQUENCE: SEEKING SALVATION IN LOVE POETRY Lauren Shufran When he described poetry as that which should “delight to move men to take goodnesse in hand,” Philip Sidney was articulating the widely held Renaissance belief that poetry’s principal function is edification. -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
UNIT 1 – History of English Literature – SHS1105
SCHOOL OF SCIENCE & HUMANITIES DEPARTMENT OF ENGLISH UNIT 1 – History of English Literature – SHS1105 1 ELIZABETHAN PERIOD & SHAKESPEARE PERIOD Edmund Spenser: Edmund Spenser (ca. 1552-1599) ranks as the fore most English poet of the 16th century. Famous as the author of the unfinished epic poem The Faerie Queene, he is the poet of an ordered yet passionate Elizabethan world. He was deeply affected by Irish faerie mythology, which he knew from his home at Kilcolman and possibly from his Irish wife Elizabeth Boyle. His genocidal tracts against Gaelic culture were war propaganda. His house (ruins remain) was burned to the ground during the war, causing him to flee Ireland. Edmund Spenser was born in East Smithfield, London, around the year 1552, though there is some ambiguity as to the exact date of his birth. As a young boy, he was educated in London at the Merchant Taylors' School and matriculated as a sizar at Pembroke College, Cambridge. Spenser‘s main poetical works are: The Shepher d‘s Calendar (1579) Amoretti (1595), a collection of eighty eight Petrarchan sonnets Epithalamion (1959), a magnificent ode written on the occasion of his marriage with Elizabeth Boyle Prothalamion (1596), an ode on marriage Astrophel (1596), an elegy on the death of Sir Philip Sidney Four Hymns (1576) written to glorify love and homour The Faerie Queen (1589 –90). Spenser matriculated at the University of Cambridge on May 20, 1569. Ten years later he published his first publicly-released poetic work, The Sheapheards' Calendar, to positive reviews. He then began work on his magnum opus, The Faerie Queene, publishing the first three of the projected twelve books in 1590. -
Platonism and the Idea of Love in Spenser's Minor Poems
PLATONISM AND THE IDEA OF LOVE IN SPENSER'S MINOR POEMS Santiago Fernández-Corugedo University of Oviedo. Spain I would like to warn the possible audience of these considerations about the fact that I shall be mainly dealing with some very specific shorter poems by Edmund Spenser (*London, circa 1552 - †Westminster, 1599), instead of quoting lavishly from his two longer works as it seems that contemporary readers of English Renaissance poetry appear to delight themselves in the sonnet collections and other shorter poems which thus would enable their readers to appreciate the spark of genius of their authors in very little time, though I would assume as well that they may also consider several of the great poetic achievements of the late Tudor period as rather cumbersome. Cumbersome because in most cases their frequent overwhelming extension hinders the possibility of reading them in just one quiet afternoon or in a dark and stormy night. Caveat emptor & co. Contemporary passion for saving time in any activity in order to devote it to some idle occupations, a passion that Elizabethans shared as well, is not the only reason responsible for the removing of these literary works to rather remote shelves of the present-day everyman’s library of poetic diction, reasonable poetry and sensible taste. I would like to remark that there is a good number of 16th and 17th century poems that constitute quite an ordeal even for the most biased amateur of verse, as these are representative of a world that has been fully discarded by modern fashion and by poetic usage. -
“Her Cruell Hands”: Love As Predation in Amoretti
ঃਆઽࢂٷணপ࠙ 제16권 1호 (2008): 183-200 “Her cruell hands”: Love as Predation in Amoretti Inju Chung (Seoul Women’s University) Edmund Spenser’s sonnet sequence Amoretti has long been considered a personal love song, addressed to his second wife to be, Elizabeth Boyle, whom the poet got married later. And perhaps that is why the work has not received as much attention from the critics as Shepheardes Calender or The Faerie Queene did, for if the work were dealing only with Spenser's private love affair within the convention of sonnet writing, the sequence would hardly be more than a small work of sonnets, which Louis Martz meticulously defines as "intimate little tokens of love made out of ancient materials deriving, primarily, from Italy" (128). Careful examination of the sonnets, however, reveals that the work shows more facets and complexities than critics comfortably put a single label on. Spenser's sonnet sequence has, like Shakespeare’s sonnets, many different faces that demand our careful attention. 184 Inju Chung H. S. V. Jones is among the earlier critics who suggest that the work may have no direct relationship with Epithalamion, the marriage celebration published together with Amoretti in 1595, and therefore the lady in the sonnets may not necessarily be Elizabeth Boyle. He contends that Spenser did not initially mean to publish the two works together, because "the sequence, concluding with the separation of the lovers, does not lead up easily to the marriage hymn" (336). Except for the fact that the lady’s name in the sequence is Elizabeth, he concludes, we do not know for sure who this lady is (337). -
Neoteric Poetics in the Shorter Poems of Edmund Spenser
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 "O Carefull Verse": Neoteric Poetics in the Shorter Poems of Edmund Spenser Melissa Joy Rack University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Rack, Melissa Joy, ""O Carefull Verse": Neoteric Poetics in the Shorter Poems of Edmund Spenser. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3554 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Melissa Joy Rack entitled ""O Carefull Verse": Neoteric Poetics in the Shorter Poems of Edmund Spenser." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Robert E. Stillman, Major Professor We have read this dissertation and recommend its acceptance: Heather Hirschfeld, Anthony Welch, Robert Sklenar Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) “O Carefull Verse”: Neoteric Poetics in the Shorter Poems of Edmund Spenser A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Melissa Joy Rack December 2015 © Copyright 2015 by Melissa Joy Rack All rights reserved. -
Spenserian Satire Spenserian
Spenserian satire Spenserian Spenser Sp enser Spenser Spenser Spenserian satire examines the satirical poetry of Edmund Spenser and argues for his importance as a model and influence for younger poets writing satires in the late sixteenth and early seventeenth centuries. The book focuses on reading satirical texts of the period in relation to one another, with specific attention to the role that Edmund Spenser plays in that literary subsystem, in order to address several distinct audiences. For Spenser scholars, who recognize Spenser’s supremacy in “serious poetry” of the period and have carefully studied his influence on epic, pastoral and lyric poetry, the analysis of Spenser’s reputation as a satirical Spenserian satire poet will contribute to a fuller understanding of Spenser as “the poet’s Spenser poet.” For scholars of satire, the book offers a more detailed discussion and theorization of the type of satire that Spenser wrote, “indirect satire,” A tradition of indirection than has been provided elsewhere. Spenser’s satire does not fit well into the categories that have been used to taxonomize satirical writing from HILE the classical era up to the eighteenth century, but including him with the Sp complaint tradition is also imprecise. A theory of indirect satire benefits ense not just Spenser studies, but satire studies as well. For scholars of English Renaissance satire in particular, who have tended to focus on the formal verse satires of the 1590s to the exclusion of more r indirect forms such as Spenser’s, this book is a corrective, an invitation to recognize the influence of a style of satire that has received little attention.