Palladine of England (1588)

Total Page:16

File Type:pdf, Size:1020Kb

Palladine of England (1588) Palladine of England (1588) Translated by Anthony Munday Agustín López Avilés Facultad de Filosofía y Letras Palladine of England (1588) Translated by Anthony Munday Agustín López Avilés Tesis presentada para aspirar al grado de DOCTOR POR LA UNIVERSIDAD DE ALICANTE Programa de Doctorado en Filosofía y Letras Dirigida por: Jordi Sánchez Martí PALLADINE OF ENGLAND (1588) TRANSLATED BY ANTHONY MUNDAY © Agustín López Avilés, 2017 To my friends. To my patient family. To Ángela. For everything. Always. | Contents | | Abbreviations | ........................................................................................................................................... ix | Introduction | .............................................................................................................................................. xi Chivalric romance in Europe ................................................................................................................... xi Don Florando de Inglaterra (1545) ...................................................................................................... xvi L’Histoire Palladienne (1555) ............................................................................................................. xxii Colet’s translation ................................................................................................................................ xxvi Palladine of England (1588) and Anthony Munday: his time and oeuvre ........................................... xxx Anthony Munday as a translator of chivalric romances .................................................................. xxxviii Textual history of Palladine of England ................................................................................................. lv | Bibliographical description | .................................................................................................................. lxiii | Editorial policy | ....................................................................................................................................lxvii | PALLADINE OF ENGLAND | The Epistle ................................................................................................................................................ 3 To the corteous and freendly Readers. ..................................................................................................... 5 CHAPTER I. ............................................................................................................................................ 7 CHAPTER II. ......................................................................................................................................... 15 CHAPTER III. ........................................................................................................................................ 19 CHAPTER IV......................................................................................................................................... 23 CHAPTER V. ......................................................................................................................................... 27 CHAPTER VI......................................................................................................................................... 34 CHAPTER VII. ...................................................................................................................................... 39 CHAPTER VIII. ..................................................................................................................................... 44 CHAPTER IX......................................................................................................................................... 49 CHAPTER X. ......................................................................................................................................... 55 CHAPTER XI......................................................................................................................................... 59 CHAPTER XII. ...................................................................................................................................... 63 CHAPTER XIII. ..................................................................................................................................... 67 CHAPTER XIV. ..................................................................................................................................... 73 CHAPTER XV. ...................................................................................................................................... 78 CHAPTER XVI. ..................................................................................................................................... 82 CHAPTER XVII. ................................................................................................................................... 87 CHAPTER XVIII. .................................................................................................................................. 91 CHAPTER XIX. ..................................................................................................................................... 96 CHAPTER XX. .................................................................................................................................... 101 CHAPTER XXI. ................................................................................................................................... 106 CHAPTER XXII. ................................................................................................................................. 111 CHAPTER XXIII. ................................................................................................................................ 117 CHAPTER XXIV. ................................................................................................................................ 121 CHAPTER XXV. ................................................................................................................................. 127 CHAPTER XXVI. ................................................................................................................................ 131 CHAPTER XXVII. .............................................................................................................................. 135 CHAPTER XXVIII. ............................................................................................................................. 140 CHAPTER XXIX. ................................................................................................................................ 149 CHAPTER XXX. ................................................................................................................................. 153 CHAPTER XXXI. ................................................................................................................................ 158 CHAPTER XXXII. .............................................................................................................................. 164 CHAPTER XXXIII. ............................................................................................................................. 167 CHAPTER XXXIV. ............................................................................................................................. 173 CHAPTER XXXV. .............................................................................................................................. 179 CHAPTER XXXVI. ............................................................................................................................. 183 CHAPTER XXXVII. ............................................................................................................................ 188 CHAPTER XXXVIII. .......................................................................................................................... 193 CHAPTER XXXIX. ............................................................................................................................. 199 CHAPTER XL. .................................................................................................................................... 202 CHAPTER XLI. ................................................................................................................................... 206 CHAPTER XLII. .................................................................................................................................. 213 To the Gentlemen Readers. .................................................................................................................. 219 | Glossary | ................................................................................................................................................ 223 | Traductological notes | ............................................................................................................................ 237 | List of emendations | ............................................................................................................................... 311 | Abbreviations | BL British Library BNF Bibliothèque Nationale de France CHEMEL David Loewenstein and Panel Mueller, eds. The Cambridge History of Early Modern English Literature (Cambridge: Cambridge University Press, 2002). CHMedEL David Wallace, ed. The Cambridge History of English
Recommended publications
  • 'Bardwashing' Shakespeare: Food Justice, Enclosure, and the Poaching Poet Kevin A. Quarmby1 KEYWORDS
    Journal of Social Justice, Vol. 5, 2015 (© 2015) ISSN: 2164-7100 ‘Bardwashing’ Shakespeare: Food Justice, Enclosure, and the Poaching Poet Kevin A. Quarmby1 William Shakespeare arguably represents the height of English intellectual creativity. His drama and poetry transcend his mortality, speaking to generation upon generation with an authoritative appeal that seems morally superior because of its durability over the centuries. In his play As You Like It, Shakespeare even appears to glorify the social bandit and proto food activist. Characters that survive in the Forest of Arden by poaching their usurping duke’s deer are likened to the mythical figure, Robin Hood. The allusion achieves greater significance when considered alongside near- contemporary pseudo-biographies that record Shakespeare’s early life as a poacher and youthful renegade. At face value, Shakespeare’s Robin Hood reference might suggest his subtle advocacy of food sovereignty and social justice. This romanticized image is supported by later historiographies that interpret medieval and early modern enclosure from a specifically partisan viewpoint. Early nineteenth century historians who referenced More’s Utopia, and whose influence is evident in enclosure analyses ranging from Marx to Polanyi and Bookchin, unwittingly assist in perpetuating the iconography of the social bandit Shakespeare, united with his rebellious rural contemporaries. Surprisingly, however, Shakespeare’s true personality – that of a shrewd and ruthless businessman, at ease with hoarding in time of famine as purchasing common-land rights and privileges at the expense of his impoverished neighbors – is less familiar. The opportunistic, land-grabbing, pro-enclosure Bard, while not erased from critical view, is certainly shielded by the bardolatrous hero- worship of later ages.
    [Show full text]
  • The Development of Anti-Catholicism in Early Modern English Drama
    From tendency to feature: The development of anti-Catholicism in early modern English drama INAUGURAL-DISSERTATION zur Erlangung des Grades einer Doktorin der Philosophie (Dr. phil.) dem Fachbereich Fremdsprachliche Philologien der Philipps-Universität Marburg vorgelegt von Carolina Bauer aus Offenbach/ Main Magistra Artium Gutachter/in Prof. Dr. Sonja Fielitz Prof. Dr. Martin Kuester Einreichungstermin: 08.04.2015 Prüfungstermin: 02.09.2015 (Marburg, 2015) Hochschulkennziffer: 1180 Vom Fachbereich Fremdsprachliche Philologien der Philipps-Universität Marburg als Dissertation angenommen am:………………………………… Gutachter: Prof. Dr. Sonja Fielitz Prof. Dr. Martin Kuester Meiner Familie Zusammenfassung Die vorliegende Dissertation behandelt die Darstellung und Entwicklung antikatholischer Ansichten und Meinungen im reformatorischen England der frühen Neuzeit. Anhand der Verknüpfung faktischer Rechtstexte, historischer Gegebenheiten und fiktionaler Dramentexte wird gezeigt, dass innerhalb eines Jahrhunderts der Glaube in England vollständig vom Katholizismus abrückte und sich dem Protestantismus zuwandte. Da dies unter dem Druck der Regierungen geschah, die mit erheblichen Geld- und Freiheitsstrafen drohten, sollten ihre Forderungen, Vorgaben und Verbote nicht eingehalten werden, waren Konflikte unumgänglich. Wie diese Konvertierung ablief, welche Spuren sie in der Gesellschaft und dem Drama bzw. dem Theater der Zeit hinterließ, ist Gegenstand dieser Arbeit. Der Fokus liegt hierbei auf dem wechselseitigen Einfluss von Politik, Gesellschaft und Drama, dessen Analyse und Darstellung zum Ziel hat aufzuzeigen, dass vor allem in dieser Epoche (die jedoch sinnbildlich für jede andere sich im Umbruch befindende Ära stehen kann) die Beziehung zwischen Bevölkerung/Theaterzuschauer, Drama/Theater und dem machthabenden Herrscher bzw. dessen/deren Regierung keineswegs einseitig gesteuert war, sondern durch einen gegenseitigen, unterschwelligen Einfluss bestimmt wurde. Im einleitenden Teil der Arbeit wird der historische Hintergrund beleuchtet.
    [Show full text]
  • ANTHONY MUNDAY and HIS BOOKS a NTHONY MUNDAY Has Sometimes Been Under-Rated, / \ but I Have No Wish to Put in a Claim for Him As
    ANTHONY MUNDAY AND HIS BOOKS BY M. ST. CLARE BYRNE.1 Downloaded from A NTHONY MUNDAY has sometimes been under-rated, /\ but I have no wish to put in a claim for him as a long- J- Xneglected genius. If justification for this paper is needed I would rather base it on his inconvenient Jack-in-the- http://library.oxfordjournals.org/ box habit of appearing suddenly in the midst of some respectable academic controversy, as if maliciously determined to introduce as many complications and uncertainties as possible. He has thus succeeded in compelling every now and again the more or less grudging consideration of the scholar, so that the results of an independent study of his career may have some interest. He was associated at one time or another with many of the finest dramatists of the age, he worked in collaboration with Dekker, Webster, and at East Carolina University on July 13, 2015 Middleton, and he seems to have been the chief writer of a play to which Shakespeare himself may have contributed. Independently, too, he has this claim to urge—that he was an Elizabethan of remarkable longevity—being eighty when he died—and that he moved all his life, as one might say, in the best circles—best, that is, in so far as the production of literature was concerned. He comes before us as an actor, prentice, poet, spy, journalist, recusant-hunter, pamphleteer, playwright, pageant-poet, antiquary, translator, citizen, and draper. The bare facts of his life provide us with an ' Elizabethan document' which more than repays study, and there is, finally, as I hope to show, intrinsic literary merit in some of his work.
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details From Cyrus to Abbas: Staging Persia in Early Modern England Hafiz Abid Masood D Phil Early Modern Literature and Culture University of Sussex March 2011 Declaration I hereby declare that this thesis has not been and will not be, submitted in whole or part to another University in whole or part for the award of any other degree. List of Abbreviations CSP Venice Calendar of State Papers…Relating to English Affairs…in the Archives and Collections of Venice, ed. R. Brown, London 1864 L & P Letters and Papers, Foreign and Domestic, of the Reign Henry VIII, 21 Vols. London, 1864-1910 CSP Foreign Elizabeth Calendar of State Papers Foreign Series of the Reign of Elizabeth ed. Arthur John Butler et.al. London 1880-1936 The abbreviations are followed by volume number and page number respectively. Acknowledgements It is my pleasant duty to thank my supervisor Dr Matthew Dimmock, whose perceptive remarks have significantly improved the quality of this thesis.
    [Show full text]
  • Christopher Marlowe and a Mashup of Stylometry and Theater History
    Stylometry ISSN 2283-8759 pp. 138-162 (2020) Christopher Marlowe and a Mashup of Stylometry and Theater History Roslyn L. Knutson In the nineteenth century, editors of the works of Christopher Marlowe devoted a fair amount of attention to canon formation. Never in doubt were the plays printed with authorial attribution: Dido Queen of Carthage (Q1594), Edward II (Q1594), The Massacre at Paris (Q1594?), Doctor Faustus (Q1604), and The Jew of Malta (Q1633)1. The two-part Tamburlaine the Great was confirmed as canonical by way of forgery: John Payne Collier triumphantly announced in 1831 that he had discovered an entry of payment of 5 shillings for “a prolog to Marloes tambelan” in the diary of Philip Henslowe (Collier 1831, 3:113), but Collier himself had fabricated 1 Lust’s Dominion, one issue of which was published in 1657 with a title-page attribution to “Christopher Marloe”, was considered canonical as late as 1821 (Bakeless 1942, 2:275); in 1850, Rev. Alexander Dyce confirmed its status as apocryphal by repeating John Payne Collier’s 1825 assertion that the play was “unquestionably not” Marlowe’s (Dyce 1850, 1:lviii; Collier 1825, 2:311). For the removal of “The Maiden’s Holiday” from Marlowe’s canon, see Steggle 2018. Memoria di Shakespeare. A Journal of Shakespearean Studies 7/2020 Christopher Marlowe and a Mashup of Stylometry and Theater History 139 the entry2. Toward the end of the century, as the history of English drama became a field of study, various scholars looked for Marlowe’s hand beyond the canon. Some found evidence in plays whose authorial integrity had been enshrined in 1623 by their publication in Mr.
    [Show full text]
  • Collaboration and Authorial Community in the Early Modern Theater Lacey Ann Conley Loyola University Chicago
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2012 The rC ew / of Common Playwrights: Collaboration and Authorial Community in the Early Modern Theater Lacey Ann Conley Loyola University Chicago Recommended Citation Conley, Lacey Ann, "The rC ew / of Common Playwrights: Collaboration and Authorial Community in the Early Modern Theater" (2012). Dissertations. Paper 299. http://ecommons.luc.edu/luc_diss/299 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2012 Lacey Ann Conley LOYOLA UNIVERSITY CHICAGO “THE CREW / OF COMMON PLAYWRIGHTS” COLLABORATION AND AUTHORIAL COMMUNITY IN THE EARLY MODERN THEATER A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN ENGLISH BY LACEY ANN CONLEY CHICAGO, ILLINOIS MAY 2012 Copyright by Lacey Ann Conley, 2012 All rights reserved ACKNOWLEDGMENTS In the process of completing this dissertation, I have come to understand the many ways collaboration can occur in the creation of a written work, both in the early modern theater and, more importantly, in my own community. It is to those who made this seem a less solitary endeavor that I would like to express my thanks. I am grateful to the manuscript staff at the British Library for allowing me to have the most exciting scholarly experience of my life thus far, and to the English department at Loyola for creating a space wherein it is pleasant to be a graduate student.
    [Show full text]
  • Recordsof Ayjf
    volume 15, number 1(1990) A Newsletter published by University of Toronto Press in association with Erindale College, University of Toronto . JoAnna Dutka, editor Records ofEaYjf~ English Drama Plans to publish in 1989 and 1990 Mary Blackstone's bibliography of printed records of drama and minstrelsy, a continuation of the biennial bibliographies con- tributed by Ian Lancashire from 1978 to 1984, were hampered by mechanical prob- lems with an aging typesetting system . REED has now acquired a MAC Ilci; using the Quark Xpress programme we are happy to print Dr. Blackstone's bibliography in two issues as volume 15, numbers 1 and 2 (1990) . Volume 16, number 1 (1991) of the Newsletter will be printed in the spring. Thank you to our subscribers for their patience during this transition . MARY BLACKSTONE A Survey and annotated bibliography of records research and performance history relating to early British drama and minstrelsy for 1984 - 8. This list, as Ian Lancashire stated in his bibliography of 1984, 'covers documentary or material records of performers and performance that appear in books, periodicals and record series publishing on pre-eighteenth-century British theatre, music, his- tory, literature, and archaeology up to [19891 . Only publications on the Shakespeare claimants are omitted .' A few items which do not cite relevant records are included because of their potential value to records researchers. The list pro- vides a survey of research in early performance history over the past five years, a guide to new records which have become available in print as well as to the most re- cent analysis of previously published records, and a quick reference to individual items.
    [Show full text]
  • Downloaded from Manchesterhive.Com at 09/23/2021 06:23:26PM Via Free Access
    1 ‘From low- obscure Beginnings raysde to Fame’: critical and historical contexts of the Lord Mayor’s Show The London Lord Mayors’ Shows were high-profi le and very lavish entertainments that were at the centre of the cultural life of the City of London in the early modern period. Staged annually in the course of one day in late October to celebrate the inauguration of the new Lord Mayor, the Show – or Triumph, as it was often called – was usually composed of an eclectic mixture of extravagantly staged emblematic tableaux, music, dance and speeches, together with disparate crowd- pleasing effects such as fi reworks and giants on stilts.1 The Lord Mayor proceeded by water to Westminster to take his oath of offi ce before representatives of the sovereign, and then processed back through the City in all his fi nery accompanied by hundreds of others, including civic dignitaries, members of the livery companies and ‘poor men’ dressed in blue coats. The impact of the Shows has been testifi ed to in various contemporary sources, perhaps most valuably in the eyewitness accounts that survive in surprisingly large numbers. The Shows themselves, as events, also survive – in a more complex way than one might assume – in the printed texts often produced as part of the event. These texts were produced by a body of professional writers, including Thomas Middleton, Thomas Dekker, Anthony Munday, Thomas Heywood, John Taylor and John Webster, who worked in collaboration with artifi cers and others to design and stage the entertainment. The Shows have a presence elsewhere in early modern culture too, fea- turing, often satirically, in a wide range of other dramatic and prose works.
    [Show full text]
  • Shakespeare and Robin Hood: Silence and Noyes”
    Alarcão, Miguel. “Shakespeare and Robin Hood: Silence and Noyes”. Anglo Saxonica, No. 17, issue 1, art. 1, 2020, pp. 1–8. DOI: https://doi.org/10.5334/as.14 RESEARCH Shakespeare and Robin Hood: Silence and Noyes Miguel Alarcão Faculdade de Ciências Sociais e Humanas — NOVA FCSH/CETAPS, PT [email protected] “To re-enter the greenwood after twenty years is a somewhat daunting task. Obviously one should not march determinedly over the same old track, yet must avoid getting lost in new mazes” (Gray in Potter, ed., 21). With Douglas Gray’s sage words and advice on my mind, I will start by reopening an issue broached twenty three years ago in my PhD dissertation (1996): Shakespeare’s scanty references to Robin Hood and his legendary outlaw circle. I will then change scenes, from the Elizabethan to the late Edwardian-early Georgian age, and briefly present Alfred Noyes’s Sherwood, or Robin Hood and the Three Kings, a play first published in the US in 1911 and in Britain in 1926. Keywords: Alfred Noyes; Sherwood; William Shakespeare’s As You Like It; Anthony Munday’s Huntington Plays To re-enter the greenwood after twenty years is a somewhat daunting task. Obviously one should not march determinedly over the same old track, yet must avoid getting lost in new mazes. (Gray in Potter, ed., 21) To Professor Maria Zulmira Castanheira (NOVA FCSH) With Douglas Gray’s sage words and advice on my mind, I shall start by reopening an issue broached twenty- three years ago (1996) in my PhD dissertation (Alarcão, Príncipe): Shakespeare’s scanty references to Robin Hood and his outlaw circle.
    [Show full text]
  • Michael Drayton 1 Michael Drayton
    Michael Drayton 1 Michael Drayton Michael Drayton (1563 – 23 December 1631) was an English poet who came to prominence in the Elizabethan era. Early life Drayton was born at Hartshill, near Nuneaton, Warwickshire, England. Almost nothing is known about his early life, beyond the fact that in 1580 he was in the service of Thomas Goodere of Collingham, Nottinghamshire. Nineteenth- and twentieth-century scholars, on the basis of scattered allusions in his poems and dedications, suggested that Drayton might have studied at the University of Oxford, and been intimate with the Polesworth branch of the Goodere family. More recent work has cast doubt on those speculations.[1] Literary career Drayton in 1599 1591–1602 In 1591 he produced his first book, The Harmony of the Church, a volume of spiritual poems, dedicated to Lady Devereux. It is notable for a version of the Song of Solomon, executed with considerable richness of expression. However, with the exception of forty copies, seized by the Archbishop of Canterbury, the whole edition was destroyed by public order. Nevertheless, Drayton published a vast amount within the next few years. In 1593 appeared Idea: The Shepherd's Garland, a collection of nine pastorals, in which he celebrated his own love-sorrows under the poetic name of Rowland. The basic idea was expanded in a cycle of sixty-four sonnets, published in 1594, under the title of Idea's Mirror, by which we learn that the lady lived by the river Ankor in Warwickshire. It appears that he failed to win his "Idea," and lived and died a bachelor.It has been said Drayton's sonnets possess a direct, instant, and universal appeal, by reason of their simple straightforward ring and foreshadowed the smooth style of Fairfax, Waller, and Dryden.
    [Show full text]
  • The Oxfordian
    The Oxfordian Volume 18 October 2016 ISSN 1521-3641 The OXFORDIAN Volume 18 2016 The Oxfordian is an annual journal dedicated to publishing scholar- ship and informed opinion relating to the authorship and production of important literary works in Early Modern English. It is a publica- tion of the Shakespeare Oxford Fellowship. Writers interested in being published in The Oxfordian should review our publication guidelines at the Shakespeare Oxford Fellow- ship website: http://shakespeareoxfordfellowship.org/the-oxfordian/ Our postal mailing address is: The Shakespeare Oxford Fellowship PO Box 66083 Auburndale, Massachusetts 02466 USA Queries may be directed to the editor, Chris Pannell at [email protected] Back issues of The Oxfordian may be obtained by writing to [email protected] Cover Photograph: Janice Jackson The front cover is an interior view of the balcony at the restored Globe Theatre in London (circa 2013). THE OXFORDIAN Volume 18 2016 Acknowledgments This volume of The Oxfordian owes it existence to the continuous support of the journal’s editorial board, which has reviewed submitted articles, advised the editor, and provided much supplementary support and enthusiasm. Bob Meyers Don Rubin Lynne Kositsky Tom Regnier Ron Hess Richard Waugaman Linda Theil Ramon Jiménez Jim Boyd Justin Borrow Wally Hurst + + + Proofreading: Jim Boyd, Ramon Jiménez, Rick Waugaman, Janice Jackson, Michael Kositsky. Graphics Design, Software Support: Caitlin Pannell-Evans. The editor thanks everyone listed above for their ongoing support. Additionally he thanks the contributors to this journal, and its readers, without whom it would not thrive. The OXFORDIAN Volume 18 2016 Table of Contents 1. An Evening at the Cockpit: Further Evidence of an Early Date for Henry V by Ramon Jiménez .
    [Show full text]
  • Actor, Poet, Playwright, Sharer ... Rival?
    Issues in Review 175 27 Ibid, 257. 28 Throughout his career, Kemp defined his clown as a ‘plain man’. See Wiles, Shake- speare’s Clown, 100. 29 Orgel, The Authentic Shakespeare, 22. 30 John Lyly, Euphues, the Anatomie of Wit (1578), The Complete Works of John Lyly, R.W. Bond (ed.), 3 vols (Oxford, 1902), 1.180. 31 Robert Weimann, Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Theatre (Cambridge, 2000), 23. 32 John Lyly, Midas (1589), The Complete Works, Bond (ed.), 3.115. 33 Arthur Brooke, The Tragicall Historye of Romeus and Juliet, 1562 (ll.161–2), repro- duced in William Shakespeare, Romeo and Juliet, ed. Brian Gibbons (London, 1980), 244. 34 Frank Kermode, Shakespeare’s Language (London, 2001), 34. Actor, Poet, Playwright, Sharer … Rival? Shakespeare and Heywood, 1603–4 A person … competing with another for the same objective, or for superiority in the same field of activity. A person who … is arguably equal in quality or distinction to another. A person having the same objective as another, an associate. (OED: ‘Rival’, n.2 1–3: Range of definitions valid in 1603–4)1 An actor, poet, playwright, and sharer. A country boy, whose family acquired a grant of arms around the turn of the century giving him the right to be addressed as ‘gentleman’, he came to London in the early 1590s and gained work as an actor and a reputation as a playwright. In 1598 Francis Meres lauded him as among ‘the best for comedy’. He was among those who con- tributed additions and alterations to Munday’s Book of Sir Thomas More after Tilney censored it.
    [Show full text]