The Library of Robert Ball Part I
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Crucifixion Imagery in Paradise Lost
Connotations Vo!. 8.2 (1998/99) Crucifixion Imagery in Paradise Lost CLAY DANIEL Milton in Paradise Lost has appeared to avoid the subject of the Crucifixion because he includes only a brief, orthodox account of the "cursed death ... shameful and accurst" of Jesus (12.406, 413).1 Michael even metaphori- cally reassigns this crucifixion to Adam's-and God's-enemies: "But to the Cross he nails thy Enemies ... and the sins / Of all mankind" (12.415- 18). This, however, is much more than terse restatement of Christian dogma. It points to Milton's use of Crucifixion imagery to characterize the devils' punishment in Books 1 and 10. I will comment on this imagery in the following fourteen sections. I. Him the Almighty Power Hurl'd headlong flaming from th'Ethereal Sky With hideous ruin and combustion down To bottomless perdition, there to dwell In Adamantine Chains and penal Fire, Who durst defy th' Omnipotent to Arms. Nine times the Space that measures Day and Night To mortal men, hee with his horrid crew Lay vanquisht .... (1.44-52) Jesus was crucified at Golgotha, which according to tradition was where the Tree of Knowledge grew, where Eve was tempted and Adam was buried? Milton suggests all of these traditions by describing Satan as bound with"Adamantine Chains" (1.47). The devils' violent pitching from Heaven suggests another Crucifixion event, often represented in mystery plays, such as The Wakefield Crucifixion: Jesus cast down onto his cross and nailed, _______________ ConnotationsFor debates inspired - A Journal by this for article, Critical please Debate check by the the Connotations Connotations website Society at is licensed<http://www.connotations.de/debdaniel00802.htm>. -
Introduction to the 1645 Volume: Poems of Mr. John Milton
C01.qxd 8/18/08 14:44 Page 1 Introduction to the 1645 Volume: Poems of Mr. John Milton In 1645, Milton published most but not all of the poems he had composed by that date. The publisher Humphrey Moseley had been bringing out volumes of lyric poetry by royalist poets such as Edmund Waller, and it was likely, as he claims in the intro- duction to the volume, that he approached Milton and encouraged him to publish his verse. Moseley also arranged for the engraved portrait of Milton by William Marshall (see Figure 1), beneath which Milton, who considered the engraving unflattering, placed a witty Greek epigram ridiculing it in a language neither Marshall nor Moseley under- stood. Unlike most contemporary poets, Milton neither wrote a preface, solicited commendatory poems, nor acknowledged a patron. He organized his volume more or less chronologically, thus displaying his poetic development, but also carefully grouped together poems of similar themes and genres. With the Latin tag from Virgil’s Eclogues on the title page (“Baccare frontem / Cingite, ne vati noceat mala lingua futuro” – “Bind my forehead with foxglove, lest evil tongues harm the future Bard”), he promises future poems on even greater themes. In the Latin ode sent with a replacement copy of the volume to John Rouse, librar- ian of the Bodleian Library at Oxford, Milton describes the 1645 volume as a “twin book, rejoicing in a single cover, but with a double title page.” The first section of the volume presents his vernacular poems (mostly in English, but also including a mini-sonnet sequence in Italian), and concludes with A MASK Presented At LUDLOW- Castle. -
M a K in G a N D U N M a K in Gin Early Modern English Drama
Porter MAKING AND Chloe Porter UNMAKING IN EARLY MODERN ENGLISH DRAMA Why are early modern English dramatists preoccupied with unfinished processes of ‘making’ and ‘unmaking’? And what did ‘finished’ or ‘incomplete’ mean for spectators of plays and visual works in this period? Making and unmaking in early IN EARLY MODERN ENGLISH DRAMA IN EARLY UNMAKING AND MAKING modern English drama is about the prevalence and significance of visual things that are ‘under construction’ in early modern plays. Contributing to challenges to the well-worn narrative of ‘iconophobic’ early modern English culture, it explores the drama as a part of a lively post-Reformation visual world. Interrogating the centrality of concepts of ‘fragmentation’ and ‘wholeness’ in critical approaches to this period, it opens up new interpretations of the place of aesthetic form in early modern culture. An interdisciplinary study, this book argues that the idea of ‘finish’ had transgressive associations in the early modern imagination. It centres on the depiction of incomplete visual practices in works by playwrights including Shakespeare, John Lyly, and Robert Greene. The first book of its kind to connect dramatists’ attitudes to the visual with questions of materiality, Making and Unmaking in Early Modern English Drama draws on a rich range of illustrated examples. Plays are discussed alongside contexts and themes, including iconoclasm, painting, sculpture, clothing and jewellery, automata, and invisibility. Asking what it meant for Shakespeare and his contemporaries to ‘begin’ or ‘end’ a literary or visual work, this book is invaluable for scholars and students of early modern English literature, drama, visual culture, material culture, theatre history, history and aesthetics. -
English Renaissance
1 ENGLISH RENAISSANCE Unit Structure: 1.0 Objectives 1.1 The Historical Overview 1.2 The Elizabethan and Jacobean Ages 1.2.1 Political Peace and Stability 1.2.2 Social Development 1.2.3 Religious Tolerance 1.2.4 Sense and Feeling of Patriotism 1.2.5 Discovery, Exploration and Expansion 1.2.6 Influence of Foreign Fashions 1.2.7 Contradictions and Set of Oppositions 1.3 The Literary Tendencies of the Age 1.3.1 Foreign Influences 1.3.2 Influence of Reformation 1.3.3 Ardent Spirit of Adventure 1.3.4 Abundance of Output 1.4 Elizabethan Poetry 1.4.1 Love Poetry 1.4.2 Patriotic Poetry 1.4.3 Philosophical Poetry 1.4.4 Satirical Poetry 1.4.5 Poets of the Age 1.4.6 Songs and Lyrics in Elizabethan Poetry 1.4.7 Elizabethan Sonnets and Sonneteers 1.5 Elizabethan Prose 1.5.1 Prose in Early Renaissance 1.5.2 The Essay 1.5.3 Character Writers 1.5.4 Religious Prose 1.5.5 Prose Romances 2 1.6 Elizabethan Drama 1.6.1 The University Wits 1.6.2 Dramatic Activity of Shakespeare 1.6.3 Other Playwrights 1.7. Let‘s Sum up 1.8 Important Questions 1.0. OBJECTIVES This unit will make the students aware with: The historical and socio-political knowledge of Elizabethan and Jacobean Ages. Features of the ages. Literary tendencies, literary contributions to the different of genres like poetry, prose and drama. The important writers are introduced with their major works. With this knowledge the students will be able to locate the particular works in the tradition of literature, and again they will study the prescribed texts in the historical background. -
From Ben Jonson and Shakespeare (1921)
Greenwood - Ben Jonson and Shakespeare 61 From Ben Jonson and Shakespeare (1921) Sir George Greenwood HE sheet anchor of the traditional belief with regard to the authorship of t he plays and poems of Shakespeare is undoubtedly Ben Jonson. It is to the Jonsonian utterances that the apostles of the Stratfordian faith always makeT their appeal. That faith we are told is based on the “irrefragable rock” of Ben Jonson’s testimony. Well, it was not so very long ago that we used to be told that the truth of a universal deluge and the preservation of mankind and animals of every kind and species, in Noah’s Ark, was established on the “impregnable rock” of Holy Scripture, and yet to-day we find even high Church digni taries—with whom Mr. J. M. Robertson would certainly be in entire agreement here—disavowing any belief in this interesting mythological tradition. Is it not, then, possible that the Jonsonian testi mony may prove no more “irrefragable” or “impregnable” than that of those old chronicles, which age-long tradition has ascribed to the authorship of “Moses”? As a distinguished writer, well-known both in the political and the literary world, has written to me, the difficulties in the way of the orthodox “Shakespearian” belief seem to be insuperable. Are the Jonsonian utterances of such weight as to outweigh them all? I reply, put Jonson in one scale and all the difficulties and improbabilities — if not impossibilities — of the “Stratfordian” hypothesis in the other, and old Ben will kick the beam. Now let us briefly consider this Jonsonian testimony. -
Sir Miles Sandys, 1St Baronet
Sir Miles Sandys, 1st Baronet Genealogy for Miles Sandys, Bt., MP (1563 - c.1644) family tree on Geni, with over 175 million profiles of ancestors and living relatives. Historical records matching Sir Miles Sandys, MP, 1st Baronet of Wilberton. Myles Sandys in England Births and Christenings, 1538-1975. Myles Sandys. Sir Miles Sandys, 1st Baronet was an English landowner and politician who sat in the House of Commons at various times between 1614 and 1629. Sir Miles Sandys, 1st Baronet. Connected to: {{::readMoreArticle.title}}. From Wikipedia, the free encyclopedia. {{bottomLinkPreText}} {{bottomLinkText}}. {{discoverMoreTitle}}. {{::discoverMoreArticle.title}} {{::discoverMoreArticle.txt}}. Sir William Miles, 1st Baronet (13 May 1797 ⓠ17 June 1878), was an English politician, agriculturalist and landowner. He was educated at Eton College and Christ Church, Oxford, and was created a baronet on 19 April 1859, of Leigh Court, Somerset.[1]. Miles baronets, of Leigh Court. Arms. Azure a chevron paly of six ermine and or between three lozenges argent each charged with a fleur-de-lis sable, in chief upon an inescutcheon argent a sinister hand appaume coupled at the wrist gules. Sir Nicholas Steward, 1st Baronet FRS (11 February 1618 ⓠ15 February 1710) was an English MP and Chamberlain of the Exchequer. He was born the eldest son of Simeon Steward of Hartley Mauditt, Hampshire and studied law at Lincoln's Inn. He was fined by the Parliamentary forces for being a Royalist in 1645. After the Restoration of the Monarchy in 1660 he was created Baronet Steward of Hartley Mauditt and given the sinecure position of Chamberlain of the Exchequer until his death in 1710. -
Richard Crashaw
RICHARD CRASHAW “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY “Stack of the Artist of Kouroo” Project Richard Crashaw HDT WHAT? INDEX RICHARD CRASHAW RICHARD CRASHAW 1613 On some day in about this year Richard Crashaw was born at London, a son of that enemy of all things Catholic, the divine Dr. William Crashaw (1572-1626). NOBODY COULD GUESS WHAT WOULD HAPPEN NEXT Richard Crashaw “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX RICHARD CRASHAW RICHARD CRASHAW 1631 July: Richard Crashaw had been at Charterhouse School near Godalming in Surrey, but at this point was admitted to Pembroke College of Cambridge University. LIFE IS LIVED FORWARD BUT UNDERSTOOD BACKWARD? — NO, THAT’S GIVING TOO MUCH TO THE HISTORIAN’S STORIES. LIFE ISN’T TO BE UNDERSTOOD EITHER FORWARD OR BACKWARD. “Stack of the Artist of Kouroo” Project Richard Crashaw HDT WHAT? INDEX RICHARD CRASHAW RICHARD CRASHAW 1633 Rector George Herbert’s THE TEMPLE: SACRED POEMS AND PRIVATE EJACULATIONS. GEORGE HERBERT This collection of poems seems to have had an influence immediately upon Richard Crashaw and in less than two generations of human life, it would have gone through a dozen reprintings. HDT WHAT? INDEX RICHARD CRASHAW RICHARD CRASHAW Eventually, it would be having an impact upon Harvard student David Henry Thoreau as well. Constancie. Who is the honest man? He that doth still and strongly good pursue, To God, his neighbour, and himself most true: Whom neither force nor fawning can Unpinne, or wrench from giving all their due. Whose honestie is not So loose or easie, that ruffling winde Can blow away, or glittering look it blinde: Who rides his sure and even trot, While the world now rides by, now lags behinde. -
National Sample from the 1851 Census of Great Britain List of Sample Clusters
NATIONAL SAMPLE FROM THE 1851 CENSUS OF GREAT BRITAIN LIST OF SAMPLE CLUSTERS The listing is arranged in four columns, and is listed in cluster code order, but other orderings are available. The first column gives the county code; this code corresponds with the county code used in the standardised version of the data. An index of the county codes forms Appendix 1 The second column gives the cluster type. These cluster types correspond with the stratification parameter used in sampling and have been listed in Background Paper II. Their definitions are as follows: 11 English category I 'Communities' under 2,000 population 12 Scottish category I 'Communities' under 2,000 population 21 Category IIA and VI 'Towns' and Municipal Boroughs 26 Category IIB Parliamentary Boroughs 31 Category III 'Large non-urban communities' 41 Category IV Residual 'non-urban' areas 51 Category VII Unallocable 'urban' areas 91 Category IX Institutions The third column gives the cluster code numbers. This corresponds to the computing data set name, except that in the computing data set names the code number is preceded by the letters PAR (e.g. PAR0601). The fourth column gives the name of the cluster community. It should be noted that, with the exception of clusters coded 11,12 and 91, the cluster unit is the enumeration district and not the whole community. Clusters coded 11 and 12, however, correspond to total 'communities' (see Background Paper II). Clusters coded 91 comprise twenty successive individuals in every thousand, from a list of all inmates of institutions concatenated into a continuous sampling frame; except that 'families' are not broken, and where the twenty individuals come from more than one institution, each institution forms a separate cluster. -
Sacramental Signification: Eucharistic Poetics from Chaucer to Milton
Sacramental Signification: Eucharistic Poetics from Chaucer to Milton Shaun Ross Department of English McGill University, Montreal August 2016 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Shaun Ross 2016 i Table of Contents Abstract……………………………………………………………………………………………ii Resumé……………………………………………………………………………………………iv Acknowledgements…………………………………………………………………………….....vi Introduction………………………………………………………………………………………..1 Chapter One: Medieval Sacraments: Immanence and Transcendence in The Pearl-poet and Chaucer………...23 Chapter Two: Southwell’s Mass: Sacrament and Self…………………………………………………………..76 Chapter Three: Herbert’s Eucharist: Giving More……………………………………………………………...123 Chapter Four: Donne’s Communions………………………………………………………………………….181 Chapter Five: Communion in Two Kinds: Milton’s Bread and Crashaw’s Wine……………………………. 252 Epilogue: The Future of Presence…………………………………………………………………………325 Works Cited…………………………………………………………………………………….330 ii Abstract This dissertation argues that in early modern England the primary theoretical models by which poets understood how language means what it means were applications of eucharistic theology. The logic of this thesis is twofold, based firstly on the cultural centrality of the theology and practice of the eucharist in early modern England, and secondly on the particular engagement of poets within that social and intellectual context. My study applies this conceptual relationship, what I call “eucharistic poetics,” to English religious and -
The Role of Suspense in Dramatic Comedy
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1977 THE ROLE OF SUSPENSE IN DRAMATIC COMEDY JEAN FURNISS GOODINE Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation GOODINE, JEAN FURNISS, "THE ROLE OF SUSPENSE IN DRAMATIC COMEDY" (1977). Doctoral Dissertations. 1155. https://scholars.unh.edu/dissertation/1155 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page{s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
Public Man, Private Poet: the Poetry Of
PUBLIC MAN, PRIVATE POET: THE POETRY OF ANDREW MARVELL by PETER COLEMAN B.A., University of British Columbia, 1959« A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of ENGLISH We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that per• mission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representativeso It is understood that copying, or publi• cation of this thesis for financial gain shall not be allowed without my written permission. r Department of The University of British Columbia,. Vancouver 8, Canada. Date i\lero IL ABSTRACT This thesis is concerned with the life and poetry of Andrew Marvell as these reflect a literary and social period, 1600-1660, with quite distinctive characteristics. It is argued that Marvell led a dualistic and compartmentalised life, and that he was in this a typical figure of the age. The dualism is traced in his public career as a Civil Servant and parliamentarian, and in his private career as a poet. It is further maintained that the best poetry of Andrew Marvell derived from his years as a recluse, and the influence of the Metaphysical school of poets. His entry into public life in 1658 coincided with, and probably brought about, the termination of his private activity as a lyric poet. -
WRAP Theses Crowther 2017.Pdf
A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 97559 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications James Shirley and the Restoration Stage By Stefania Crowther A thesis submitted in partial fulfilment of the degree of Doctor of Philosophy in Renaissance Studies University of Warwick, Centre for Renaissance Studies June 2017 2 3 Acknowledgements This thesis was supported by the James Shirley Complete Works Project, and funded by the AHRC, and Centre for Renaissance Studies, University of Warwick. I would like to thank these organisations, and in particular Jayne Browne, Ingrid de Smett, David Lines, Jayne Brown, Heather Pilbin, Paul Botley, and especially Elizabeth Clarke and Paul Prescott for their very helpful guidance during the upgrade process. Special thanks are due to Hannah Davis, whose URSS project on Restoration Shirley, supervised by Teresa Grant, provided the starting point for this thesis. I am also enormously grateful to the colleagues, friends and tutors who have inspired and supported my work: Daniel Ashman, Thomasin Bailey, Stephen Clucas, Michael Dobson, Peter Foreshaw, Douglas Hawes, Simon Jackson, Victoria Jones, Griff Jameson, Peter Kirwan, Chris Main, Gerry McAlpine, Zois Pigadas, Catherine Smith, Lee White, Susan Wiseman.