DOCSLIB.ORG

Universita' Degli Studi Di Verona

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universita' Degli Studi Di Verona UNIVERSITA’ DEGLI STUDI DI VERONA DIPARTIMENTO DI Lingue e Letterature Straniere SCUOLA DI DOTTORATO DI Scienze Umanistiche DOTTORATO DI RICERCA IN Lingue, Letterature e Culture Straniere Moderne CICLO XXIX/ANNO 2014 TITOLO DELLA TESI DI DOTTORATO A Triple-Faced Janus: Tom Jones as Bastard, Pretender, and Cowan S.S.D. L-LIN/10 Coordinatore: Prof. ssa Rosanna Gorris Tutor: Prof. ssa Yvonne Bezrucka Dottorando: Dott. Luigi D’Agnone SOMMARIO Attraverso la mia ricerca ho l’obiettivo di fornire un’interpretazione di Tom Jones fondata su tre livelli. Dal punto di vista narrativo, l’intreccio è in larga parte basato sul tema della legittimità, così come sulla prudenza necessaria per acquisire l’eredità e uno status sociale tramite il matrimonio. Questi aspetti funzionano come corrispettivo di un secondo livello riferito all’attualità storica, ovvero, la rivolta del 1745: la figura di Tom è costruita sul modello di Charles Edward Stuart, la sua futura moglie Sophia Western viene scambiata per Jenny Cameron, amante del pretendente Stuart, e il viaggio stesso del protagonista riecheggia le avventure eroiche di quest’ultimo. Si innesta infine un livello simbolico, che conferisce un taglio specifico al mio lavoro: le voci del tempo vogliono che Charles Edward fosse una sorta di “hidden Grand-Master,” capo universale della Massoneria (organizzazione spesso legata alla cultura giacobita in senso più ampio). Il viaggio di Tom dopo la cacciata da Paradise Hall, il suo cammino sotto una pioggia ricorrente, la sua incarcerazione a Londra per poi rinascere e sposare Sophia Western (sapienza occidentale), riflettono una tradizione tipicamente massonica, ossia la punizione del cowan. Così era definito un massone non iniziato regolarmente, un intruso che origliava i segreti della loggia, il quale veniva posto sotto una grondaia in un giorno di pioggia fino ad avere le scarpe piene di acqua. Alla luce di questo, metto in risalto il legame diretto fra l’idea di bastardo come individuo impropriamente introdotto in casa, l’idea di pretendente come colui che finge di vantare un diritto, e l’idea di cowan come intruso e spia. Dunque, si evidenzia come il percorso di Tom divenga un riscatto e un conseguente ritorno all’ordine, rispetto a una condizione di triplice illegittimità. ABSTRACT The main aim of this research is to carry out a three-level analysis of The History of Tom Jones; a Foundling (1749) by Henry Fielding, following and explaining its peculiar layering of various narrative lines. Firstly, the plot is largely centred on both the theme of Tom’s legitimacy as heir to Allworthy’s estate and his much needed prudence to enter into possession of it, by means of his final marriage. Secondly, these issues widely reflect the historical background in which the novel took shape, that is, the rebellion of 1745. Indeed, Tom’s image is based on Charles Edward Stuart, the so-called Young Pretender; his wife-to-be Sophia is mistaken for Jenny Cameron, the Pretender’s Scottish lover; Tom’s travels have much in common with the wanderings of the notorious claimant to the British throne. Thirdly, a symbolic level encompasses the preceding ones: contemporary rumours had it that Charles Edward Stuart was the universal leader of Freemasonry, probably the “hidden Grand-Master” (Marsha Keith Schuchard). From this perspective, Tom’s wanderings after being turned out from Paradise Hall, his adventures in the “country section” under the falling rain, his imprisonment in London and gradual inner rebirth leading to his marriage with Sophia Western, describe a sort of ritual initiation following a typically masonic punishment for cowans, this latter being the name for a mason who has not been regularly bred, an intruder overhearing the secrets of a lodge, and therefore “placed under the eaves of the house in rainy weather, till the water runs in at his shoulders and out at his heels” (Albert Mackey). Therefore, my aim is to underscore the aspects which link the “bastard,” the individual improperly introduced into a household, to the figure of the pretender, the improper claimant to the throne, and to the cowan, the irregularly trained mason. Only following this line of thought, Tom’s progress can eventually be interpreted as a successful attempt to restore order amid various forms of illegitimacy. Moreover, such state of things portrays a rather different mid- eighteenth-century Britain, where the Stuarts regain their power and the Hanoverian monarchy is called into question. “A TRIPLE-FACED JANUS: TOM JONES AS BASTARD, PRETENDER, AND COWAN” TABLE OF CONTENTS INTRODUCTION p. 5 CHAPTER ONE Henry Fielding Over Time: An Assessment of His Critical Reception 1.1 Questions of Morality: Eighteenth-Century Critical Reactions p. 20 1.2 Fielding’s Art in the Nineteenth Century p. 50 1.3 Fielding and the History of the Novel: Criticism in the Twentieth and Twenty- First Centuries p. 59 CHAPTER TWO Henry Fielding and William Hogarth: Reflections on Their Arts 2.1 The Bases of a Mutual Exchange p. 77 2.2 Humean Background for Fielding’s Views on Liberty: Language, Politics, Religion p. 80 2.3 A “New Province” of Arts p. 99 CHAPTER THREE Born to Be Hanged: The Faces of Illegitimacy in Tom Jones 3.1 Behind the Scenes of Tom’s Identity p. 125 3.2 On the Edge of the Threshold: Tom’s Intruder Status p. 136 3.3 Two Hogarthian Models for Tom and Sophia p. 147 3.4 Keeping Bad Company: Black George, Thwackum, and Square p. 165 CHAPTER FOUR Towards the East in Pursuit of Sophia 4.1 Out in the Pouring Rain: Punishment on the Road p. 189 3 4.2 Back to Paradise: “The Pretender Shall Enjoy His Own Again” p. 200 BIBLIOGRAPHY p. 225 4 INTRODUCTION In recent years, Susan Mitchell Sommers has published a groundbreaking study containing an updated biography of Thomas Dunckerley, one of the major figures in eighteenth-century English freemasonry. As she points out, he shared with his contemporaries an outspoken need to draw materials from his own life, in order to put them together into a tailor-made narrative. As a key to reading this phenomenon, Sommers turns to cynical social climbing, a habit apparently spread like wildfire among middle-class upstarts at that time: Dunckerley felt very keenly the class boundaries and his lack of social contacts that persistently came between him and his professional ambitions. A concomitant worry was how to provide for his family. Given these twin realities, we need to understand that the primary object of his fictional biography was to secure a government position that would boost him socially. In 1763 this must have truly seemed like an insurmountable obstacle, not just for Dunckerley, but for all other social aspirants across the middling ranks. Consider how frequently actual and fictional reinventions appear in eighteenth-century literature. Two famously popular novels, The History of Tom Jones by Henry Fielding and Daniel Defoe‟s Moll Flanders, come to mind. There are particularly interesting similarities between the „hidden‟ history Dunckerley invents for himself, and the plot of Fielding‟s Tom Jones, published in 1749. Not only is Tom revealed as being of higher social standing than he previously suspected, but the virtuous characters he encounters in the novel tend to be strongly Anglican and pro-Hanoverian, like Dunckerley himself. The picaresque nature of Tom‟s journey on the way to his true position also resembles the story Dunckerley relates of his Masonic journey through the Mediterranean and France. Intended or accidental, personal reinvention was as genuine a form of social rebellion as one person could manage unaided, and the theme had broad appeal.1 Clearly, to a certain extent, this literary „self-marketing‟ engendered confusion between biographical accounts and fictional narratives. In the case mentioned in 1 Susan Mitchell Sommers, Thomas Dunckerley and English Freemasonry, London: Pickering & Chatto, 2012, pp. 53-54. 5 the passage, such worlds are totally blurred as Dunckerley‟s journey strikes our attention by showing unexpected similarity to successful works of the previous decades. And it is even more surprising, when we come to realise that it can be aligned with Henry Fielding‟s Tom Jones in terms of a masonic walk of life. At least tentatively, we can assume that Fielding‟s novel exerted great influence over Dunckerley‟s account, but then a question naturally arises: is Tom Jones to be read as a masonic novel? This is actually the main point in the analysis of Fielding‟s masterpiece that will be carried out in this thesis. But, prior to outlining its various chapters, let us have a quick overview of the outstanding approaches that have filled the critical landscape over the past few years. Though from rather different perspectives, most readings of Tom Jones have largely dwelt on social issues and formal problems arising from its contribution to the history of the novel. As John Richetti puts it: Tom Jones‟ elaborate structuring is a defensive bulwark against the vulgar simplicities of popular narrative and also a replacement for the alternative complexities of the social and historical world which Fielding, as the good classicist that he was, promises to represent in general and meaningful terms that will preserve that complexity but bring order and stability to it. Fielding finds himself in the awkward position of offering an ambitious revision of popular narrative tradition without discarding the central pleasures of such fiction – to re-present contemporary actuality for the reader‟s pleasure and curiosity and to submit to the tyranny of the literary marketplace.2 This remark typically has Fielding straddle the line between two literary forms, namely, the romance and the novel. Mid-century fiction sees a steadfast tendency to accommodate both the needs of small elites who promote long-standing classics, and the pressing demands of a fast-growing but poorly educated readership.
Load more

Recommended publications
  • Amazons in 17Th Century English Drama
    Athens Journal of Humanities & Arts - Volume 1, Issue 2 – Pages 147-156 Women in Arms: Amazons in 17th Century English Drama By Margarete Rubik This paper investigates the portrayal of Amazons in a variety of seventeenth century English plays. Sword women combining male connoted aggression and female beauty functioned as a female dream of empowerment as well as a misogynist nightmare. Hence the image of such 'masculine' women was mutable and could assume a number of different characteristics: Amazons could be portrayed as chivalrous and cruel, glamorous or denaturalized, chaste or lecherous. Humourous pictures of martial women exist side by side with hostile ones attacking the unruliness and insubordination of women and their lust for men. The fate of Amazons in seventeenth century drama is generally either death on the battlefield or marriage and submission to patriarchal rules. There are a few rare examples of dutiful wives still combining marital and martial virtues, but more often these female warriors only lay down their arms at the end of a play, out of love. Despite their prowess, the women always lose the single combat with a worthy male antagonist – usually the very man they love. In the central, sensual moment of revelation, the woman's helmet falls off and her hair falls loose. In plays featuring women in male disguise, the relationship between the lovers is often charged with homoerotic overtones: the hero is passionately attracted to the supposed boy-soldier. Androgynous figures like the Amazons also raise the question whether femininity and masculinity are inborn qualities or the products of education.
    [Show full text]
  • Lublin Studies in Modern Languages and Literature
    Lublin Studies in Modern Languages and Literature VOL. 43 No 2 (2019) ii e-ISSN: 2450-4580 Publisher: Maria Curie-Skłodowska University Lublin, Poland Maria Curie-Skłodowska University Press MCSU Library building, 3rd floor ul. Idziego Radziszewskiego 11, 20-031 Lublin, Poland phone: (081) 537 53 04 e-mail: [email protected] www.wydawnictwo.umcs.lublin.pl Editorial Board Editor-in-Chief Jolanta Knieja, Maria Curie-Skłodowska University, Lublin, Poland Deputy Editors-in-Chief Jarosław Krajka, Maria Curie-Skłodowska University, Lublin, Poland Anna Maziarczyk, Maria Curie-Skłodowska University, Lublin, Poland Statistical Editor Tomasz Krajka, Lublin University of Technology, Poland International Advisory Board Anikó Ádám, Pázmány Péter Catholic University, Hungary Monika Adamczyk-Garbowska, Maria Curie-Sklodowska University, Poland Ruba Fahmi Bataineh, Yarmouk University, Jordan Alejandro Curado, University of Extramadura, Spain Saadiyah Darus, National University of Malaysia, Malaysia Janusz Golec, Maria Curie-Sklodowska University, Poland Margot Heinemann, Leipzig University, Germany Christophe Ippolito, Georgia Institute of Technology, United States of America Vita Kalnberzina, University of Riga, Latvia Henryk Kardela, Maria Curie-Sklodowska University, Poland Ferit Kilickaya, Mehmet Akif Ersoy University, Turkey Laure Lévêque, University of Toulon, France Heinz-Helmut Lüger, University of Koblenz-Landau, Germany Peter Schnyder, University of Upper Alsace, France Alain Vuillemin, Artois University, France v Indexing Peer Review Process 1. Each article is reviewed by two independent reviewers not affiliated to the place of work of the author of the article or the publisher. 2. For publications in foreign languages, at least one reviewer’s affiliation should be in a different country than the country of the author of the article.
    [Show full text]
  • Jane Milling
    ORE Open Research Exeter TITLE ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’ AUTHORS Milling, Jane JOURNAL Theatre Survey DEPOSITED IN ORE 18 March 2013 This version available at http://hdl.handle.net/10036/4491 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S0040557411000068 Jane Milling “FOR WITHOUT VANITY,I’M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE Prologue, To the Duke of Lerma, Spoken by Mrs. Ellen[Nell], and Mrs. Nepp. NEPP: How, Mrs. Ellen, not dress’d yet, and all the Play ready to begin? EL[LEN]: Not so near ready to begin as you think for. NEPP: Why, what’s the matter? ELLEN: The Poet, and the Company are wrangling within. NEPP: About what? ELLEN: A prologue. NEPP: Why, Is’t an ill one? NELL[ELLEN]: Two to one, but it had been so if he had writ any; but the Conscious Poet with much modesty, and very Civilly and Sillily—has writ none.... NEPP: What shall we do then? ’Slife let’s be bold, And speak a Prologue— NELL[ELLEN]: —No, no let us Scold.1 When Samuel Pepys heard Nell Gwyn2 and Elizabeth Knipp3 deliver the prologue to Robert Howard’s The Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.”4 By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife.
    [Show full text]
  • The Poor in England Steven King Is Reader in History at Contribution to the Historiography of Poverty, Combining As It Oxford Brookes University
    king&t jkt 6/2/03 2:57 PM Page 1 Alannah Tomkins is Lecturer in History at ‘Each chapter is fluently written and deeply immersed in the University of Keele. primary sources. The work as a whole makes an original The poor in England Steven King is Reader in History at contribution to the historiography of poverty, combining as it Oxford Brookes University. does a high degree of scholarship with intellectual innovation.’ The poor Professor Anne Borsay, University of Wales, Swansea This fascinating collection of studies investigates English poverty in England between 1700 and 1850 and the ways in which the poor made ends meet. The phrase ‘economy of makeshifts’ has often been used to summarise the patchy, disparate and sometimes failing 1700–1850 strategies of the poor for material survival. Incomes or benefits derived through the ‘economy’ ranged from wages supported by under-employment via petty crime through to charity; however, An economy of makeshifts until now, discussions of this array of makeshifts usually fall short of answering vital questions about how and when the poor secured access to them. This book represents the single most significant attempt in print to supply the English ‘economy of makeshifts’ with a solid, empirical basis and to advance the concept of makeshifts from a vague but convenient label to a more precise yet inclusive definition. 1700–1850 Individual chapters written by some of the leading, emerging historians of welfare examine how advantages gained from access to common land, mobilisation of kinship support, crime, and other marginal resources could prop up struggling households.
    [Show full text]
  • Furbish'd Remnants
    UNIVERSITY OF CALIFORNIA Los Angeles “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Angelina Marie Del Balzo 2019 Ó Copyright by Angelina Marie Del Balzo 2019 ABSTRACT OF THE DISSERTATION “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 by Angelina Marie Del Balzo Doctor of Philosophy in English University of California, Los Angeles, 2019 Professor Felicity A. Nussbaum, Chair Furbish’d Remnants argues that eighteenth-century theatrical adaptations set in the Orient destabilize categories of difference, introducing Oriental characters as subjects of sympathy while at the same time defamiliarizing the people and space of London. Applying contemporary theories of emotion, I contend that in eighteenth-century theater, the actor and the character become distinct subjects for the affective transfer of sympathy, increasing the emotional potential of performance beyond the narrative onstage. Adaptation as a form heightens this alienation effect, by drawing attention to narrative’s properties as an artistic construction. A paradox at the heart of eighteenth-century theater is that while the term “adaptation” did not have a specific literary or theatrical definition until near the end of the period, in practice adaptations and translations proliferated on the English stage. Anticipating Linda Hutcheon’s postmodernist theory of adaptation, eighteenth-century playwrights and performers conceptualized adaptation as both process and product. Adaptation created a narrative mode that emphasized the process and labor of performance for audiences in order to create a higher level of engagement with ii audiences.
    [Show full text]
  • 02154 CH01 FINAL.Pdf
    © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTIONFPONOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION © Jones & Bartlett Learning, LLC. NOT FOR SALE OR DISTRIBUTION. 02154_CH01_FINAL.indd 2 1/27/12 5:40:43 PM © Jones & Bartlett Learning, LLC © Jones & Bartlett Learning, LLC NOT FOR SALE OR DISTRIBUTION NOT FOR SALE OR DISTRIBUTION Introduction to Criminal CHAPTER Investigation© Jones & Bartlett Learning, LLC © Jones &
    [Show full text]
  • Shaping the Eighteenth-Century Criminal Trial: a View from the Ryder Sources John H
    The University of Chicago Law Review VOLUME 50 NUMBER 1 WINTER 1983 © 1983 by The University of Chicago Shaping the Eighteenth-Century Criminal Trial: A View from the Ryder Sources John H. Langbeint t Max Pam Professor of American and Foreign Law, University of Chicago. I wish to express my gratitude for the labors of the late K.L. Perrin, the transcriber of the Ryder shorthand sources, who died as I was completing this article. His transcripts made the sources accessible for scholarship. He arranged for the deposit of his personal carbon copies of the transcripts at the University of Chicago Law Library, and over the years from 1975 through 1981.he answered many questions. I deeply regret that I was una- ble to have the benefit of his advice on the text of this article. I also wish to acknowledge the kindness of the Earl of Harrowby in authorizing Mr. Perrin's deposit of the transcripts at Chicago. John Beattie (Toronto) and John Styles (Bath) supplied references that greatly facili- tated my work in the public records. Douglas Hay (Warwick), who first cited the Ryder assize diary in published scholarship, shared his notes with me. Malvin Zirker (Indiana) helped with the sources and literature for Henry Fielding. John Baker (Cambridge), James Cockburn (Maryland), Charles Gray (Chicago), Thomas Green (Michigan), R.H. Hehnholz (Chicago), Joanna Innes (Oxford), Mark Kishlansky (Chicago), A.W.B. Simpson (Kent), and Geoffrey Stone (Chicago) commented on a prepublication draft. Judith Rose (J.D. Chicago 1982) helped locate the illustrations, and she constructed the calendar infra note 29.
    [Show full text]
  • Mthaniel Lee «S Ri7al Queens
    MTHANIEL LEE «S RI7AL QUEENS: A STUDY OF DRAMATIC TASTE AND TECHNIQUE IN THE RESTORATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State U niversity By NANCY ELOISE LE^S, A.B., M.A. The Ohio State U niversity 1957 Approved by: Department of English TABLE OF CONTENTS Chapter Page I INTRODUCTION.......... ......................................................................... 1 II ALEXANDI-R AS H E R O ................................................................... 13 III Tr^ RIVAL QUEENS AS T R A G E D Y .......................................... kS n Ç E RIVAL QUEENS ON THE BOARDS............................................ 86 V n&&^IIC]3FLm#K% OF THE RIVAL QUEENS . 128 BIBLIOGRAPHY......................................................................... 158 XI CHAPTER I INTRODUCTION In the annals of English drama, the period of the Restoration is labeled chiefly as the age of the comedy of manners, the witty, sophis­ ticated, amoral society comedy written primarily for the pleasure of the audience of nobility and gentry that attended the theatres duiring the reign of Charles II. Critical studies devoted to this genre have been numerous; the plays of Etherege, t^cherley, and Congreve, as w ell as those of their lesser contemporaries in this field, have been examined in d ivid u ally and c o lle c tiv e ly by scholars of several genera­ tions. Aesthetically, such attention seems justified. Restoration plays which have survived their age are, for the most part, ccmedies. Dryden’s All for Love is the only notable exception. The serious drama of the Restoration is just as representative of the age, notwithstanding its limitations as lasting literature; indeed, Allardyce Nicoll calls heroic tragedy "that most characteristic of all the Restoration theatrical species."^ Thus it cannot be ignored in any 1.
    [Show full text]
  • Poems of a Restoration Courtier
    “My Rare Wit Killing Sin”: Poems of a Restoration Courtier ANNE KILLIGREW • Edited by MARGARET J. M. EZELL Iter Inc. Centre for Reformation and Renaissance Studies Toronto 2013 Iter: Gateway to the Middle Ages and Renaissance Tel: 416/978–7074 Email: [email protected] Fax: 416/978–1668 Web: www.itergateway.org Centre for Reformation and Renaissance Studies Victoria University in the University of Toronto Tel: 416/585–4465 Email: [email protected] Fax: 416/585–4430 Web: www.crrs.ca © 2013 Iter Inc. & Centre for Reformation and Renaissance Studies All rights reserved. Printed in Canada. Iter and the Centre for Reformation and Renaissance Studies gratefully acknowledge the generous support of James E. Rabil, in memory of Scottie W. Rabil, toward the publication of this book. Library and Archives Canada Cataloguing in Publication Killigrew, Anne, 1660–1685 [Poems] “My rare wit killing sin”: poems of a Restoration courtier / Anne Killigrew ; edited by Margaret J. M. Ezell. (Other voice in early modern Europe. Toronto series ; 27) Modernized version of the work Killigrew, Anne, 1660–1685. Poems, published in London by Samuel Lowndes in 1686. Includes bibliographical references and indexes. Issued in print and electronic formats. Co-published by: Iter Inc. ISBN 978-0-7727-2152-5 (pbk.) ISBN 978-0-7727-2153-2 (pdf) I. Ezell, Margaret J. M., writer of introduction, editor II. Victoria University (Toronto, Ont.). Centre for Reformation and Renaissance Studies, issuing body III. Iter Inc., issuing body IV. Title. V. Series: Other voice in early modern Europe. Toronto series ; 27 PR3539.K3 2013 821’.4 C2013-907241-1 C2013-907242-X Cover illustration: Anne Killigrew (mezzotint engraving), by Isaac Beckett, after Anne Killigrew self-portrait; published by John Smith, circa 1683–1729; © National Portrait Gallery, London, NPG D11896.
    [Show full text]
  • The Criminal Trial Before the Lawyers John II
    ... The i University of Chicago Law Review VOLUME 45 NUMBER 2 WINTER 1978 The Criminal Trial before the Lawyers John II. l,angbeint The common law criminal trial is dominated by the lawyers for prosecution and defense. In the prototypical case of serious crime (felony), counsel take the active role in shaping the litigation and proving the facts for a passive trier. Continental observers, accus­ tomed to a nonadversarial trial in which the court itself has an active role in adducing evidence to inform its own judgment, regard our lawyerized criminal trial as a striking Anglo-American peculiar­ ity. We seldom appreciate that this lowyerized criminal trial looks Billtriking from the perspective of our own legal hiltory B8 from that of comparative law. It developed relatively late in a context other­ wille ancient. Wherea8 much of our trial procedure has medieval antecedent.s, prosecution and defense counsel cannot be called regu­ lar until the second half of the eighteenth century. In our historical literature the relative newness of our adversary t Prof""sor of Law, The University or Chicago. ThiA article resulls from a period or rellearch in 1977 that was made possible hy uUuman­ ities Reseurch Fellowship from the National Endowment for the f1umanities.and hy the grant of reseurch funds from the University of Chicago Law School. I wish to record my grutitude to the Endowment and to Dean Norval Morris and the Luw School for their AUpporl. I also wish 10 upreas my thanks to the Warden and Fellows of All Souls College, Oxford. for permitliog me to work as a Visiting Fellow of the College.
    [Show full text]
  • Rivers of London
    Rivers of London Rivers of London, #1 by Ben Aaronovitch, 1964– Published: 2011 Victor Gollancz, London J J J J J I I I I I Table of Contents Chapter 1 … Material Witness. Chapter 2 … Ghost-hunting Dog. Chapter 3 … The Folly. Chapter 4 … By the River. Chapter 5 … Action at a Distance. Chapter 6 … The Coach House. Chapter 7 … The Puppet Fayre. Chapter 8 … The Jackanory Version. Chapter 9 … The Judas Goat. Chapter 10 … The Blind Spot. Chapter 11 … A Better Class of Riot. Chapter 12 … The Last Resort. Chapter 13 … London Bridge. Chapter 14 … The Job. Acknowledgements * * * * * All characters and events in this publication are fictitious and any resemblance to real persons, living or dead, is purely coincidental. J J J J J I I I I I In memory of Colin Ravey, because some people are too large to be contained by just the one universe. Yet ah! why should they know their fate? Since sorrow never comes too late, And happiness too swiftly flies. Thought would destroy their paradise. No more; where ignorance is bliss, ’Tis folly to be wise. Ode on a Distant Prospect of Eton College —Thomas Gray Chapter 1 Material Witness. It started at one thirty on a cold Tuesday morning in January when Martin Turner, street performer and, in his own words, apprentice gigolo, tripped over a body in front of the West Portico of St Paul’s at Covent Garden. Martin, who was none too sober himself, at first thought the body was that of one of the many celebrants who had chosen the Piazza as a convenient outdoor toilet and dormitory.
    [Show full text]
  • 'London, Thou Great Emporium of Our Isle': Dryden Writing the City
    ‘London, thou great emporium of our Isle’: Dryden writing the city Samuel James Burton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English September 2019 ii The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Samuel James Burton to be identified as author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Ó The University of Leeds and Samuel James Burton iii Acknowledgements This thesis began life as a weekly essay written in Michaelmas term 2013 for a special author paper on John Dryden. The original essay was little more than two thousand words in length, looking principally at Dryden’s two direct addresses to London in Annus Mirabilis and The Medall. That it transformed into a doctoral thesis owes much to the enthusiasm generated by Peter McCullough. My greatest debt is to my doctoral supervisor, Paul Hammond, for his constant guidance, encouragement and diligence. I must afford thanks for his seemingly endless patience with the most burdensome of students. Catherine Batt was also a source of sage counsel at moments of difficulty. This thesis would not have been possible without the generosity of Kate and Jason Gatenby, as well as the School of English at the University of Leeds.
    [Show full text]