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Front Matter Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information THE MODEL OF POESY The Model of Poesy is one of the most exciting literary discoveries of recent years. A manuscript treatise on poetics written by William Scott in 1599,atthe end of the most revolutionary decade in English literary history, it includes rich discussions of the works of Sidney, Spenser, Shakespeare, and their contemporaries. Scott’s work presents a powerful and coherent theoretical account of all aspect of poetics, from the nature of representation to the rules of versification, with a commitment to relating theory to contemporary practice. For Scott, any theory of literature must make sense not of the classics but of what English writers are doing now: Scott is at the same time the most scholarly and the most relevant of English Renaissance critics. In this groundbreaking edition, Gavin Alexander presents a text of The Model of Poesy framed by a detailed introduction and an extensive commentary, which together demonstrate the range and value of Scott’s thought. gavin alexander is a University Senior Lecturer in the Faculty of English at the University of Cambridge, and a Fellow of Christ’s College. His publica- tions include Writing After Sidney: The Literary Response to Sir Philip Sidney, 1586–1640 (2006), Sidney’s ‘The Defence of Poesy’ and Selected Renaissance Lit- erary Criticism (2004), a co-edited volume Renaissance Figures of Speech (2007), and numerous articles and book chapters on literary and musicological top- ics. He teaches at undergraduate and postgraduate level across a wide range of topics, from ancient to modern literature, with a particular emphasis on Renaissance literature, the history and theory of literary criticism, and textual studies. His online early modern palaeography course ‘English Handwriting’ is widely used around the world. In 2008 he was awarded a Pilkington Teaching Prize for excellence in teaching at the University of Cambridge. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information National Portrait Gallery, London. C (detail). 1592 c. ’), oil on canvas, The Ditchley portrait (‘ Queen Elizabeth I Marcus Gheeraerts the Younger, © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information WILLIAM SCOTT THE MODEL OF POESY Edited with an introduction and commentary by GAVIN ALEXANDER © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information University Printing House, Cambridge cb2 8bs, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9780521196116 c Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2013 3rd printing2014 Printed in the United Kingdom by Print on Demand, World W i d e A catalogue record for this publication is available from the British Library isbn 978-0-521-19611-6 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of urls for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information In Memory of F. W. Walbank (1909–2008) © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information CONTENTS List of illustrations page viii Preface ix References and abbreviations xi introduction xix William Scott (c.1571–c.1617) xix The Model in context xxviii Form and method lxvi Textual introduction lxxii THE MODEL OF POESY 1 commentary 85 appendices 247 Appendix 1: The dedication to Scott’s Du Bartas 247 Appendix 2: Scott’s letter to Cecil 249 Appendix 3: Scott’s will 254 Index 256 vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information ILLUSTRATIONS Frontispiece Marcus Gheeraerts II, Queen Elizabeth I (the ‘Ditchley portrait’), oil on canvas, c.1592 (detail). C National Portrait Gallery, London page ii 1 British Library, Add. MS 81083, 4r (C The British Library Board) lxxviii 2 British Library, Add. MS 81083, 23v (C The British Library Board) lxxx viii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information PREFACE The Model of Poesy (c.1599) by William Scott is one of the more significant literary manuscripts to come to light in recent years. Its existence and authorship were known to E. K. Chambers in the 1930s but the manuscript was not heard of again until Stanley Wells announced its rediscovery in 2003. It is now British Library Additional Manuscript 81083 and is edited here for the first time. I have included a substantial Introduction and Commentary, since the Model is a scholarly work with a rich context, and because I have been able to discover a great deal about its author that was not previously known. The Introduction and the Commentary work in tandem, the latter supplying the details and the former offering more continuous narrative and broader brushstrokes. I recommend any reader to begin with the text itself, however: the Model must earn attention because of its (I believe) very considerable interest and importance as a work of Elizabethan literary criticism. ‘For things once finished well, soon enough finished are’, says Du Bartas in William Scott’s English translation, a wisdom perhaps lost in this era of research measurement. I am indebted to the AHRC for a research leave award and to the Isaac Newton Trust for two short-term research assistance grants; these have enabled me to complete this edition both sooner and better than would otherwise have been possible. It is a pleasure to acknowledge the assistance of the skilled and knowledgeable curators and staff of the British Library, the Cambridge University Library, the Folger Shakespeare Library, the Canterbury Cathedral Archives, and the departmental and college libraries of Cam- bridge, especially the English Faculty Library. I am grateful for the support, interest, and stimulation of my wonderful colleagues and students at Cambridge, and especially to Hester Lees-Jeffries, Sarah Howe, and above all Michael Hetherington, who acted as my occasional research assistant and from whose forthcoming work on Scott and logic I have very much benefited. I owe a great debt to Sarah Stanton at Cambridge University Press for fostering this project, and to her team for their superb work. Many colleagues and friends have helped by asking or answering questions and making sug- gestions, or by reading portions of my work. I should particularly like to thank Sylvia Adamson, Peter Auger, Joseph Black, Abigail Brundin, Colin Burrow, Alec Cobbe, David Colclough, Andrew Hadfield (who earns especial thanks for drawing my atten- tion to a miscellany at the Folger that proved rather useful), Paul Hammer, Robert Harding, Nick Hardy, Roger Kuin, Micha Lazarus, Rhodri Lewis, Celia Pilkington (Archivist at the Inner Temple), Nigel Ramsay, Lisa Sampson, Sue Simpson, Tiffany Stern, Dorothy Thompson, Andrew Thrush, Philippa Walton, Stanley Wells, Alison Wiggins, and Andrew Zurcher. I also gained much from responses to talks about Scott that I gave at the Universities of Cambridge, Oxford, Sheffield, and Sussex; at the University of Massachusetts (Amherst); at the Folger Shakespeare Library; and at the Renaissance Society of America annual meeting. ix © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information Preface [x] I began working on this project shortly after the death, at the age of ninety-eight, of my grandfather Frank Walbank. From him I got the love of puzzling out what words and texts mean that has made this project so absorbing and enjoyable. He taught me the small Latin and less Greek without which many of Scott’s sources would have been closed books. And he showed me what scholarship, and the scholar, should be. This edition is dedicated to his memory with love and gratitude. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19611-6 - The Model of Poesy William Scott Frontmatter More information REFERENCES AND ABBREVIATIONS The following list of abbreviations includes the works most frequently referred to in the Introduction and Commentary, but is not a complete bibliography. See ‘A note on sources and references’ below for further details of referencing conventions and the texts of certain authors. Dates of composition and/or original publication are given in square brackets for vernacular works of rhetoric and poetics, where these are cited in modern editions. abbreviations Adagia Desiderius Erasmus, Adages, ed. and trans. Margaret Mann Phillips et al., 7 vols.
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