DOCSLIB.ORG

T E X T S T O C O N D E M N E U S a Study of the Prose Works of Thomas Nashe Rob Shooter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
T E X T S T O C O N D E M N E U S a Study of the Prose Works of Thomas Nashe Rob Shooter TEXTS TO CONDEMNE US A study of the prose works of Thomas Nashe Rob Shooter ProQuest Number: 10609970 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10609970 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 TEXTS TO CONDEMNE US: THE PROSE WORKS OF THOMAS NASHE Chapter title Page number PREFACE 1 TABLE OF ABBREVIATIONS 3 1 NASHE'S MISSING THEME: THE VICE-HERO 4 2 THE RIGHT USE OF AUNCIENT POETRIE 16 3 THE RULE OF THE TONGUE 28 4 TEXTS TO CONDEMNE US 41 5 PIERCE PENILESSE - THE DEMOCRATIC TEXT 53 6 THE GROTESQUE IN PIERCE PENILESSE 75 7 FAULTS ESCAPED IN PRINTING 90 8 THE ANTEROOM OF TORTURE 111 9 THE LORD IS KNOWN IN EXECUTING JUDGEMENT 129 10 CHRISTS TEARES OVER JERUSALEM 150 11 THE FLYTING 165 12 THE INVENTION OF THE ENEMY 189 13 THE PROFIT OF THE ENEMY 206 14 THE MARTYRDOM OF THE SELF 221 15 CONCLUSIONS 235 NOTES 241 BIBLIOGRAPHY 259 PREFACE Texts To Condemne Us, a study of the prose works of Thomas Nashe, was written over a period of four years, off and on, between 1985 and 1989. It tries to take account of all the previous critical work on Nashe that I was aware of, but was substantially complete before the appearance of Lorna Hutson's Thomas Nashe In Context (Oxford 1989). Had I the benefit of that books's thorough-going research into the socio-economic background to Nashe's work I would, perhaps, have been able to deepen and broaden some aspects of my own argument. I do not think, however, that I would substantially have altered its lines of enquiry and conclusions, although I could not have been quite as didactic about the 'failings' of early criticism in my first chapter ! In fact, Professor Hutson's analysis of the ways in which economic pressures led Elizabethan writers to propagate a 'generall reformation of manners', her analysis of polemic against drink, gaming, play-going and sartorial ostentation as a general condemnation of 'unthrifty consumption', stengthens the argument of my first few chapters. We agree that Nashe's abandonment of 'the protestant-humanist notion of learning for profit' can be seen: even while he was busy sifting the provident profits of poetry from its licentious abuse in the didactic Anatomie Of Abuses <1 assume that Hutson refers to The Anatomy of Absurdity here> Where I borrow the phrase 'the polemic western self' in chapter 3 to describe the authorial and moral self-possession which Nashe' s later writings question and reconstruct, I may have used Hutson's argument that poetry was seen as the educator of the 'vir virtutis - the man in full possession of himself'. The instructive text, praised in The Anatomie of Absurdity'creates in its readers the capacity for self-government' - a key concept in my analysis of Nashe's deviation from his polemic context. In writing this thesis I have, however, made extensive use of Mikhael Bakhtin's work on the carnival elements in Rabelais, and of Foucault's analysis of pre-capitalist economies of power and punishment in Discipline And Punish: The Birth Of The Prison (tr. Alan Sheridan, London 1977). Bakhtin's excitement of discovery in Rabelais And His World (tr. Helene Iswolsky, Cambridge Mass. 1968) furnished me with an important - 1 - Preface framework on which to hang my own shabby architecture. The thesis as a whole, but particularly the chapters on Pierce Penilesse, The Unfortunate Traveller and Lenten Stuff, depend on the Bakhtinian notion of carnival. From Bakhtin I assume the mediaeval existence of a carnival anti-world of all things turned upside down. This world is prodigal, grotesque, spendthrift (in Hutson’s vocabulary), egalitarian and immensely productive. It is bound within strict limits but is itself a world of limitless interiors. It celebrates the suspension of all hierarchical rank, priveliges, norms and prohibitions and is a temporary liberation from the prevailing truth and the established order. Its characteristic mode of understanding the world is through laughter and its corporeal vocabulary of grotesques and freaks tentatively suggests that man's condition is time without eternity. Foucault's philosophy convinces by the elegance of its insight. I have assimilated his analysis of the public execution, constituting its own egalitarian rituals of performance and affording a limited role to the people, to insights derived from Bakhtin. I am particularly indebted to Discipline And Punish: The Birth Of The Prison for my analysis of narrative and torture in The Unfortunate Traveller, the most fascinating of all Nashe's works. With the help of Discipline And Punish I was able to amend the Bakhtinian analysis of carnival with which I began the thesis. In Nashe's texts, the grotesque mocks and is sponsored by the official world of hierarchical discipline. Within its lawlessness, the aegis of the prince is clearly visible and its laughter is always accompanied by a punitive violence. With the help of these theoretical constructs, I have tried to suggest a specific order and pattern, giving birth to Nashe's grotesque imagination, where previously there was thought to be only the monsters of 'themelessness'. No less important to the construction and eventual completion of this thesis was the patience and enthusiasm of my supervisor, Dr Henry Woudhuysen. I would like to thank him for ideas, comments and practical advice on the best use of my time. I would also like to thank my wife, Dinah Pattison, for negotiations conducted on my behalf with the Amstrad PCW 8256 on which this work was written, edited and printed. - 2 - TABLE OF ABBREVIATIONS 1 In quoting Nashe’s texts I have referred in all places to Ronald B.McKerrow's The Works Of Thoms Nashe, originally published in 5 volumes between 1904 and 1910, revised by F.P.Wilson in and published in Oxford, 1958. The first figure refers to the number of the volume, the second to the page number: for example, 1; 252. Quotations from McKerrow retain original spellings and punctuation, except that modern typographical conventions are observed in the use of i and j and u and v. 2 Bracketed numbers in smaller type refer to notes. 3 The notes refer to a number of publications by their initials. These are: AJP: American Journal Of Philology BJS: British Journal Of Sociology EIC: Essays In Criticism ELH: English Literary History ELR: English Literary Renaissance ES: English Studies HLQ: Huntingdon Library Quarterly JEGP: Journal Of English And Germanic Philology JELH: Journal Of English Literary History JHI: Journal Of The History Of Ideas JNT: Journal Of Narrative Technique JWCI: Journal Of The Warburg And Courtauld Institutes MLN: Modem Language Notes MLR: Modem Language Review NQ: Notes And Queries PMLA: Publications Of The Modem Language Association Of America RES: Review Of English Studies SEL: Studies In English Literature SP: Studies in Philology SS: Shakespeare Survey SSF: Studies In Short Fiction TLS: Times Literary Supplement YES: Yearbook Of English Studies ns after a journal abbreviation stands for new series. - 3 - 1 NASHE'S MISSING THEME: THE VICE-HERO i Paradoxically, though Nashefs pamphlets are commercial literature, they come very close to being, in another way, 'pure' literature: literature which is, as nearly as possible, without a subject. In a certain sense of the verb 'say1, if asked what Nashe 'says', we should have to reply, Nothing. (1) C.S.Lewis's weighty judgement established a dominant tradition in criticism of Nashe's works. G.R.Hibbard's ground-breaking study depicted a writer fascinated by word-games, a minor author of some genius who never fully realised his talent, for 'a work such as Lenten Stuff has no significance outside itself'. (2) The biographer of this Nashe, Charles Nicholl, admits to disappointment that 'so much talent' is 'squandered on essentially negative utterance'. (3) The brilliance of the writing is widely recognised, but an inability to reconcile a 'commonly felt unity of mood and attitude' with 'an inexplicable themelessness' has been felt by most critics. (4) The Nashe of this dominant tradition is unable to train his gift for language to the service of narrative meaning: the ostensible theme is merely an occasion for the performance. (5) Nashe consciously 'let style replace argument in his writing' for his 'linguistic virtuosity' could not disguise the fact that he 'has very little to say'. Therefore, 'his interest...lies almost entirely in his style'. (6) Neil Rhodes' study of the grotesque in Nashe's works usefully places the author in a wider cultural and social context, but it does not formally break with Lewis's emphasis. Despite the missing theme the language displays a 'unity of mood and attitude', a peculiarly Elizabethan, 'coalescence of contrary images of the flesh: indulged, abused, purged and damned'. (7) Nashe's 'alertness to the possibilities of metaphor' is fully recognised and it is his exploitation of the possibilities of language which forms 'the essential subject matter of the prose'. (8) More recently, Jonathon Crewe has turned from the criticism of the prose to the undeclared motives behind the critic's 'judicial severity’. Nashe's missing theme is now made the conscious strategy of an anti-world - 4 - Nashe's Missing Theme distinguished 'by its simultaneous antagonism and parasitism upon an absent ideal'.
Load more

Recommended publications
  • 4. Shakespeare Authorship Doubt in 1593
    54 4. Shakespeare Authorship Doubt in 1593 Around the time of Marlowe’s apparent death, the name William Shakespeare appeared in print for the first time, attached to a new work, Venus and Adonis, described by its author as ‘the first heir of my invention’. The poem was registered anonymously on 18 April 1593, and though we do not know exactly when it was published, and it may have been available earlier, the first recorded sale was 12 June. Scholars have long noted significant similarities between this poem and Marlowe’s Hero and Leander; Katherine Duncan-Jones and H.R. Woudhuysen describe ‘compelling links between the two poems’ (Duncan-Jones and Woudhuysen, 2007: 21), though they admit it is difficult to know how Shakespeare would have seen Marlowe’s poem in manuscript, if it was, as is widely believed, being written at Thomas Walsingham’s Scadbury estate in Kent in the same month that Venus was registered in London. The poem is preceded by two lines from Ovid’s Amores, which at the time of publication was available only in Latin. The earliest surviving English translation was Marlowe’s, and it was not published much before 1599. Duncan-Jones and Woudhuysen admit, ‘We don’t know how Shakespeare encountered Amores’ and again speculate that he could have seen Marlowe’s translations in manuscript. Barber, R, (2010), Writing Marlowe As Writing Shakespeare: Exploring Biographical Fictions DPhil Thesis, University of Sussex. Downloaded from www. rosbarber.com/research. 55 Ovid’s poem is addressed Ad Invidos: ‘to those who hate him’. If the title of the epigram poem is relevant, it is more relevant to Marlowe than to Shakespeare: personal attacks on Marlowe in 1593 are legion, and include the allegations in Richard Baines’ ‘Note’ and Thomas Drury’s ‘Remembrances’, Kyd’s letters to Sir John Puckering, and allusions to Marlowe’s works in the Dutch Church Libel.
    [Show full text]
  • Grotesque Transformations and the Discourse of Conversion in Robert Greene's Works and Shakespeare's Falstaff
    Grotesque Transformations and the Discourse of Conversion in Robert Greene's Works and Shakespeare's Falstaff Item Type text; Electronic Dissertation Authors DiRoberto, Kyle Louise Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 08:47:04 Link to Item http://hdl.handle.net/10150/203437 GROTESQUE TRANSFORMATIONS AND THE DISCOURSE OF CONVERSION IN ROBERT GREENE'S WORK AND SHAKESPEARE'S FALSTAFF by Kyle DiRoberto _____________________ Copyright © Kyle DiRoberto A Dissertation Submitted to the Faculty of the THE DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Kyle DiRoberto entitled Grotesque Transformations and the Discourse of Conversion in Robert Greene's Work and Shakespeare's Falstaff. and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _______________________________________________________________________ Date: 11/8/11 Dr. Meg Lota Brown _______________________________________________________________________ Date: 11/8/11 Dr. Tenney Nathanson _______________________________________________________________________ Date: 11/8/11 Dr. Carlos Gallego Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement.
    [Show full text]
  • The Oxfordian Volume 21 October 2019 ISSN 1521-3641 the OXFORDIAN Volume 21 2019
    The Oxfordian Volume 21 October 2019 ISSN 1521-3641 The OXFORDIAN Volume 21 2019 The Oxfordian is the peer-reviewed journal of the Shakespeare Oxford Fellowship, a non-profit educational organization that conducts research and publication on the Early Modern period, William Shakespeare and the authorship of Shakespeare’s works. Founded in 1998, the journal offers research articles, essays and book reviews by academicians and independent scholars, and is published annually during the autumn. Writers interested in being published in The Oxfordian should review our publication guidelines at the Shakespeare Oxford Fellowship website: https://shakespeareoxfordfellowship.org/the-oxfordian/ Our postal mailing address is: The Shakespeare Oxford Fellowship PO Box 66083 Auburndale, MA 02466 USA Queries may be directed to the editor, Gary Goldstein, at [email protected] Back issues of The Oxfordian may be obtained by writing to: [email protected] 2 The OXFORDIAN Volume 21 2019 The OXFORDIAN Volume 21 2019 Acknowledgements Editorial Board Justin Borrow Ramon Jiménez Don Rubin James Boyd Vanessa Lops Richard Waugaman Charles Boynton Robert Meyers Bryan Wildenthal Lucinda S. Foulke Christopher Pannell Wally Hurst Tom Regnier Editor: Gary Goldstein Proofreading: James Boyd, Charles Boynton, Vanessa Lops, Alex McNeil and Tom Regnier. Graphics Design & Image Production: Lucinda S. Foulke Permission Acknowledgements Illustrations used in this issue are in the public domain, unless otherwise noted. The article by Gary Goldstein was first published by the online journal Critical Stages (critical-stages.org) as part of a special issue on the Shakespeare authorship question in Winter 2018 (CS 18), edited by Don Rubin. It is reprinted in The Oxfordian with the permission of Critical Stages Journal.
    [Show full text]
  • Nashe and Harvey in Illyria
    7 Nashe and Harvey in Illyria I’ve suggested that in As You Like It Shakespeare etched into Touchstone an effigy of Thomas Nashe. I will show that in Twelfth Night Shakespeare produced another, more highly developed por- trait of Nashe as Feste – and thrust him back into conflict with his real-life nemesis Gabriel Harvey, whom Shakespeare cast as Malvolio – ‘He who wishes evil’ – the pretentious, over-ambitious steward. We will find that Shakespeare has drawn a Pauline Feste- Nashe with an adroitness and sophistication which leaves one quite awestruck, and that he derived his caricature of Malvolio-Harvey (and the letter-plot that precipitates his downfall) from accounts of Harvey’s follies published by Nashe. By so doing, Shakespeare enabled the departed Nashe to continue to persecute and torment his bête noire. I will also show that Shakespeare blended Nashe and Paul to create an extraordinary fool whose humour, gravitas, and ultimate pathos surpass anything in Touchstone – and did so by exploiting the Epistles to the Corinthians. A Pauline Feste Circa AD 5, the theologian we know as St Paul was born Saul, a Jew and Roman citizen, in Tarsus, south-central Turkey, a dozen miles from the sea; in Antony and Cleopatra Shakespeare remembers that illustrious couple’s fateful meeting on Tarsus’s River Cydnus. Saul was a compulsive wanderer who was to scour Asia Minor preach- ing the faith of Jesus. But he began his travels in his youth and was raised a Pharisee in Jerusalem, where he studied with Rabbi Gamaliel, so he was predisposed to believe in the resurrection of the dead.1 Young Saul deplored Christians and became an enthusiastic persecutor of the sect.
    [Show full text]
  • A Study on University Wits and William Shakespeare
    Journal of Education and Practice www.iiste.org ISSN 2222-1735 (Paper) ISSN 2222-288X (Online) Vol 2, No 3 A Study on University Wits and William Shakespeare H.L.Narayanrao Bharatiya Vidya Bhavans college, University of Mumbai Munshi Nagar, Andheri (w), Mumbai- 400058. India [email protected] Abstract According to Ben Johnson “William Shakespeare, was not of an age, but for all time”, The greatness of Shakespeare, is always in the history of literary world. His writings not for a particular period but to the future and forever. Today, we see a lot of debate on English Literature and popularity of the writers of the Renaissance of Elizabethan period. The University Wits were a group of late 16th century English playwrights who were educated at the universities of (Oxford or Cambridge) and who became playwrights and popular writers. Prominent members of this group were Christopher Marlowe, Robert Greene, and Thomas Nashe from Cambridge, and John Lyly, Thomas Lodge, George Peele from Oxford. The diverse and talented loose association of London writers and dramatists set the stage for the theatrical Renaissance of Elizabethan England. They were looked upon as the literary elite of the day and often ridiculed other playwright such as Shakespeare who did not have a university education or a degree either from Oxford or Cambridge Universities. Greene calls Shakespeare an "upstart crow" in his pamphlet, Groats Worth of wit. The Chief University Wits include: Christopher Marlowe, Robert Greene, Thomas Kyad, Thomas Nashe, Thomas Lodge,George Peele, John Lyly: Christopher Marlowe: Plays Dido, Queen of Carthage (c.1586) (possibly co-written with Thomas Nashe) Tamburlaine, part 1 (c.1587) Tamburlaine, part 2 (c.1587-1588) The Jew of Malta (c.1589) Doctor Faustus (c.1589, or, c.1593) Edward II (c.1592) The Massacre at Paris (c.1593 Marlowe was born in Canterbury to John Marlowe and his wife Catherine.
    [Show full text]
  • Was Robert Greene's “Upstart Crow” the Actor Edward Alleyn?
    The Marlowe Society Was Robert Greene’s “Upstart Crow” Research Journal - Volume 06 - 2009 the actor Edward Alleyn? Online Research Journal Article Daryl Pinksen Was Robert Greene’s “Upstart Crow” the actor Edward Alleyn? "The first mention of William Shakespeare as a writer occurred in 1592 when Robert Greene singled him out as an actor-turned-playwright who had grown too big for his britches." Such is the claim made by all Shakespeare biographers. However, a closer look at the evidence reveals what appears to be an unfortunate case of mistaken identity. Near the end of Greene's Groatsworth of Wit (September 1592) 1, Robert Greene, in an address to three fellow playwrights widely agreed to be Christopher Marlowe, Thomas Nashe and George Peele, says that an actor he calls an "upstart Crow" has become so full of himself that he now believes he is the only "Shake-scene" in the country. This puffed-up actor even dares to write blank verse and imagines himself the equal of professional playwrights. In his address to Marlowe, Nashe, and Peele, Greene reminds them that actors owe their entire careers to writers. He warns his fellow playwrights that just as he has been abandoned by these actors, it could just as easily happen to them. He urges them not to trust the actors, especially the one he calls an "upstart Crow." Finally, he pleads with them to stop writing plays for the actors, whom he variously calls "Apes," "Antics," and "Puppets." Here is Greene's warning to his fellow playwrights [following immediately from Appendix B]: Base minded men all three of you, if by my misery you be not warned: for unto none of you (like me) sought those burres to cleave: those Puppets (I mean) that spake from our mouths, those Anticks garnished in our colours.
    [Show full text]
  • Wit and the Art of Memory in Nashe's the Unfortunate Traveller
    REBECA HELFER Wit and The Art of Memory in Nashe’s The Unfortunate Traveller1 hen in Rome, the narrator of Unfortunate Traveller, or The Life of W Jack Wilton escapes one of many near-death experiences. Having been falsely accused of rape and murder, Jack was “laid in prison, should have been hanged, was brought to the ladder, had made a ballad for [his] farewell in a readiness, called Wilton’s Wantonness, and yet, for all that, scaped dancing in a hempen circle.”2 Exactly how Nashe’s antic anti-hero averts this already memorialized martyrdom relates to the art of memory. As Jack recounts, “present at the execution was there a banished English Earl, who, hearing that a countryman of his was to suffer for such a notable murder, came to hear his confession,” and provides testimony that frees Jack from this fate (p. 340). “To the banished Earl I came to render thanks,” Jack continues, “when thus he examined and schooled me,” The Earl de- manded “what is the occasion of thy straying so far out of England to visit this strange nation?,” and asserted that “nought but lasciviousness is to be learned here” (p. 341). The English Earl then delivers a lecture on the perils of travel that Jack remembers well but would like to forget: “Some allege they travel to learn wit, but I am of this opinion: that, as it is not possible for any man to learn the art of memory, whereof Tully [and others] ...have written so many books, except he have a natural memory before, so it is not possible for any man to attain any great wit by travel except he have the grounds of it rooted in him before” (p.
    [Show full text]
  • Triangulating Shakespeare Through Sixteenth-Century Prose Pamphlets
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St. John's University: St. John's Scholar St. John's University St. John's Scholar Theses and Dissertations 2020 Hidden in Detail: Triangulating Shakespeare through Sixteenth- Century Prose Pamphlets Scott Donald Koski Follow this and additional works at: https://scholar.stjohns.edu/theses_dissertations Part of the English Language and Literature Commons HIDDEN IN DETAIL: TRIANGULATING SHAKESPEARE THROUGH SIXTEENTH-CENTURY PROSE PAMPHLETS A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY to the faculty of the DEPARTMENT OF ENGLISH of ST. JOHN’S COLLEGE OF LIBERAL ARTS AND SCIENCES at ST. JOHN'S UNIVERSITY New York by Scott Koski Date Submitted ______________ Date Approved _________________ ___________________________ ______________________________ Scott Koski Dr. Steve Mentz © Copyright by Scott Koski 2020 All Rights Reserved ABSTRACT HIDDEN IN DETAIL: TRIANGULATING SHAKESPEARE THROUGH SIXTEENTH-CENTURY PROSE PAMPHLETS Scott Koski Part of what has led to fetishizing Shakespeare both inside and outside of the academy is the inexplicable way he arrived on the London writing scene. Though scholars have searched for years trying to trace the path that led a young Shakespeare out of rural Warwickshire to the bustling streets of London, very little is known about the man himself in the time leading up to his arrival and first being called an “upstart crow” by Robert Greene in 1592. This void has become known as the “lost years,” and because there is so little information save a few documents bearing Shakespeare’s name, the mystery itself serves to feed the myth.
    [Show full text]
  • Department of English UNIVERSITY WITS
    Department of English UNIVERSITY WITS Dr. Vibhas Ranjan Assistant professor, Department of English Patna College, Patna University Contact details: +91- 7319932414 [email protected] 2 INTRODUCTION University Wits is a term invented by literary historians to identify the first generation of professional playwrights in England, who first appeared in the early 1580s. Their nickname identifies their social pretensions, but their drama was primarily middle class, patriotic, and romantic. Their preferred subjects were historical or pseudo-historical, mixed with clowning, music, and love interest. They were predecessors of Shakespeare in drama. So, they are also called pre- shakespearean dtamatists. The university wits include Christopher Marlowe, Robert Greene, and Thomas Nashe (all graduates of Cambridge), as well as Thomas Lodge and George Peele (both of Oxford). Another of the wits, though not university- trained, was Thomas Kyd. Preceded by John Lyly (an Oxford man), they prepared the way for William Shakespeare. The greatest poetic dramatist among them was Marlowe, whose handling of blank verse gave the theatre its characteristic voice for the next 50 years. All wrote in “pre-Shakespearean” styles that separated them from the writers of the previous “drab era.” As David Horne, author of the only biography of George Peele, puts it: “All were learned and classical in their tastes and interested in courtly literature”. 3 INTRODUCTION This diverse and talented loose association of London writers and dramatists set the stage for the theatrical Renaissance of Elizabethan England. They are identified as among the earliest professional writers in English, and prepared the way for the writings of William Shakespeare, who was born just two months after Christopher Marlowe.
    [Show full text]
  • Catalogue of Manuscripts
    CATALOGUE OF JONSON MANUSCRIPTS The following list supplies identifications and detailed descriptions of the manuscripts of Jonson’s poems, plays, and masques, indexed by their individual sigla as used in the collation. The information is based on Peter Beal’s Catalogue of English Literary Manuscripts 1450-1700, which is freely available online at http://www.celm-ms.org.uk/, and gives fuller details of the interrelationships between Jonson’s manuscripts and those of other writers in the period. JnB 0.5 Nashe elegy. Berkeley Castle Muniments General Series Miscellaneous Papers 31/10. Copy in a small bifolium, mostly in the hand of Henry Stanford, containing five elegies on Nashe; headed in a different hand ‘Nashes Epitaph’. See Katherine Duncan-Jones, ‘“They Say A Made a Good End”: Ben Jonson’s Epitaph on Thomas Nashe’, Ben Jonson Journal, 3 (1996), 1-19. On Stanford and his relationship to the Carey/Berkeley families, see Steven W. May, Henry Stanford’s Anthology: an Edition of Cambridge University Library Manuscript Dd.5.75 (New York: Garland, 1988). JnB 1 Forest 10. Edinburgh University Library, MS H.-P. Coll. 401, fol. 73v. Copy in a verse miscellany probably compiled by one Richard Jackson. c.1620s-30s (dated 1623 on the title-page). JnB 2 Underwood 6. Rosenbach Museum and Library, MS 239/18, pp. 3- 4. Copy, headed ‘A song Apologetique: In defence of womens inconstancy’, in a miscellany. c.1660. Later owned by F.W. Cosens (1819-89). JnB 3 Underwood 6. Yale, Osborn Collection, b 104, p. 116. Copy, headed ‘In Defence of weomens inconstancy by Ben: I:’, in a miscellany owned and probably compiled by one John Hale.
    [Show full text]
  • The Satirical Reception of the New Learning in English Literature, 1592-1743
    UNIVERSITY OF SALAMANCA FACULTY OF LANGUAGES AND LITERATURE Department of English Studies THE SATIRICAL RECEPTION OF THE NEW LEARNING IN ENGLISH LITERATURE, 1592-1743 PHILIP JENKINS 2019 UNIVERSIDAD DE SALAMANCA FACULTAD DE FILOLOGIA Departmento de Filología Inglesa Tesis Doctoral LA RECEPCIÓN SATÍRICA DE LA NUEVA ERUDICIÓN EN LA LITERATURA INGLESA, 1592-1743 Vº Bº DEL DIRECTOR Trabajo Presentado Por PhiliP Jenkins Para la obtención del grado de Doctor en Filología bajo la dirección del Dr. Pedro Javier Pardo García. Dr. Pedro Javier Pardo García i This doctoral thesis is dedicated to the memory of my mother, Mrs Barbara Jenkins. iii ACKNOWLEDGEMENTS I would like to thank the following PeoPle for their helP and suPPort while I was writing this doctoral thesis. Firstly, I would like to thank my suPervisor, Dr Pedro Javier Pardo García of the University of Salamanca. Secondly, I am also grateful to my father Anthony Jenkins for his support throughout the writing of the thesis. Thirdly, I would like to exPress my gratitude to Dr Daniel Jolowicz for his helP with my translations from the original Latin. And finally, many thanks are due to Vince Woodley of University Information Services, University of Cambridge for his help with the formatting of this thesis. v TABLE OF CONTENTS INTRODUCTION 1 Part I. THE ANTIQUARIAN 1. THE SATIRICAL RECEPTION OF THE ANTIQUARY 7 1.1. Antiquarianism in England 7 1.2. Early Satirical Accounts of Antiquaries 14 1.3. GuilPin, Nashe and Lodge 16 1.4. John Donne 21 1.5. Character Sketches 23 1.6. Shackerley Marmion’s The Antiquary 26 1.7.
    [Show full text]
  • Christopher Marlowe, and Why?
    THE GREAT RECKONING: Who Killed Christopher Marlowe, and Why? by Stephanie Hopkins Hughes “His life he contemned in comparison of the liberty of speech.” Thomas Nashe: Jack Wilton (1594) The Oxfordian thesis has forced us into areas of psychology, biography and history–– English, Continental and literary history––that we would not have had to deal with if it were not that Shakespeare’s identity has proven so mystifying. Seeking the truth about the author of the world’s most important and influential literary canon has forced us to examine the facts surrounding the production of other literary works at the time, facts that demonstrate that Shakespeare’s biography is not the only one rife with anomalies. A good two dozen of these exhibit the same sort of problems we find with the Stratford biography. Although the biography of the greatest of Shakespeare’s predecessors, Chris- topher Marlowe, holds together far better than most of these, his death remains as much a mystery as Shakespeare’s identity. Could these two great literary mysteries be related? Birth of the Media, the Fourth Estate It was during the period when Marlowe was writing, the decade from 1583 to 1593, that the modern commercial theater was born in England. By “modern commercial theater” we mean the kind of theater that takes place in a permanent structure meant solely for theatrical performance, that opens its doors to the public on an almost daily basis, and that does not rely on aristocratic patrons or government officials for financing, but can pay its taxes and support its owners, managers and the companies that act in it entirely on the proceeds of ticket sales to members of the public at large.
    [Show full text]