DOCSLIB.ORG

"A Plague 'O Both Your Houses": Shakespeare and Early Modern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“A PLAGUE ‘O BOTH YOUR HOUSES”: SHAKESPEARE AND EARLY MODERN PLAGUE WRITING A dissertation presented by Nichole DeWall to The English Department In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts April, 2008 1 Abstract This dissertation investigates what Shakespeare’s drama seems to do with the anxieties and fantasies attendant upon the early modern plague experience. At times, it seems, the plague exerts its presence in its absence; at others, the plague seems to saturate every aspect of the plays’ fictive worlds. Moreover, my inquiry seeks to understand what kind of cultural and psychical work Shakespeare’s plays performed, both for himself and for his audience members. What was it about the plague experience that compelled Shakespeare to return to it in his works, despite how devastating it was to his creative and financial prospects to remind people of the disease? And what compelled his audience members to venture into the playhouses, despite the fact that these sites were thought to be uniquely capable of spreading the disease? I am particularly interested in how the plays provide for Shakespeare and his audiences a language to know the unknowable, or communicate the unspeakable. I read the plays in concert with the hundreds of plague sermons, poems, and medical tracts that glutted the early modern print marketplace during and between outbreaks. Special attention is given to Romeo and Juliet and Coriolanus. 2 To Brian “constant in spirit” 3 Acknowledgements First, I wish to thank Professor Kathy Howlett, who for the last seven years has served as a mentor and inspiration, and whose encouragement and feedback has been vital to every stage of the dissertation writing process. My two other committee members have also guided me in my writing and throughout my tenure in graduate school: I thank Professor Francis Blessington for always reminding me to ask the big questions; I thank Professor Marina Leslie for that first archival assignment, and for never allowing her students to make reductive statements about the early modern period. I am deeply grateful for the Northeastern University Dissertation Writing Fellowship that I received during my last semester of writing: it was critical to this project’s completion. I wish to thank Professors Margaret Healy and Rebecca Totaro for organizing the Shakespeare Association of America Seminar, “A Plague On Both Your Houses,” in the spring of 2008. This seminar served as both a deadline and a wonderfully productive place to investigate the plague with like-minded scholars. My friends in the graduate program at Northeastern have provided commiseration, laughter, and insight throughout my tenure here. I especially wish to acknowledge Amy Carleton, Cory Grewell, Amy Kaufman, Jennifer Martin, Kurt Moellering, Alex Moffett. Two early teachers, Mrs. Honey Lou Bonar and Mrs. Betty Kort, nurtured my love for literature and writing. I hope I can someday be as inspirational to my own students. Finally, my family members have all supported me in different ways throughout this process, and I extend my love and thanks to each: to Erica, for groundedness; to Nathan, for inspiration; to Mom, for joy; to Dad, for wisdom. I also thank Linda Pezza for her encouragement. My husband, Brian Pezza, has been a foundation—an “ever-fixèd mark”— throughout my Ph.D. I dedicate this dissertation to him. 4 Table of Contents Abstract 2 Acknowledgements 4 TableofContents 5 ListofFigures 6 Preface 7 Chapter 1: “Where the infectious pestilence did reign”: Romeo and Juliet as Shakespeare’s Plague Play 11 Chapter 2: The Smell of Dover: Stink, the In(Spire)d Poet, andtheRhetoricofFilth 72 Chapter 3: “How soon confusion”: The Plague, Degree, and the Body Politic in Coriolanus 116 Chapter 4: “Poison hath residence and medicine power”: 144 Early Modern Theater as pharmakon Appendix “A Remedy for Love”, Philip Sidney 176 Figures 180 Works Cited 189 5 List of Figures Figure 1: Title page, The Prophecies and Predictions for London’s Deliverance Figure 2: A Looking-glasse for City and Countrey Figure 3: Title page, God’s Judgment fhown unto Mankind Figure 4: Dance of Death episodes from A Booke of Christian Prayers Figure 5: Dance of Death episodes from A Booke of Christian Prayers Figure 6: Title page, London’s Lord Have Mercy Upon Us Figure 7: Title page, The Four Great Years of the Plague Figure 8: Title page, The vocacyon of John Bale to the bishoprick of Offorie Figure 9: Title page, The Stage-players complaint 6 Preface When William Shakespeare arrived in London in the late 1580’s, the plague had been endemic to England for nearly 250 years, since the Black Death of Petrarch and Chaucer had wiped out two-thirds of Europe’s population. During outbreaks in London, signs of the plague were everywhere: bills of mortality plastered on every post; mountebanks peddling their plague potions in the streets. Street fires burned continuously in an attempt to purge the air of miasmas, the stinky pockets of “bad ayre” thought to transmit the disease; bunches of rosemary hung above doorways to sweeten the air that entered citizens’ houses. Those who could afford to flee escaped to the cleaner air of the country. A door marked with a large red cross signaled an infected family quarantined inside; watchmen were posted outside to ensure no one entered or escaped. The plague cart, its bell ringing incessantly, lumbered by as it’s heap of dead bodies grew higher and higher. Since crowds spread infection, family members were not allowed to gather for funeral rituals: those attempting to follow the plague cart were arrested. When the plague wasn’t actively raging—major outbreaks occurred in 1593 and from 1603-1611—the fear of its return terrorized the minds of early modern subjects. Hundreds of plague sermons, poems, and medical tracts glutted the early modern print marketplace. This dissertation investigates what Shakespeare’s drama seems to do with the anxieties and fantasies attendant upon the early modern plague experience: how the plague exerts a presence in its absence at times, or how, at others, the plague saturates every aspect of the plays’ fictive worlds. Moreover, my inquiry seeks to understand what kind of cultural and psychical work Shakespeare’s plays performed, both for himself and for his audience members. What was it about the plague experience that compelled Shakespeare to return to it in his works, despite 7 how devastating it was to his creative and financial prospects to remind people of the disease? And what compelled his audience members to venture into the playhouses, despite the fact that these sites were thought to be uniquely capable of spreading the plague? How did the plays provide for Shakespeare and his audiences a language to know the unknowable, or communicate the unspeakable? How do we begin to think about literature in a way that recognizes the demands of trauma, yet still preserves, to some extent, the artist’s ability to make actively make aesthetic choices? These questions emerged as the ones most at stake as I moved within this project. In an attempt to understand the scope and nature of this particular traumatic event—the early modern bubonic plague—I worked with a sample of over 300 archival plague texts. I defined “plague text” as any work during plague time that seemed to respond in direct ways to the epidemic: bills of mortality, verse poems, woodcuts, pamphlets, sermons, city ordinances, and medical regimens. The first plague regimen published in London, the anonymous Here begynneth a treatyse agaynst pestele[n]ce [and] of ye infirmits (1509) seemed a logical starting point; Epiloimia epe, a verse poem written by barrister and minor poet William Austin during London’s Great Plague in 1666 served as my terminus a quem. Some of these plague texts, like Thomas Dekker’s 1603 plague pamphlets, had received some scholarly attention; most, however, had never been included in scholarly inquiries. I did not work with these plague texts in an effort to get at the “real” story of the plague: that doesn’t exist. I don’t pretend that there are any plague texts that are unmediated by their authors’ particular anxieties and interests, or that, if there were, I could disentangle myself from my own historical moment for long enough to 8 receive them. The nature of this particular trauma, moveover, brings into relief how unrecoverable history always is: we are missing the voices, after all, of those who actually felt the ravages of the plague within their own bodies (Simon Forman is among the few who survived the plague and wrote about it). Even with these limitations, however, I was able to come to some understanding, I believe, of the way the plague affected the lives of early modern subjects in very practical, real ways; I also became familiar with the most common fears and anxieties that were attendant upon the experience. I proceeded from the notion, then, that Shakespeare’s plays would not be removed from but, rather, bear the marks of these anxieties. In my basic conviction that literary works rehearse and work out fantasies and anxieties in symbolic or displaced ways, I identify with psychoanalytic criticism. More specifically, I have found a more recent application of psychoanalytic theory, trauma theory, useful throughout this dissertation in its emphasis on the ways certain exceptional events—wars, epidemics, genocides—create a kind of knowledge so unknowable that it cannot be retrieved without displacement or distortion (Hartman 537). The nature of a traumatic event, after all, is that it cannot be experienced: theorists often describe the traumatic event “falling into the psyche” without the subject actually perceiving or experiencing it (Hartman 537).
Load more

Recommended publications
  • Lyric Provinces in the English Renaissance
    Lyric Provinces in the English Renaissance Harold Toliver LYRIC PROVINCES IN THE ENGLISH RENAISSANCE Harold Toliver Poets are by no means alone in being pre­ pared to see new places in settled ways and to describe them in received images. Outer regions will be assimilated into dynasties, never mind the hostility of the natives. The ancient wilderness of the Mediterranean and certain biblical expectations of what burning bushes, gods, and shepherds shall exist every­ where encroach upon the deserts of Utah and California. Those who travel there see them and other new landscapes in terms of old myths of place and descriptive topoi; and their descriptions take on the structure, to­ nality, and nomenclature of the past, their language as much recollection as greeting. In Professor Toliver's view, the concern of the literary historian is with, in part, that ever renewed past as it is introduced under the new conditions that poets confront, and is, therefore, with the parallel movement of liter­ ary and social history. Literature, he reminds us, is inseparable from the rest of discourse (as the study of signs in the past decade has made clearer), but is, nevertheless, distinct from social history in that poets look less to common discourse for their models than to specific literary predecessors. Careful observ­ ers of place, they seek to bring what is distinct and valuable in it within some sort of verbal compass and relationship with the speaker. They bring with them, however, formulas and tf > w if a loyalty to a cultural heritage that both com­ plicate and confound the lyric address to place.
    [Show full text]
  • EAS3179 | University of Exeter
    09/28/21 EAS3179 | University of Exeter EAS3179 View Online Life and Death in Early Modern Literature Adelman, Janet. 1992. Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare’s Plays, Hamlet to the Tempest. New York: Routledge. Aebischer, Pascale. 2004. Shakespeare’s Violated Bodies: Stage and Screen Performance. Cambridge: Cambridge University Press. Andrews, John F. 1993. Romeo and Juliet: Critical Essays. Vol. Shakespearean criticism. New York: Garland Publishing. Ann Bach, Rebecca. 1998. ‘The Homosocial Imaginary of a Woman Killed with Kindness.’ Textual Practice 12(3):503–24. Anon. 1948. ‘Shakespeare Survey: An Annual Survey of Shakespearian Study and Production.’ Anon. 2004. ‘Lying-in Like a Countess: The Lisle Letters, the Cecil Family, and A Chaste Maid in Cheapside.’ Journal of Medieval and Early Modern Studies 34(2):373–403. Anon. n.d. ‘Anon, “The Gelding of the Devil” - Early English Books Online’. Retrieved (http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&a mp;ID=99834362&FILE=../session/1441379916_26006&SEARCHSCREEN=CITATI ONS&VID=198132&PAGENO=1&ZOOM=&VIEWPORT=&SEARCHC ONFIG=var_spell.cfg&DISPLAY=AUTHOR&HIGHLIGHT_KEYWORD=). Anon. n.d. ‘Business, Pleasure, and the Domestic Economy in Heywood’s a Woman Killed with Kindness: Exemplaria: Vol 9, No 2.’ Retrieved (http://www.maneyonline.com/doi/abs/10.1179/exm.1997.9.2.315). Anon. n.d. ‘Friends of the Earth.’ Retrieved (http://www.foe.co.uk/campaigns/climate_change). Anselment, Raymond A. 1993. ‘“The Teares of Nature”: Seventeenth-Century Parental Bereavement’. Modern Philology 91(1):26–53. Appelbaum, Robert. 1997. ‘“Standing to the Wall”: The Pressures of Masculinity in Romeo and Juliet’.
    [Show full text]
  • Download (1193Kb)
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/44291 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. Death, Inheritance and the Family: A Study of Literary Responses to Inheritance in Seventeenth- Century England by Sarah McKenzie A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English University of Warwick, Department of English and Comparative Literary Studies May 2003 ABSTRACT This thesis argues that a study of literary genres from the seventeenth century pertaining to death and inheritance in the family yields evidence about the way in which inheritance was understood and interpreted by early modern society; these genres include parental legacies, women writers’ interpretations of Genesis, Anne Clifford’s personal account of her struggle to gain her inheritance, plays (comedies and tragedies) and elegies on the death of children. A study of literature related to the topics of wills, legacies and lineage imparts insight into early modern concepts of family relations and parental roles, and challenges Lawrence Stone’s views on the late development of the affective family. The textual legacies of Elizabeth Joceline, Elizabeth Grymeston, Dorothy Leigh and Edward Burton, and the elegies of Ben Jonson and Katherine Philips will be used to demonstrate emotive parenting and the extension of parental roles beyond the death of the parent or beyond the death of an heir.
    [Show full text]
  • Gcse English and English Literature
    GCSE ENGLISH AND ENGLISH LITERATURE INFORMATION AND PERSONAL PROFILE FOR STUDENTS AT ASHTON COMMUNITY SCIENCE COLLEGE NAME: ………………………………………….. TEACHER: ……………………………………. 1 THE COURSE(S) You will be following the AQA, Specification A syllabus for English . As an additional GCSE, many of you will be following the AQA, Specification A syllabus for English Literature . (www.aqa.org.uk) There are two methods of assessment within each course: 1. Coursework 2. Examination The following tables give you a breakdown of the elements that need to be studied and the work that needs to be completed in each area. The percentage weighting of each element in relation to your overall grade is also included: Coursework Written If you are entered for English and English Literature you will complete five written assignments. If you are entered for English only you will complete four written assignments: ASSIGNMENT EXAMPLE TASKS % OF OVERALL GCSE Original Writing A short story or an 5 % of the English GCSE (Writing assessment for autobiographical piece of English only) writing. Media A close analysis of an 5% of the English GCSE (Writing assessment for advertising campaign or of the English only) marketing for a film. Shakespeare A close analysis of the impact 5% of the English GCSE plus (Reading assessment for created by the first 95 lines in 10% of the English Literature English and English Lit.) Romeo and Juliet. GCSE Pre-Twentieth Century Prose A comparison between two 5% of the English GCSE plus Study chapters in Great Expectations 10% of the English Literature (Reading assessment for by Charles Dickens. GCSE English and English Lit.) Twentieth Century Play A close analysis of the role 10% of the English Literature (Assessment for English played by the narrator in Blood GCSE Literature only) Brothers by Willy Russell Spoken 2 In addition to written coursework there is also a spoken coursework element for English GCSE.
    [Show full text]
  • Ben Jonson: the Poet As Maker
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1963 Ben Jonson: The Poet as Maker Glenda Pevey Rhyne College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons Recommended Citation Rhyne, Glenda Pevey, "Ben Jonson: The Poet as Maker" (1963). Dissertations, Theses, and Masters Projects. Paper 1539624391. https://dx.doi.org/doi:10.21220/s2-ngb5-e995 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BEN JONSON: THE POET AS MAKER A Thesis Presented to The Faculty of the Department of English Literature The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Glenda Pevey Rhyae September 1963 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author r Approved, September 1963: Charles E. Davidson, Ph.D. Cecil M. McCulJgr, Ph.D. q Fraser Neiman, Ph.D. t^cuJu ft- Cv\PCiAKSk Frank B . Evans, Ph.D. ii ABSTRACT In the past scholars and critics dealing with the work of Ben Jonson have either overlooked, minimized, or superficially evaluated his poems. The concepts of modern poetry, moreover, are taking us further and further from an appreciation of his poetic theory.
    [Show full text]
  • Names and Naming in Ben Jonson's Epigrammes: Preforming the Social Performance Names and Naming in Ben Jonson's Epigrammes: Preforming the Social Performance
    NAMES AND NAMING IN BEN JONSON'S EPIGRAMMES: PREFORMING THE SOCIAL PERFORMANCE NAMES AND NAMING IN BEN JONSON'S EPIGRAMMES: PREFORMING THE SOCIAL PERFORMANCE By CHARLES DAVID JAGO, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University (c) Copyright by Charles David Jago, Sept 1993 Master of Arts (1993) McMaster University (English Literature) Hamilton, Ontario TITLE: Names and Naming in Ben Jonson's Epigrammes: Preforming the Social Performance AUTHOR: Charles David Jago. B.A. (The University of Western Ontario) SUPERVISOR: Professor W.G. Roebuck NUMBER OF PAGES: 132 11 ACKNOWLEDGEMENTS I own very little of this work. This thesis owes its life to Dr. W.G. Roebuck whose efforts and enthusiasm fed it, nurtured it and saw it through to completion. Dr. Roebuck handled the dull duties of a supervisor with such consummate grace and infinite kindness that I will forever be indebted to him, and gladly too. He richly deserves all my thanks. I must also, though, thank Dr. M. Silcox who took the time to read and comment on early drafts of this thesis. The style and direction of the paper were shaped by the force of her insights and standards of scholarship. I also thank Dr. Ostovich for the care she took in reading this thesis and for her valued criticism. lowe a very special sort of thanks to Ting Ting Foong, my collaborator, whose words of encouragement consoled me in times of uncertainty. Ting Ting never failed to lend me hope when I lacked it and to dispel disappointment.
    [Show full text]
  • So We Are Talking Roughly About Twenty‐Five Years of Theatre. Roughly, Because the Tendencies That Characteriz
    So we are talking roughly about twenty‐five years of theatre. Roughly, because the tendencies that characterize Jacobean theatre started before James I came to the throne (1603, died 1625) around the year 1599 – the year when the Lord Chamberlain’s Men relocated their theatre from Shoreditch to Southwark (on the southern bank of the Thames) and called it “The Globe”, the year when the private theatre of Paul’s boys was reopened, and a little later the Lord Chamberlain’s Men got hold of the Blackfriars theatre. These developments brought about an unprecedented avalanche of play‐writing and dramaturgical innovation that made the Jacobean period one of the most dynamic and spectacular periods in theatre history as we know it. The period also established a new generation of playwrights: the most prominent of whom are Ben Jonson, John Marston, George Chapman, Thomas Middleton, John Webster, Francis Beaumont and John Fletcher – who worked alongside, competed with, collaborated and learned from William Shakespeare – the major figure that continued to sway the English stage from the Elizabethan well into the Jacobean period. 1 Of course, at the beginning of the period the most successful playwright in London was Shakespeare. So far, his fame rested mainly on the series of history plays: the two tetralogies (Henry VI, Parts I‐III and Richard III; and Richard II, Henry IV, Parts I‐II and Henry V) and King John; and his witty romantic comedies that Queen Elizabeth reportedly liked so much: e.g. Love’s Labour’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It.
    [Show full text]
  • GCSE English Literature a Foundation Question Paper June 2010
    General Certificate of Secondary Education June 2010 English Literature 3712/F (Specification A) Foundation Tier F Tuesday 25 May 2010 9.00 am to 10.45 am For this paper you must have: ! a 12-page answer book ! an unannotated copy of the AQA Anthology labelled 2008 onwards which you have been studying ! an unannotated copy of the relevant post-1914 novel if you have been studying this instead of the Anthology short stories. Time allowed ! 1 hour 45 minutes Instructions ! Use black ink or black ball-point pen. ! Write the information required on the front of your answer book. The Examining Body for this paper is AQA. The Paper Reference is 3712/F. ! Answer two questions. ! Answer one question from Section A and one question from Section B. ! In your answer to a question from Section B, you must refer to pre-1914 and post-1914 poetry. ! This is an open text examination. You must have copies of texts in the examination room. The texts must not be annotated and must not contain additional notes or materials. ! Write your answers in the answer book provided. ! Do all rough work in your answer book. Cross through any work you do not want to be marked. ! You must not use a dictionary. Information ! The maximum mark for this paper is 66. ! There are 27 marks for Section A and 36 marks for Section B. You will be awarded up to three marks for Quality of Written Communication. ! The marks for questions are shown in brackets. ! You are reminded of the need for good English and clear presentation in your answers.
    [Show full text]
  • GCSE 2009 Specification
    Version 1.0: 0407 General Certificate of Secondary Education English Literature 3712 Specification A 2009 Material accompanying this Specification • Specimen Assessment Materials • A Teachers’ Guide SPECIFICATION This specification will be published annually on the AQA Website (www.aqa.org.uk). If there are any changes to the specification centres will be notified in print as well as on the Website. The version on the Website is the definitive version of the specification. Further copies of this specification booklet are available from: AQA Logistics Centre, Unit 2, Wheel Forge Way, Ashburton Park, Trafford Park, Manchester, M17 1EH. Telephone: 0870 410 1036 Fax: 0161 953 1177 or can be downloaded from the AQA Website: www.aqa.org.uk Copyright © 2007 AQA and its licensors. All rights reserved. COPYRIGHT AQA retains the copyright on all its publications. However, registered centres for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to centres to photocopy any material that is acknowledged to a third party even for internal use within the centre. Set and published by the Assessment and Qualifications Alliance. The Assessment and Qualifications Alliance (AQA) is a company limited by guarantee registered in England and Wales 3644723 and a registered charity number 1073334. Registered address AQA, Devas Street, Manchester, M15 6EX. Dr Michael Cresswell Director General. General Certificate of Secondary Education, 2009 - English Literature A
    [Show full text]
  • Ben Jonson: Renaissance Playwright, Renaissance Man
    Published on Great Writers Inspire (http://writersinspire.org) Home > Ben Jonson: Renaissance Playwright, Renaissance Man Ben Jonson: Renaissance Playwright, Renaissance Man Ben Jonson 1572-1637) was an early modern playwright whose popularity rivaled that of Shakespeare or Marlowe. He spent multiple stints in prison, wrote masques in which the Queen of England and Prince of Wales performed, and was crowned England's first poet laureate. Yet for all this in 1572 he was born into relative poverty. His father died shortly before his birth, and his mother remarried a bricklayer. Luckily for the clever young boy, an unidentified friend paid for Jonson to attend Westminster School. After leaving school Jonson attempted to join his stepfather as a bricklayer, but the profession didn't take; legend has it young Ben recited Homer while building the walls of Lincoln Inn. In the 1590s Jonson served in the armed forces in the Low Countries, and in November 1594 Jonson married a woman he described as "a shrew, yet honest." It's not certain when Jonson entered the theatre, but by 1597 he was an actor for the Admiral's Men. It was also in this year that his earliest surviving play, The Case is Altered [1], was performed by Pembroke's Company. [2] By George Vertue, after Gerard van Honthorst [Public domain], via Wikimedia Commons Too Witty for his Own Good Jonson's sharp tongue got him into no end of trouble: In summer of 1597 the satirical comedy The Isle of Dogs, which Jonson co-wrote with Thomas Nashe, was performed, and the play upset the powers that be.
    [Show full text]
  • Thesis-1991D-S888d.Pdf (5.478Mb)
    DIVERSITY IN HARMONY: THE POLITICAL COUNSEL OF BEN JONSON'S UNDER-WOOD By LIBBY ELLEN STOTT Bachelor of Arts in Arts and Sciences Oklahoma State University Stillwater, Oklahoma 1980 Master of Arts Oklahoma State University Stillwater, Oklahoma 1984 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY May, 1991 \C1'1 ,, t) ~ co~.a COPYRIGHT by Libby Ellen Stott May 1991 DIVERSITY IN HARMONY: THE POLITICAL COUNSEL OF BEN JONSON'S UNDER-WOOD Thesis Approved: ThRt;Adviser ~/!/~ - Dean of the Graduate College i.i 1402227 PREFACE In this study of Jonson's political counsel, I am indebted to many persons, persons both inside and outside of the English Department. Though no longer at OSU, Dr. Paul Klemp introduced me to Jonson and was many things during my pre-dissertation years: first advisor, research editor, willing ear, literate Lovewit, eternal help. I benefitted greatly from his Jonson class and from the comments of my classmate, [Dr.] Steve Robbins. Dr. Edward Jones, who became my advisor upon Dr. Klemp's departure, has been an indispensable aid. Besides helping me choose my topic, he counseled me throughout the composition of the dissertation. Though he might have fed many of my drafts to Vulcan, he continued to read, edit, and guide. Persevering with a gentle manner and a Senecan patience, Dr. Jones worked hard and remained ever hopeful. -~~ The head of my committee, Dr. Jeffrey Walker, has been a valuable source of continuity and administrative skill. This dynamic man has been a personal as well as a professional inspiration: benevolent yet tough, he exemplifies wisdom and youth.
    [Show full text]
  • Suggested Reading List for Year 7
    Suggested Reading List for Year 7 Below is a list of suggested books which your child may enjoy reading during the summer. The list is a guide and supports the genres and texts your child will read during Year 7 and Year 8. Novels Holes, Louis Sachar Tribes, Catherine Macphail Noughts and Crosses, Malorie Blackman Never Let Me Go, Kazuo Ishiguro Roll of Thunder, Hear My Cry, Mildred Taylor Face, Benjamin Zephaniah Animal Farm, George Orwell Oliver Twist, Charles Dickens, Great Expectations, Charles Dickens Gulliver’s Travels, Johnathan Swift Around the World in Eighty Days, Jules Verne The End, Lemony Snicket A Series of Unfortunate Events, Lemony Snicket, Adventures of Sherlock Holmes, Conan Doyle War Horse, Michael Morpurgo Kensuke’s Kingdom, Michael Morpurgo The Butterfly Lion, Michael Morpurgo Boy, Roald Dahl Best Friends, Jacqueline Wilson Carrie’s War, Nina Bawden Poetry Different Cultures Island Man, Grace Nichols Blessing, Imtiaz Dharkar Search for My Tongue, Sujata Bhatt ‘Mother, any distance greater than a single span’, Simon Armitage- from Book of Matches Death of a Naturalist, Seamus Heaney Before You Were Mine, Carol Ann Duffy Conflict Flag, John Agard The Right Word, Imtiaz Dharker Mametz Wood, Owen Sheers Poppies, Jane Weir Pre 1914 Poetry Bank The Eagle,Alfred Tennyson On my first Sonne, Ben Johnson The Little Boy Lost and The Little Boy Found, William Blake NORD ANGLIA INTERNATIONAL SCHOOL (Opening 1 September 2014) 11 On Tin Street, Lam Tin, Kowloon, Hong Kong SCHOOL MANAGEMENT OFFICE 15/F Millennium City 3, 370 Kwun Tong Road, Kowloon, Hong Kong T: +852 3107 8158 E: [email protected] www.nais.hk Literary Heritage Sonnet 43, Elizabeth Barrett Browning Nettles, Vernon Scannell Wind, Ted Hughes 2 .
    [Show full text]