A study of numerology in Elizabethan poetry, with some background studies which base the subject in classical learning, the works of Dante and Petrarch, and the esoteric traditions of the humanists. The central assumption of numerological criticism is that there exist works written in this tradition which show a correspondence between structure and meaning on a numerical plane; that is, one in which the number of the constituent parts (lines, stanzas, sonnets in a sequence) expresses a major aspect of the meaning. For instance parts of the whole can be arranged to represent months of the year and so on. Such structures of time and the triumphal form, in which the most important 'sovereign' element is placed at the centre, are the two main numerological patterns discussed by Dr Fowler. Critics have tended to regard numerology as an isolated phenomenon, rare after the Middle Ages but Dr Fowler demonstrates its persistence in the works of Spenser, Sidney, Chapman, Shakespeare, Donne, Jonson, Dryden and others.

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First published in 1989, Henry Fielding is a biography presenting a fresh interpretation of Fielding's life and thought. Using newly discovered information, including new facts, three hitherto unknown pictures of Fielding drawn from life, documents, manuscripts, and many crucially important and engrossing new letters, Martin C. Battestin - the foremost Fielding scholar - illuminates every aspect of Fielding's life and work. Fielding and the life he led - in the West Country, at Eton, at the University of Leyden, and in the theatres and brothels, sponging houses and police courts of London - make for fascinating reading. This authoritative and timely biography will appeal to all those interested in the society and literature of eighteenth-century England.

In Milton and Ecology, Ken Hiltner engages with literary, theoretical, and historic approaches to explore the ideological underpinnings of our prevalent environmental crisis. Focusing on Milton's rejection of dualistic theology, metaphysical philosophy, and early-modern subjectivism, Hiltner argues that Milton anticipates certain prevailing essential ecological arguments. Even more remarkable is that Milton was able to integrate these arguments with biblical sources so seamlessly that his interpretative 'Green' reading of scripture has for over three centuries been entirely plausible. This study considers how Milton, from the earliest edition of the Poems, not only sought to tell the story of how through humanity's folly Paradise on earth was lost, but also sought to tell how it might be regained. This intriguing study will be of interest to eco-critics and Milton specialists alike.

While recent studies of Edmund Spenser and Jonathan Swift have firmly relocated both writers in their Irish as well as their English context, English writing in Ireland between these monolithic figures has been largely neglected. This study explores in detail the literary territory between Spenser and Swift. Examining a range of texts, from fragments to sophisticated publications such as economic improvement manuals, histories, plays, romances and poems, Deana Rankin demonstrates how writers in Ireland articulated the transition from soldier to settler across this century of war and political turmoil. She illuminates both centre and periphery by revealing for the first time the richness of English writing in Ireland during the period and its sustained engagement with canonical English literature, including Shakespeare, Sidney and Milton. Historians and literary scholars will find much to discover in this significant contribution to early modern British studies.

Dubbed 'the English Virgil' in his own lifetime, Spenser has been compared to the Augustan laureate ever since. He invited the comparison, expecting a readership intimately familiar with Virgil's works to notice and interpret his rich web of allusion and imitation, but also his significant departures and transformations.This volume considers Spenser's pastoral poetry, the genre which announces the inception of a Virgilian career in The Shepheardes Calender, and to which he returns in Colin Clouts Come Home Againe, throwing the 'Virgilian career' into reverse. His sustained dialogue with Virgil's Eclogues bewrays at once a profound debt to Virgil and a deep-seated unease with his values and priorities, not least his subordination of pastoral to epic. Drawing on the commentary tradition and engaging with current critical debates, this study of Spenser's interpretation, imitation and revision of Virgil casts new light on both poets-and on the genre of pastoral itself. -- .

This innovative volume considers the relationship between the Gothic and theories of Post-Colonialism. Contributors explore how writers such as Salman Rushdie, Arunhati Roy, and Ruth Prawer Jhabvala use the Gothic for postcolonial ends. Post-Colonial theory is applied to earlier Gothic narratives in order to re-examine the ostensibly colonialist writings of William Beckford, Charlotte Dacre, H. Rider Haggard, and Bram Stoker.

Performing Privacy and Gender in Early Modern Literature demonstrates that early modern women's rhetorical manipulations of privacy violate the public/private opposition and experiment with form and genre in ways that shaped the early modern discourse on privacy. This book reveals how authors inventively disrupt conventions about women's privacy and its proper limits in genres from household orders to fiction, poetry, and drama. Mary Trull traces the construction of privacy in Anne Lock's 'The Meditation of a Penitent Sinner, ' Shakespeare's All's Well That Ends Well, Mary Wroth's Urania, and Aphra Behn's fiction and lyric poetry. The book explores changing views of privacy from the mid-sixteenth to the end of the seventeenth century, from nostalgically evoked feudalism to emergent signs of distinctively modern forms of privacy linked to the nuclear family and the economic concept of private interest. A conclusion links early modern privacy to digital media and Facebook.

Don Pedro Calderon de la Barca (1600 81) is Spain's most important early modern dramatist. His varied career as a playwright, courtier, soldier and priest placed him at the heart of Spanish culture, and he reflected on contemporary events in his plays, most famously La vida es sueno (Life is a Dream). In this 2009 scholarly biography of Calderon in English, Don Cruickshank uses his command of the archival sources and his unparalleled understanding of Calderon's work to chart his life and his political, literary and religious contexts. In addition, the book includes much fresh research into Calderon's writings and their attributions. This elegant, erudite work will bring Calderon to a new audience both within and beyond Spanish studies. With illustrations, extensive notes and a detailed index, this is the most comprehensive English-language book on Calderon, and it will long remain the key work of reference on this important author.

Between 1580 and 1745, a period that saw Edmund Spenser's journey to an unconquered Ireland and the Jacobite Rebellion, the first British Empire was established. The intervening years saw the cultural and material forces of colonialism pursue a fitful, often fanciful endeavour to secure space for this expansion. With the defeat of the Highland clans, what England in 1580 could only dream about had materialised: a coherent, socio-spatial system known as an empire. Taking the Atlantic world as its context, this ambitious 1999 book argues that England's culture during the seventeenth and early eighteenth centuries was saturated with a geographic imagination fed by the experiences and experiments of colonialism. Using theories of space and its production to ground his readings, Bruce McLeod skilfully explores how works by Edmund Spenser, John Milton, Aphra Behn, Mary Rowlandson, Daniel Defoe and Jonathan Swift imagine, interrogate and narrate the adventure and geography of empire.

Francois Rabelais (1483?-1553) is a difficult and often misunderstood author, whose reputation for coarse "Rabelaisian" jesting and "Gargantuan" indulgence in food, drink, and sex is highly misleading. He was in fact a committed humanist who expressed strong views on religion, good government, education, and much more through the mock-heroic adventures of his giants.
While most books about Rabelais have relatively little to say about his comedic genius, "Enter Rabelais, Laughing" analyses the many sides of Rabelais's humor, focusing on why his writing was so hilariously funny to sixteenth-century readers. The author begins by discussing how the Renaissance defined laughter and situates Rabelais in a long tradition of literary laughter. Subsequent chapters examine specific contexts relevant to Gargantua and Pantagruel, beginning with the comic aspects of epic, chronicle, mock-epic, and farce, and proceeding to Renaissance and Reformation humanist satire, rhetoric, medicine, and law. All of these chapters combine information, much of it new, on the humanist message Rabelais wanted to convey to his readers, with an analysis of how he used his wit to reinforce his message.A
Rarely is a writer's work treated in such illuminating detail. On a broad level, "Enter Rabelais, Laughing" serves as an excellent introduction to French Renaissance literature and exhibits a remarkably charming and lucid writing style, free of jargon. To Rabelais scholars in particular it offers a thorough and innovative analysis that corrects misconceptions and questions commonly held views.A

The Elizabethan conquest of Ireland sparked off two linguistic events of enduring importance: it initiated the language shift from Irish to English, which constitutes the great drama of Irish cultural history, and it marked the beginnings of English linguistic expansion. The Elizabethan colonisers in Ireland included some of the leading poets and translators of the day. In Language and Conquest in Early Modern Ireland, Patricia Palmer uses their writings, as well as material from the State Papers, to explore the part that language played in shaping colonial ideology and English national identity. Palmer shows how manoeuvres of linguistic expansion rehearsed in Ireland shaped Englishmen's encounters with the languages of the New World, and frames that analysis within a comparison between English linguistic colonisation and Spanish practice in the New World. This is an ambitious, comparative study, which will interest literary and political historians.

Shakespearean Echoes assembles a global cast of established and emerging scholars to explore new connections between Shakespeare and contemporary culture, reflecting the complexities and conflicts of Shakespeare's current international afterlife.

Battista Guarini's pastoral tragicomedy Il pastor fido (1589) began its life as a play, but soon was transformed through numerous musical settings by prominent composers of the late sixteenth and early seventeenth centuries. Through the many lives of this work, this book explores what happens when a lover's lament is transplanted from the theatrical stage to the courtly chamber, from speech to song, and from a single speaking character to an ensemble of singers, shedding new light on early modern literary and musical culture. From the play's beginnings in manuscripts, private readings, and aborted stage productions in the 1580s and 1590s, through the gradual decline of Pastor fido madrigals in the 1640s, this book examines how this widely read yet controversial text became the center of a lasting and prolific music tradition. Using a new integrative system of musical-textual analysis based on sixteenth-century theory, Seth Coluzzi demonstrates how composers responded not only to the sentiments, imagery, and form of the play's speeches, but also to subtler details of Guarini's verse. Viewing the musical history of Guarini's work as an integral part of the play's roles in the domains of theater, literature, and criticism, this book brings a new perspective to the late Italian madrigal, the play, and early modern patronage and readership across a diverse geographical and temporal frame.

This collection of commissioned essays by established scholars, responds to critical debate on political theatre of the turbulent early years of the seventeenth century. Theatre is widely interpreted. The authors discuss censorship, the social implications of pageantry, Reformation ideals, popular theatre and the politics of the masque throughout the period. An early chapter discusses political theatre in the light of work by revisionist and post-revisionist historians. The drama of Jonson, Dekker, Middleton, Massinger, Chapman, Heywood and Rowley is given detailed attention, while Shakespeare's plays are considered in the introductory chapter.

We have left the twentieth century, but this century of violence and extremes has not left us: Its shadow has become longer and blacker. Seventy years after the end of the Second World War, the memory of the Holocaust is less and less anchored in the lived experience of survivors and witnesses. Shadows of Trauma analyzes the transformation of the past from an individual experience to a collective construction, with special attention to the tensions that arise when personal experience collides with official commemoration. In addition to surveying memory's important terms and distinctions, Assmann traces the process that emerged after the fall of the Berlin Wall, of creating a new German memory of the Holocaust. Assmann revisits the pitfalls of "false memory" and lingering forms of denial and repression, as well as the new twenty-first-century discourses, such as that of German "victimhood," as well as the new memory sites for a future in which German memory will be increasingly oriented toward a European context. Combining theoretical analysis with historical case studies, the book revisits crucial debates and controversial issues out of which "memory culture" has emerged as a collective project and a work in progress.

For educated poets and readers in the Renaissance, classical literature was as familiar and accessible as the work of their compatriots and contemporaries - often more so. This volume seeks to recapture that sense of intimacy and immediacy, as scholars from both sides of the modern disciplinary divide come together to eavesdrop on the conversations conducted through allusion and intertextual play in works from Petrarch to Milton and beyond. The essays include discussions of Ariosto, Spenser, Du Bellay, Marlowe, the anonymous drama Caesars Revenge, Shakespeare and Marvell, and look forward to the grand retrospect of Shelley's Adonais. Together, they help us to understand how poets across the ages have thought about their relation to their predecessors, and about their own contributions to what Shelley would call 'that great poem, which all poets...have built up since the beginning of the world'. -- .

A collection of essays on Spanish poetry honouring a distinguished British Hispanist. Trevor J. Dadson is a British Hispanist of international distinction whose remarkable scholarly range has resulted in a published output that embraces cultural, literary and social history, textual editing, literacy, book ownership and literary criticism. The twelve essays of the present volume pay tribute to his distinctive interventions in the field of Spanish poetry (early modern and contemporary); collectively they recognize the catalytic role of Professor Dadson's original research while opening up to dialogues beyond it, aiming to inspire new conversations around the topics he has inspired generations of scholars to pursue. Represented in the volume are former doctoralstudents, former colleagues and international collaborators, all of whom are also distinguished authorities in their fields. Javier Letran is Senior Lecturer in Spanish at the University of St Andrews. Isabel Torres is Professor of Spanish Golden Age Literature at Queen's University Belfast.

This book questions when exactly the Anthropocene began, uncovering an "early Anthropocene" in the literature, art, and science of eighteenth- and nineteenth-century Britain. In chapters organized around the classical elements of Earth, Fire, Water, and Air, Seth Reno shows how literary writers of the Industrial Era borrowed from scientists to capture the changes they witnessed to weather, climate, and other systems. Poets linked the hellish flames of industrial furnaces to the magnificent, geophysical force of volcanic explosions. Novelists and painters depicted cloud formations and polluted urban atmospheres as part of the emerging discipline of climate science. In so doing, the subjects of Reno's study-some famous, some more obscure-gave form to a growing sense of humans as geophysical agents, capable of reshaping Earth itself. Situated at the interaction of literary studies, environmental studies, and science studies, Early Anthropocene Literature in Britain tells the story of how writers heralded, and wrestled with, Britain's role in sparking the now-familiar "epoch of humans."

Paul Cefalu's study explores the relationship between moral character and religious conversion in the poetry and prose of Sidney, Spenser, Donne, Herbert, and Milton, as well as in early modern English Conformist and Puritan sermons, theological tracts, and philosophical treatises. Cefalu argues that early modern Protestant theologians were often unable to incorporate a coherent theory of practical morality into the order of salvation. Cefalu draws on fresh historicist theories of ideology and subversion, but takes issue with historicist tendency to conflate generic and categorical distinctions among texts. He argues that imaginative literature, by virtue of its tendency to place characters in approximately real ethical quandaries, uniquely points out the inability of early modern English Protestant theology to merge religious theory and ethical practice. This study should appeal not only to literary critics and historians, but also to scholars interested in the history of moral theory.

Euhemerism and Its Uses offers the first interdisciplinary, focussed, and all-round view of the long history of an important but understudied phenomenon in European intellectual and cultural history. Euhemerism - the claim that the Greek gods were historically mortal men and women - originated in the early third century BCE, in an enigmatic and now fragmentary text by the otherwise unknown author Euhemeros. This work, the Sacred Inscription, has been read variously as a theory of religion, an atheist's manifesto, as justifying or satirizing ruler-worship, as a fantasy travel-narrative, and as an early 'utopia'. Influencing Hellenistic and Roman literature and religious and political thought, and appropriated by early Christians to debunk polytheism while simultaneously justifying the continued study of classical literature, euhemerism was widespread in the middle ages and Renaissance, and its reverberations continue to be felt in modern myth-theory. Yet, though frequently invoked as a powerful and pervasive tradition across several disciplines, it is still under-examined and poorly understood. Filling an important gap in the history of ideas, this volume will appeal to scholars and students of classical reception, mediaeval and Renaissance literature, historiography, and theories of myth and religion.

Self-reflection, as the hallmark of the modern age, originates more profoundly with Dante than with Descartes. This book rewrites modern intellectual history, taking Dante's lyrical language in Paradiso as enacting a Trinitarian self-reflexivity that gives a theological spin to the birth of the modern subject already with the Troubadours. The ever more intense self-reflexivity that has led to our contemporary secular world and its technological apocalypse can lead also to the poetic vision of other worlds such as those experienced by Dante. Facing the same nominalist crisis as Duns Scotus, his exact contemporary and the precursor of scientific method, Dante's thought and work indicate an alternative modernity along the path not taken. This other way shows up in Nicholas of Cusa's conjectural science and in Giambattista Vico's new science of imagination as alternatives to the exclusive reign of positive empirical science. In continuity with Dante's vision, they contribute to a reappropriation of self-reflection for the humanities.

C. J. Sisson (1885-1966) was Lord Northcliffe Professor of Modern English Literature in the University of London. His main research interest was Shakespeare, but in this study, first published in 1936, he explores what legal records can tell us about lost early modern plays and entertainments. The Court of Star Chamber prosecuted a number of offences against moral order and frequently took action against the dramatic representation of sedition and libel. Its records often provide the only evidence of Tudor plays and entertainments never printed and lost in manuscript. Sisson explores several cases in detail, identifying the people who filed complaints against libel as well as exploring all possible evidence about what the plays contained. Sisson's study remains of value as the first to uncover archival information about lost works of Chapman, Dekker, Ford and Webster as well as anonymous jigs, verse satires and libels.

A truly groundbreaking collaboration of original theatre history with exciting literary criticism, Shakespeare in Parts is the first book fully to explore the original form in which Shakespeare's drama overwhelmingly circulated. This was not the full play-text; it was not the public performance. It was the actor's part, consisting of the bare cues and speeches of each individual role. With group rehearsals rare or non-existent, the cued part alone had to furnish the actor with his character. But each such part-text was riddled with gaps and uncertainties. The actor knew what he was going to say, but not necessarily when, or why, or to whom; he may have known next to nothing of any other part. It demanded the most sensitive attention to the opportunities inscribed in the script, and to the ongoing dramatic moment. Here is where the young actor Shakespeare learnt his trade; here is where his imagination, verbal and technical, learnt to roam.
This is the story of Shakespeare in Parts. As Shakespeare developed his playwriting, the apparent limitations of the medium get transformed into expressive opportunities. Both cue and speech become promise-crammed repositories of meaning and movement, and of individually discoverable space and time. Writing always for the same core group of players, Shakespeare could take - and insist upon - unprecedented risks. The result is onstage drama of astonishing immediacy. Starting with a comprehensive history of the part in early modern theatre, Simon Palfrey and Tiffany Stern's mould-altering work of historical and imaginative recovery provides a unique keyhole onto hitherto forgotten practices and techniques. It not only discovers a newly active, choice-ridden actor, but a new Shakespeare.