Chastity and lust, charity and greed, humility and pride, are but some of the virtues and vices that have been in tension since Prudentius' Psychomachia, written in the fifth century. While there has been widespread agreement within a given culture about what exactly constitutes a virtue or a vice, are these categories so consistent after all? In Ambiguous Antidotes, Hilaire Kallendorf explores the receptions of Virtues in the realm of moral philosophy and the artistic production it influenced during the Spanish Gold Age. Using the Derridian notion of pharmakon, a powerful substance that can serve as poison and cure, Kallendorf's original and pioneering insight into five key Virtues (justice, fortitude, chastity, charity, and prudence) reveals an intriguing but messy relationship. Rather than being seen as unambiguously good antidotes, the Virtues are instead contested spaces where competing sets of values jostled for primacy and hegemony. Employing an arsenal of tools drawn from literary theory and cultural studies Ambiguous Antidotes confirms that you can in fact have too much of a good thing.

From Restoration poets and playwrights Dryden, Rochester and Behn, through to the great eighteenth-century novelists and satirists Richardson, Burney and Defoe, this volume discusses the key literary developments of the age. Covering important topics of debate, such as trade, expansion and slavery, nature, liberty, and print culture, this "York Notes Companion" also incorporates relevant critical theory throughout for a complete and wide-ranging introduction.

This study explores how poets who espoused republican political ideals sought to embody and advance those principles in their verse. By examining a range of canonical and non-canonical authors-including Blake, Shelley, Cooper, Linton, Landor, Meredith, Thomson and Swinburne, Kuduk Weiner connects the formal strategies of republican poems to the political theory and expressive cultures of republican radicalism. Her new study traces a strain of powerful, complex political poetry that casts new light on the political and literary history of nineteenth-century England.

Despite the explosion of scholarship on Shakespeare in popular culture, too little attention has been paid to the Renaissance itself as an imagined historical period. "The English Renaissance in Popular Culture" considers popular culture's confrontations with the history, thought, and major figures of the English Renaissance. Analyzing "period films," appropriations, television productions, popular literature, pastimes such as Ren Faires, and even punk music, its contributors explore the rich ways in which popular culture seeks to engage the Renaissance. Ultimately, this important collection asks how such popular engagements impact the teaching and the cultural importance of English Renaissance literature and history.

This book examines fictional representations of India in novels, plays and poetry produced between the years 1772 to 1823 as historical source material. It uses literary texts as case studies to investigate how Britons residing both in the metropole and in India justified, confronted and imagined the colonial encounter during this period.

'Sold, a legal prostitute' when married off at the age of fifteen, Charlotte Smith left her wastrel husband to support herself and their children as a poet and novelist who would have a lasting influence on William Wordsworth and Jane Austen. Combative and witty she became a radical, controversial and very popular author: at a time when the French Revolution was raising high hopes of Reform, she argued for change in England too. Loraine Fletcher's vivid scholarly biography is as readable for the newcomer to the 1790s as for the specialist, tracing the embattled life in the wonderfully self-dramatising fiction.

This introductory guide to one of Marlowe's most widely-studied plays offers a scene-by-scene theatrically aware commentary, a brief history of the text and first performances, case studies of key performances and productions, a survey of screen adaptations, and a wide sampling of critical opinion and further reading.

This book is a study of As You Like It , which shows how the play represents issues of interest to literate playgoers of its time, as well as speculatively to Shakespeare himself.

John Lyly was undisputed master of the private theatre stage in the 1570s and 1580s. Lyly's "Endymion" (1588) represents his famous Euphuistic style at its best and also gives us vintage Lyly as courtier and dramatist. In this love comedy, Lyly retells an ancient legend of the prolonged sleep of the man with whom the moon (Cynthia) fell in love. The fable is piquantly relevant to Queen Elizabeth and her exasperated if adoring courtiers. This edition makes a new and compelling argument for the relevance of "Endymion" to the threat of the Spanish Armada invasion of 1588 and to the role of the Earl of Oxford in England's politics of that troubled decade. Full commentary is provided on every aspect of the play, including its philosophical allegory about the relation of the moon to mortal life on earth.

THE OXFORD HISTORY OF LITERARY TRANSLATION IN ENGLISH
General Editors: Peter France and Stuart Gillespie
This groundbreaking five-volume history runs from the Middle Ages to the year 2000. It is a critical history, treating translations wherever appropriate as literary works in their own right, and reveals the vital part played by translators and translation in shaping the literary culture of the English-speaking world, both for writers and readers. It thus offers new and often challenging perspectives on the history of literature in English. As well as examining the translations and their wider impact, it explores the processes by which they came into being and were disseminated, and provides extensive bibliographical and biographical reference material.
Volume 1 of The Oxford History of Literary Translation in English originates with what medievalists have long known, that virtually everything written in the Middle Ages in English can be regarded, one way or another, as a translation, and that medieval understandings of what constitutes literature were significantly more generous than many modern ones. It uses modern as well as medieval understandings of translation to inform its discussions (the two understandings have a great deal in common), and it aims to situate medieval translation in English as fully as possible in its various cultural contexts: this includes, in particular, the complicated inter-relations of translation throughout the period into Latin, and (for the Middle English period) of translation in French. Since it also understands the Middle Ages of its title as including the first half of the sixteenth century, it studies what has survived of nearly athousand years of translation activity in England.

A sensitive investigation into how French writers, including Descartes and Racine, treated a central preoccupation in early modern writings. Idolatry was one of the dominant and most contentious themes of early modern religious polemics. This book argues that many of the best-known literary and philosophical works of the French seventeenth century were deeply engaged and concerned with the theme. In a series of case studies and close readings, it shows that authors used the logic of idolatry to interrogate the fractured and fragile relationship between the divine and the human, with particular attention to the increasingly fraught question of the legitimacy of human agency. Reading d'Urfe, Descartes, La Fontaine, Sevigne, Moliere, and Racine through the lens of idolatry reveals heretofore hidden aspects of their work, all while demonstrating the link between the emergent autonomy of literature and philosophy and the confessional conflicts that dominated the period. In so doing, Professor McClure illustrates how religion can become a source of interpretive complexity, and how this dynamism can and should be taken into account in early modern French studies and beyond.

How do we perceive evil? How do we represent evil? In Transgression and the Aesthetics of Evil, Taran Kang examines the entanglements of aesthetics and morality. Investigating conceptions and images of evil, Kang identifies a fateful moment of transformation in the eighteenth century that continues to reverberate to the present day. Transgression, once allocated the central place in the constitution of evil, undergoes a startling revaluation in the Enlightenment and its aftermath, one that needs to be understood in relation to emergent ideas in the arts. Taran Kang engages with the writings of Edmund Burke, the Marquis de Sade, Friedrich Nietzsche, and Hannah Arendt, among others, as he questions recent calls to "de-aestheticize" evil and insists on a historically informed appreciation of evil's aesthetic dimensions. Chapters consider the figure of the "evil genius," the paradoxical appeal of the grotesque and the disgusting, and the moral status of spectators who behold scenes of suffering and acts of transgression. In grappling with these issues, Transgression and the Aesthetics of Evil questions the feasibility and desirability of insulating the moral from the aesthetic.

"Medicinal Cannibalism in Early Modern English Literature and Culture" examines an important moment in the long history of the medical use and abuse of the human body. In early modern Protestant England, the fragmented corpse was processed, circulated, and ingested as a valuable drug in a medical economy underpinned by a brutal judicial system. In a meticulous engagement with an extensive range of medical, religious, and literary texts, Louise Noble shows how early modern writers became obsessed with medicinal cannibalism and its uncanny link to the contested Eucharist sacrament. In the process, Noble points out startling continuities between early modern and contemporary medical consumptions of the body.

An in-depth study of early modern women's modesty rhetoric from the English Reformation to the Restoration. This book provides new readings of modesty's gendered deployment in the works of Anne Askew, Katharine Parr, Mary Sidney, Aemilia Lanyer and Anne Bradstreet.

British Women's Life Writing, 1760-1840 brings together for the first time a wide range of print and manuscript sources to demonstrate women's innovative approach to self-representation. It examines canonical writers, such as Mary Wollstonecraft, Mary Robinson, and Helen Maria Williams, amongst others.

This book proposes the poetic link between Donne and Crashaw during the English Reformation. In the first half of this work, Donne's Songs and Sonets, Verse Letters, religious works and Anniversaries are discussed as they reflect increasingly covert reverence for a holy mother figure. In the second half, Crashaw's juvenile poems and epigrams, verse in honour of the Virgin and Child, and mature contemplative verse are seen to express mystical homage to Mary and growing admiration for feminine powers of faith.

This, the first full analysis of Arbuthnot's Art of Political Lying (1712), argues that the work is a commentary on long-standing themes of debate in science, rhetoric and philosophy and should be seen as a seminal satire standing in opposition to the practice of Swift and Pope. Rather than simply condemning dishonesty, Arbuthnot raises serious questions about the elusive nature of truth in politics. The argument thus traverses literary analysis, intellectual history and philosophy. An original version of the Art of Political Lying , based on English and French editions is supplied in the appendix.

The essays of this collection explore how ideas about 'blood' in science and literature have supported, at various points in history and in various places in the circum-Atlantic world, fantasies of human embodiment and human difference that serve to naturalize existing hierarchies.

"The Culture of the Gift in ""Eighteenth-Century England" analyzes the long overlooked role of gift exchange in literary texts and cultural documents and provides innovative readings of how gift transactions shaped the institutions and practices that gave this era its distinctive identity.

Women, the Novel, and Natural Philosophy, 1660-1727 shows how early women novelists drew on debates about the self generated by the 'scientific' revolution to establish the novel as a genre and literary omniscience as a point of view. These writers such as Aphra Behn, Jane Barker, Eliza Haywood, and Mary Davys used, tested, explored, accepted, and rejected ideas about the self in their works to represent the act of knowing and what it means to be a knowing self. Karen Bloom Gevirtz agues that as they did so, they developed structures for representing authoritative knowing that contributed to the development of the novel as a genre, and to literary omniscience as a point of view.

This Jacobean tragic-comedy by Philip Massinger explores the cultural conflict between Christian Europe and Muslim North Africa experienced when the two began to travel and trade in the early modern period. The play is peopled with merchants and pirates and the somewhat convoluted plot involves conversions between both faiths, disguise, kidnap and clandestine marriage.

The play is one of many of the period exploring the tantalizing and sometimes threatening "other" world of other religions and cultures and as such is studied alongside more familiar plays such as "Othello" and "The Merchant of Venice." Michael Neill explores the themes as well as the pure theatrical joy of this fast-paced play, putting it in its historical context as well as discussing how it resonates with modern audiences and readers today.

From the 16th to the 18th Century, hermaphrodites were discussed and depicted in a range of artistic, mythological, scientific, and erotic contexts. Early Modern Hermaphrodites looks at some of those representations to explore the stories they tell about ambiguous sex and gender in early modern England. Gilbert examines the often contradictory ways in which hermaphrodites were represented as both spiritual ideals and sexual grotesques; as freaks, erotic objects, and medical curiosities; and as literary metaphors and signs of social decay.

An Introduction to Eighteenth-Century Fiction deals with fiction of the "long 18th century", using a clearly defined pool of texts and corpus of writers. The first part of the study discusses the broader issues of definitions and approaches, genre and gender, and canon formation; the second part, after a more general discussion of Richardson and Fielding, offers a series of five paired readings, juxtaposing texts by Behn and Defoe, Sterne and Smollett, Lennox and Burney, Radcliffe and Godwin and Austen.

This collection explores the concept of civility in the early modern period. It addresses a range of writings in English and Scottish--among them, conduct manuals, colonial tracts, diaries, letters, dialogues, poetry, drama, chronicles--by English, Welsh and Scots men and women in and about the Atlantic archipelago. It explores the many meanings of civility in the early modern period; it recovers some of the lost associations of civility as well as the complex use of the adjectives "civil" and "barbarous" in cultural and colonial encounters.

Aphra Behn, Susannah Centlivre, Hannah Cowley, and Elizabeth Inchbald were the only four women in England who enjoyed career-long success as comicplaywrights from 1670-1800. Their respective approaches to the body, contracts, nationalism, and divorce animate their comedies and provide comic comment on the marriage plot. By attending to the dialogue between humorous comic events and the more predictable comic endings of these plays, Anderson illuminates the philosophical, political, and legal arguments about women and marriage that fascinated both female playwrights and the theatergoing public.