Encompassing nearly a century of drama, this is the first book to provide students and scholars with a truly comprehensive guide to the early modern soliloquy. Considering the antecedents of the form in Roman, late fifteenth and mid-sixteenth century drama, it analyses its diversity, its theatrical functions and its socio-political significances. Containing detailed case-studies of the plays of Marlowe, Shakespeare, Jonson, Ford, Middleton and Davenant, this collection will equip students in their own close-readings of texts, providing them with an indepth knowledge of the verbal and dramaturgical aspects of the form. Informed by rich theatrical and historical understanding, the essays reveal the larger connections between Shakespeare's use of the soliloquy and its deployment by his fellow dramatists.

While Ben Jonson s political visions have been well documented, this is the first study to consider how he threaded his views into the various literary genres in which he wrote. For Jonson, these genres were interactive and mutually affirming, necessary for negotiating the tempestuous politics of early modern society, and here some of the most renowned Jonson scholars provide a collection of essays that discuss his use of genre. They present new perspectives on many of Jonson s major works, from his epigrams and epistles, through to his Roman tragedies and satirical plays like Volpone. Other topics examined include Jonson s diverse representations of monarchy, his ambiguous celebrations of European commonwealths, his sexual politics, and his engagement with the issues of republicanism. These essays represent the forefront of critical thinking on Ben Jonson, and offer a timely reassessment of the author s political life in Jacobean and Caroline Britain.

Alongside Spenser, Sidney and the early Donne, Shakespeare is the major poet of the 16th century, largely because of the status of his remarkable sequence of sonnets. Professor Cousins' new book is the first comprehensive study of the Sonnets and narrative poems for over a decade. He focuses in particular on their exploration of self-knowledge, sexuality, and death, as well as on their ambiguous figuring of gender. Throughout he provides a comparative context, looking at the work of Shakespeare's contemporaries. The relation between Shakespeare's non-dramatic verse and his plays is also explored.

This book is the first to assess Johnson’s diverse insights into friendship—that is to say, his profound as well as widely ranging appreciation of it—over the course of his long literary career. It examines his engagements with ancient philosophies of friendship and with subsequent reformulations of or departures from that diverse inheritance. The volume explores and illuminates Johnson’s understanding of friendship in the private and public spheres—in particular, friendship’s therapeutic amelioration of personal experience and transformative impact upon civil life. Doing so, it considers both his portrayals of interaction with his friends, and his more overtly fictional representations of friendship, across the many genres in which he wrote. It presents at once an original re-assessment of Johnson’s writings and new interpretations of friendship as an element of civility in mid-eighteenth century British culture.

This monograph studies how, across the Folio of 1681, Marvell's poems engage not merely with different kinds of loss and aspiration, but with experiences of both that were, in mid-seventeenth-century England, disturbingly new and unfamiliar. It particularly examines Marvell's preoccupation with the search for home, and with redefining the homeland, in times of civil upheaval. In doing so it traces his progression from being a poet who plays sophisticatedly with received myth to being one who is a national mythmaker in rivalry with his poetic contemporaries such as Waller and Davenant. Although focusing primarily on poems in the Folio of 1681, this book considers those poems in relation to others from the Marvell canon, including the Latin poems and the satires from the reign of Charles II. It closely considers them as well in relation to verse by poets from the classical past and the European, especially English, present.

This is the first book to discuss the canon of Pope's verse in relation to Early British Enlightenment thinking about mythology and mythography. The book shows how Pope did not merely use classical and non-classical myths but also translated and refashioned them too. It situates Pope's mythologies within changing seventeenth and eighteenth-century understandings of what myth is and what it could be. It therefore offers a distinct a new perspective on the career of eighteenth-century Britain's preeminent poet.

This is the first collection of essays since George Sherburn's landmark monograph The Early Career of Alexander Pope (1934) to reconsider how the most important and influential poet of eighteenth-century Britain fashioned his early career. The volume covers Pope's writings from across the reign of Queen Anne and just beyond. It focuses, in particular, on his interaction with the courtly culture constellated round the Queen. It examines, for instance, his representations of Queen Anne herself, his portrayals of politics and patronage under her reign, his negotiations with current literary theory, with the classical tradition, with chronologically distant yet also contemporaneous English poets, with current thought on the passions, and with membership of a religious minority. In doing so, it comprehensively reconsiders anew the ways in which Pope, increasingly supportive of Anne's rule and mindful of the Virgilian rota, sought at first to realise his authorial aspirations.

Writers of the English Renaissance, like their European contemporaries, frequently reflect on the phenomenon of exile-an experience that forces the individual to establish a new personal identity in an alien environment. Although there has been much commentary on this phenomenon as represented in English Renaissance literature, there has been nothing written at length about its counterpart, namely, internal exile: marginalization, or estrangement, within the homeland. This volume considers internal exile as a simultaneously twofold experience. It studies estrangement from one's society and, correlatively, from one's normative sense of self. In doing so, it focuses initially on the sonnet sequences by Sidney, Spenser, and Shakespeare (which is to say, the problematics of romance); then it examines the verse satires of Donne, Hall, and Marston (likewise, the problematics of anti-romance). This book argues that the authors of these major texts create mythologies-via the myths of (and accumulated mythographies about) Cupid, satyrs, and Proteus-through which to reflect on the doubleness of exile within one's own community. These mythologies, at times accompanied by theologies, of alienation suggest that internal exile is a fluid and complex experience demanding multifarious reinterpretation of the incongruously expatriate self. The monograph thus establishes a new framework for understanding texts at once diverse yet central to the Elizabethan literary achievement.

This monograph studies how, across the Folio of 1681, Marvell's poems engage not merely with different kinds of loss and aspiration, but with experiences of both that were, in mid-seventeenth-century England, disturbingly new and unfamiliar. It particularly examines Marvell's preoccupation with the search for home, and with redefining the homeland, in times of civil upheaval. In doing so it traces his progression from being a poet who plays sophisticatedly with received myth to being one who is a national mythmaker in rivalry with his poetic contemporaries such as Waller and Davenant. Although focusing primarily on poems in the Folio of 1681, this book considers those poems in relation to others from the Marvell canon, including the Latin poems and the satires from the reign of Charles II. It closely considers them as well in relation to verse by poets from the classical past and the European, especially English, present.

This book is a major reassessment of the French Revolution's impact on the English novel of the Romantic period. Focusing particularly - but by no means exclusively - on women writers of the time, it explores the enthusiasm, wariness, or hostility with which the Revolution was interpreted and represented for then-contemporary readers. A team of international scholars study how English Romantic novelists sought to guide the British response to an event that seemed likely to turn the world upside down.

Writers of the English Renaissance, like their European contemporaries, frequently reflect on the phenomenon of exile-an experience that forces the individual to establish a new personal identity in an alien environment. Although there has been much commentary on this phenomenon as represented in English Renaissance literature, there has been nothing written at length about its counterpart, namely, internal exile: marginalization, or estrangement, within the homeland. This volume considers internal exile as a simultaneously twofold experience. It studies estrangement from one's society and, correlatively, from one's normative sense of self. In doing so, it focuses initially on the sonnet sequences by Sidney, Spenser, and Shakespeare (which is to say, the problematics of romance); then it examines the verse satires of Donne, Hall, and Marston (likewise, the problematics of anti-romance). This book argues that the authors of these major texts create mythologies-via the myths of (and accumulated mythographies about) Cupid, satyrs, and Proteus-through which to reflect on the doubleness of exile within one's own community. These mythologies, at times accompanied by theologies, of alienation suggest that internal exile is a fluid and complex experience demanding multifarious reinterpretation of the incongruously expatriate self. The monograph thus establishes a new framework for understanding texts at once diverse yet central to the Elizabethan literary achievement.

Alongside Spenser, Sidney and the early Donne, Shakespeare is the major poet of the 16th century, largely because of the status of his remarkable sequence of sonnets. Professor Cousins' new book is the first comprehensive study of the Sonnets and narrative poems for over a decade. He focuses in particular on their exploration of self-knowledge, sexuality, and death, as well as on their ambiguous figuring of gender. Throughout he provides a comparative context, looking at the work of Shakespeare's contemporaries. The relation between Shakespeare's non-dramatic verse and his plays is also explored.

Encompassing nearly a century of drama, this is the first book to provide students and scholars with a truly comprehensive guide to the early modern soliloquy. Considering the antecedents of the form in Roman, late fifteenth and mid-sixteenth century drama, it analyses its diversity, its theatrical functions and its socio-political significances. Containing detailed case-studies of the plays of Marlowe, Shakespeare, Jonson, Ford, Middleton and Davenant, this collection will equip students in their own close-readings of texts, providing them with an indepth knowledge of the verbal and dramaturgical aspects of the form. Informed by rich theatrical and historical understanding, the essays reveal the larger connections between Shakespeare's use of the soliloquy and its deployment by his fellow dramatists.

In a world of conflicting nationalist claims, mass displacements and asylum-seeking, a great many people are looking for 'home' or struggling to establish the 'nation'. These were also important preoccupations between the English and the French revolutions: a period when Britain was first at war within itself, then achieved a confident if precarious equilibrium, and finally seemed to have come once more to the edge of overthrow. In the century and a half between revolution experienced and revolution observed, the impulse to identify or implicitly appropriate home and nation was elemental to British literature. This wide-ranging study by international scholars provides an innovative and thorough account of writings that vigorously contested notions and images of the nation and of private domestic space within it, tracing the larger patterns of debate, while at the same time exploring how particular writers situated themselves within it and gave it shape.

While Ben Jonson's political visions have been well documented, this study was the first to consider how he threaded his views into the various literary genres in which he wrote. For Jonson, these genres were interactive and mutually affirming, necessary for negotiating the tempestuous politics of early modern society, and here some of the most renowned Jonson scholars provide a collection of essays that discuss his use of genre. They present perspectives on many of Jonson's major works, from his epigrams and epistles, through to his Roman tragedies and satirical plays like Volpone. Other topics examined include Jonson's diverse representations of monarchy, his ambiguous celebrations of European commonwealths, his sexual politics, and his engagement with the issues of republicanism. These essays represent the forefront of critical thinking on Ben Jonson, and offer a reassessment of the author's political life in Jacobean and Caroline Britain.

Beginning with the early masters of the sonnet form, Dante and Petrarch, the Companion examines the reinvention of the sonnet across times and cultures, from Europe to America. In doing so, it considers sonnets as diverse as those by William Shakespeare, William Wordsworth, George Herbert and e. e. cummings. The chapters explore how we think of the sonnet as a 'lyric' and what is involved in actually trying to write one. The book includes a lively discussion between three distinguished contemporary poets - Paul Muldoon, Jeff Hilson and Meg Tyler - on the experience of writing a sonnet, and a chapter which traces the sonnet's diffusion across manuscript, print, screen and the internet. A fresh and authoritative overview of this major poetic form, the Companion expertly guides the reader through the sonnet's history and development into the global multimedia phenomenon it is today.

In a world of conflicting nationalist claims, mass displacements and asylum-seeking, a great many people are looking for 'home' or struggling to establish the 'nation'. These were also important preoccupations between the English and the French revolutions: a period when Britain was first at war within itself, then achieved a confident if precarious equilibrium, and finally seemed to have come once more to the edge of overthrow. In the century and a half between revolution experienced and revolution observed, the impulse to identify or implicitly appropriate home and nation was elemental to British literature. This wide-ranging study by international scholars provides an innovative and thorough account of writings that vigorously contested notions and images of the nation and of private domestic space within it, tracing the larger patterns of debate, while at the same time exploring how particular writers situated themselves within it and gave it shape.

Beginning with the early masters of the sonnet form, Dante and Petrarch, the Companion examines the reinvention of the sonnet across times and cultures, from Europe to America. In doing so, it considers sonnets as diverse as those by William Shakespeare, William Wordsworth, George Herbert and e. e. cummings. The chapters explore how we think of the sonnet as a 'lyric' and what is involved in actually trying to write one. The book includes a lively discussion between three distinguished contemporary poets - Paul Muldoon, Jeff Hilson and Meg Tyler - on the experience of writing a sonnet, and a chapter which traces the sonnet's diffusion across manuscript, print, screen and the internet. A fresh and authoritative overview of this major poetic form, the Companion expertly guides the reader through the sonnet's history and development into the global multimedia phenomenon it is today.