The Oxford History of Classical Reception (OHCREL) is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have stimulated responses and refashioning by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the five volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. This second volume covers the years 1558-1660, and explores the reception of the ancient genres and authors in English Renaissance literature, engaging with the major, and many of the minor, writers of the period, including Shakespeare, Marlowe, Spenser, and Jonson. Separate chapters examine the Renaissance institutions and contexts which shape the reception of antiquity, and an annotated bibliography provides substantial material for further reading.

Patrick Cheney's new book places the sublime at the heart of poems and plays in late sixteenth- and early seventeenth-century England. Specifically, Cheney argues for the importance of an 'early modern sublime' to the advent of modern authorship in Spenser, Marlowe, Shakespeare, and Jonson. Chapters feature a model of creative excellence and social liberty that helps explain the greatness of the English Renaissance. Cheney's argument revises the received wisdom, which locates the sublime in the eighteenth-century philosophical 'subject'. The book demonstrates that canonical works like The Faerie Queene and King Lear reinvent sublimity as a new standard of authorship. This standard emerges not only in rational, patriotic paradigms of classical and Christian goodness but also in the eternizing greatness of the author's work: free, heightened, ecstatic. Playing a centralizing role in the advent of modern authorship, the early modern sublime becomes a catalyst in the formation of an English canon.

Re-situating Shakespeare as an early modern professional, in this book Patrick Cheney views him not simply as a man of the theatre, but also as an author with a literary career. Rather than present himself as a national or laureate poet, as Spenser does, Shakespeare conceals his authorship through dramaturgy, rendering his artistic techniques and literary ambitions opaque. Accordingly, recent scholars have attended more to his innovative theatricality or his indifference to textuality than to his contribution to modern English authorship. By tracking Shakespeare's 'counter-laureate authorship', Cheney builds upon his previous study on Shakespeare and literary authorship, and demonstrates the presence throughout the plays of sustained intertextual fictions about the twin media of printed poetry and theatrical performance. In challenging Spenser as England's National Poet, Shakespeare reinvents English authorship as a key part of his legacy.

Shakespeare, National Poet-Playwright is an important book which reassesses Shakespeare as a poet and dramatist. Patrick Cheney contests critical preoccupation with Shakespeare as 'a man of the theatre' by recovering his original standing as an early modern author: he is a working dramatist who composes some of the most extraordinary poems in English. The book accounts for this form of authorship by reconstructing the historical preconditions for its emergence, in England as in Europe, including the building of the commercial theatres and the consolidation of the printing press. Cheney traces the literary origin to Shakespeare's favourite author, Ovid, who wrote the Amores and Metamorphoses alongside the tragedy Medea. Cheney also examines Shakespeare's literary relations with his contemporary authors Edmund Spenser and Christopher Marlowe. The book concentrates on Shakespeare's freestanding poems, but makes frequent reference to the plays, and ranges widely through the work of other Renaissance writers.

Patrick Cheney's new book places the sublime at the heart of poems and plays in late sixteenth- and early seventeenth-century England. Specifically, Cheney argues for the importance of an 'early modern sublime' to the advent of modern authorship in Spenser, Marlowe, Shakespeare, and Jonson. Chapters feature a model of creative excellence and social liberty that helps explain the greatness of the English Renaissance. Cheney's argument revises the received wisdom, which locates the sublime in the eighteenth-century philosophical 'subject'. The book demonstrates that canonical works like The Faerie Queene and King Lear reinvent sublimity as a new standard of authorship. This standard emerges not only in rational, patriotic paradigms of classical and Christian goodness but also in the eternizing greatness of the author's work: free, heightened, ecstatic. Playing a centralizing role in the advent of modern authorship, the early modern sublime becomes a catalyst in the formation of an English canon.

The Oxford History of Poetry in English is designed to offer a fresh, multi-voiced, and comprehensive analysis of 'poetry': from Anglo-Saxon culture through contemporary British, Irish, American, and Global culture, including English, Scottish, and Welsh poetry, Anglo-American colonial and post-colonial poetry, and poetry in Canada, Australia, New Zealand, the Caribbean, India, Africa, Asia, and other international locales. The series both synthesises existing scholarship and presents cutting-edge research, employing a global team of expert contributors for each of the volumes. Sixteenth-Century British Poetry features a history of the birth moment of modern 'English' poetry in greater detail than previous studies. It examines the literary transitions, institutional contexts, artistic practices, and literary genres within which poets compose their works. Each chapter combines an orientation to its topic and a contribution to the field. Specifically, the volume introduces a narrative about the advent of modern English poetry from Skelton to Spenser, attending to the events that underwrite the poets' achievements: Humanism; Reformation; monarchism and republicanism; colonization; print and manuscript; theatre; science; and companionate marriage. Featured are metre and form, figuration and allusiveness, and literary career, as well as a wide range of poets, from Wyatt, Surrey, and Isabella Whitney to Ralegh, Drayton, and Mary Herbert. Major works discussed include Sidney's Astrophil and Stella, Spenser's Faerie Queene, Marlowe's Hero and Leander, and Shakespeare's Sonnets.

Re-situating Shakespeare as an early modern professional, in this 2008 book Patrick Cheney views him not simply as a man of the theatre, but also as an author with a literary career. Rather than present himself as a national or laureate poet, as Spenser does, Shakespeare conceals his authorship through dramaturgy, rendering his artistic techniques and literary ambitions opaque. Accordingly, recent scholars have attended more to his innovative theatricality or his indifference to textuality than to his contribution to modern English authorship. By tracking Shakespeare's 'counter-laureate authorship', Cheney builds upon his previous study on Shakespeare and literary authorship, and demonstrates the presence throughout the plays of sustained intertextual fictions about the twin media of printed poetry and theatrical performance. In challenging Spenser as England's National Poet, Shakespeare reinvents English authorship as a key part of his legacy.

Shakespeare, National Poet-Playwright is an important book which reassesses Shakespeare as a poet and dramatist. Patrick Cheney contests critical preoccupation with Shakespeare as 'a man of the theatre' by recovering his original standing as an early modern author: he is a working dramatist who composes some of the most extraordinary poems in English. The book accounts for this form of authorship by reconstructing the historical preconditions for its emergence, in England as in Europe, including the building of the commercial theatres and the consolidation of the printing press. Cheney traces the literary origin to Shakespeare's favourite author, Ovid, who wrote the Amores and Metamorphoses alongside the tragedy Medea. Cheney also examines Shakespeare's literary relations with his contemporary authors Edmund Spenser and Christopher Marlowe. The book concentrates on Shakespeare's freestanding poems, but makes frequent reference to the plays, and ranges widely through the work of other Renaissance writers.

This Companion provides a full introduction to the poetry of William Shakespeare through discussion of his freestanding narrative poems, the Sonnets, and his plays. Fourteen leading international scholars provide accessible and authoritative chapters on all relevant topics: from Shakespeare's seminal role in the development of English poetry, the wide-ranging practice of his poetic form, and his enigmatic place in print and manuscript culture, to his immersion in English Renaissance politics, religion, classicism, and gender dynamics. With individual chapters on Venus and Adonis, The Rape of Lucrece, The Passionate Pilgrim, 'The Phoenix and the Turtle', the Sonnets, and A Lover's Complaint, the Companion also includes chapters on the presence of poetry in the dramatic works, on the relation between poetry and performance, and on the reception and influence of the poems. The volume includes a chronology of Shakespeare's life, a note on reference works, and a reading list for each chapter.

The Cambridge Companion to Christopher Marlowe, first published in 2004, provides a full introduction to one of the great pioneers of both the Elizabethan stage and modern English poetry. It recalls that Marlowe was an inventor of the English history play (Edward II) and of Ovidian narrative verse (Hero and Leander), as well as being author of such masterpieces of tragedy and lyric as Doctor Faustus and 'The Passionate Shepherd to his Love'. Sixteen leading scholars provide accessible and authoritative chapters on Marlowe's life, texts, style, politics, religion, and classicism. The volume also considers his literary and patronage relationships and his representations of sexuality and gender and of geography and identity; his presence in modern film and theatre; and finally his influence on subsequent writers. The Companion includes a chronology of Marlowe's life, a note on reference works, and a reading list for each chapter.

This Companion provides a full introduction to the poetry of William Shakespeare through discussion of his freestanding narrative poems, the Sonnets, and his plays. Fourteen leading international scholars provide accessible and authoritative chapters on all relevant topics: from Shakespeare's seminal role in the development of English poetry, the wide-ranging practice of his poetic form, and his enigmatic place in print and manuscript culture, to his immersion in English Renaissance politics, religion, classicism, and gender dynamics. With individual chapters on Venus and Adonis, The Rape of Lucrece, The Passionate Pilgrim, 'The Phoenix and the Turtle', the Sonnets, and A Lover's Complaint, the Companion also includes chapters on the presence of poetry in the dramatic works, on the relation between poetry and performance, and on the reception and influence of the poems. The volume includes a chronology of Shakespeare's life, a note on reference works, and a reading list for each chapter.

The Cambridge Companion to Christopher Marlowe, first published in 2004, provides a full introduction to one of the great pioneers of both the Elizabethan stage and modern English poetry. It recalls that Marlowe was an inventor of the English history play (Edward II) and of Ovidian narrative verse (Hero and Leander), as well as being author of such masterpieces of tragedy and lyric as Doctor Faustus and 'The Passionate Shepherd to his Love'. Sixteen leading scholars provide accessible and authoritative chapters on Marlowe's life, texts, style, politics, religion, and classicism. The volume also considers his literary and patronage relationships and his representations of sexuality and gender and of geography and identity; his presence in modern film and theatre; and finally his influence on subsequent writers. The Companion includes a chronology of Marlowe's life, a note on reference works, and a reading list for each chapter.

Worldmaking Spenser reexamines the role of Spenser's work in English history and highlights the richness and complexity of his understanding of place. The volume centers on the idea that complex and allusive literary works such as The Faerie Queene must be read in the context of the cultural, literary, political, economic, and ideological forces at play in the highly allegorical poem. The authors define Spenser as the maker of poetic worlds, of the Elizabethan world, and of the modern world. The essays look at Spenser from three distinct vantage points. The contributors explore his literary origins in classical, medieval, and Renaissance continental writings and his influences on sixteenth-century culture. Spenser also had a great impact on later literary figures, including Lady Mary Wroth and Aemilia Lanyer, two of the seventeenth century's most important writers. The authors address the full range of Spenser's work, both long and short poetry as well as prose. The essays unequivocally demonstrate that Spenser occupies a substantial place in a seminal era in English history and European culture.

In Spenser's famous Flight, Patrick Cheney challenges the received wisdom about the shape and goal of Spenser's literary career. He contends that Spenser's idea of a literary career is not strictly the convential Virgilian pattern of pastoral to epic, but a Christian revision of that pattern in light of Petrarch and the Reformation.Cheney demonstrates that, far from changing his mind about his career as a result of disillusionment, Spenser embarks upon and completes a daring progress that secures his status as an Orphic poet.In October, Spenser calls his idea of a literary career the 'famous flight.' Both classical and Christian culture has authorized the myth of the winged poet as a primary myth of fame and glory. Cheney shows that throughout his poetry Spenser relies on an image of flight to accomplish his highest goal.

"Marlowe's Counterfeit Profession" presents the first comprehensive reading of the Marlowe canon in over a generation. The occasion for Patrick Cheney's rereading is a primary discovery: Marlowe organized his canon around an "Ovidian" career model, or cursus, which turns from amatory poetry to tragedy to epic. Ovid had advertised this cursus only in his inaugural poem, the Amores, where its purpose was to counter the Virgilian cursus of pastoral, georgic, and epic. Marlowe was the first writer to translate the Amores, and thus the first to make the Ovidian cursus literally his own. Marlowe inscribes this cursus not simply to participate in the Renaissance recovery of classical authors, but in particular to contest the national authority of the 'Virgil of England, ' Edmund Spenser. Using an Ovidian cursus to contest Spenser's Virgilian cursus, Marlowe enters the generational project of writing English nationhood. Unlike Spenser, however, Marlowe writes a 'counter-nationhood' - a nonpatriotic form of nationhood that subverts royal power with what Ovid calls libertas. By discovering the original project organizing an otherwise fragmentary canon, Cheney aims to change the most basic lens through which critics have viewed Marlowe: 'Shakespearean drama'. This lens cannot account for two of the most striking features of Marlowe's canon: his scholarly use of translation and his writing of epic. Cheney proposes that a theatrical, Shakespearean model has prevented critics from discovering the original context within which Marlowe produced his art: a multimedia, multi-genre Spenserian model of Ovidian counter-nationhood.