Open Access (free)
Sukanta Chaudhuri

Barnabe Googe and the sporadic rural poetry of Churchyard or Turberville, English pastoral comes into its own with Spenser’s The Shepheardes Calender, published anonymously in 1579. The Calender has its due share of allusion and moralizing in many veins. It is possible to write a consistent commentary on the twelve eclogues (‘proportionable to the twelue monethes’) in these terms. But what is exceptional is the quantum of non-allusive material, the creation of an entire shepherd community that, while it might reflect Spenser’s circle and his times, acquires the status

in Pastoral poetry of the English Renaissance
Open Access (free)
Invisibility and erasure in The Two Merry Milkmaids
Chloe Porter

In James Shirley’s St Patrick for Ireland , first performed in the Werburgh St Theatre in Dublin in 1639, the Irish prince Corybreus becomes invisible by means of a magical bracelet provided by the pagan priest Archimagus, an explicit reference to the deceitful, Catholic Archimago of Edmund Spenser’s The Faerie Queene. 10 Corybreus uses the bracelet in a plot to rape a noblewoman named Emeria, and

in Making and unmaking in early modern English drama
John Marriott

Lost , Shakespeare’s Macbeth and The Tempest , Spenser’s The Faerie Queene , Locke’s Essay Concerning Human Understanding , Marlowe’s Tamburlaine the Great , Thomas Moore’s Lalla Rookh and Donne’s The Embassy all reveal knowledge of travel accounts and geographies. But these accounts were not used merely as a ready taxonomy of exotic characters and phenomena; they shaped geographical

in The other empire
Sukanta Chaudhuri

, more white than cheese when it is new, [skittish 91 sad as Bride] at the prospect of leaving her home and family. 94, 95 No emblems in the original: introduced here following Spenser’s SC. 94 Me tamen vrit amor] Love still burns me up. At haec Daphne forsan probes] But Daphne, perhaps you [too] will experience this. 95 Est minor . . . comparatus] No man is inferior except by comparison. 0.1 Nicias] a physician and friend of Theocritus, mentioned in several poems. 3 the Muses nine] i.e., poetry. 4 Growes ... lite] Gk means ‘painless for humans’. 7 liued heere with vs

in Pastoral poetry of the English Renaissance
Negotiating vanity
Faye Tudor

‘seemed vnto hir selfe a second Narcissus’.6 Female artists who represent themselves are hampered by the mirror’s classic, symbolic associations with women which regularly portrays them in an unfavourable light. ‘She held a mirrhour bright’ In The Faerie Queene Edmund Spenser addresses the traditional emblems of vanity – the mirror and the (often naked) young woman transfixed by it – to generate a negative exemplary mirror which serves to warn: So proud she shyned in her Princely state, Looking to heauen; for earth she did disdayne, And sitting high; for lowly she did

in The senses in early modern England, 1558–1660
Open Access (free)
Eric Pudney

. Heidi Breuer’s Crafting the Witch (2009) is another gender-focused study covering a longer time period, moving from the early Arthurian literature of the twelfth and thirteenth centuries, where Breuer finds witches to be peripheral figures, through to later medieval romances and the sixteenth-century continuation of the romance tradition in Malory and Spenser. Breuer goes on to consider Shakespeare’s dramatic representations of magic and witchcraft, before looking at the persistence of witchcraft imagery in present-day culture. Like Willis, Breuer regards witches as

in Scepticism and belief in English witchcraft drama, 1538–1681
Natalie K. Eschenbaum

Richard de Fournival’s Bestiare d’amour (c. 1240), Edmund Spenser’s The Faerie Queen 2.11 (1590), George Chapman’s Ovid’s Banquet of Sence (1595), Thomas Tomkis’s play Lingua (1607) and Michael Drayton’s Idea XXIX, ‘To the Senses’ (1616). The narrator of Drayton’s sonnet, for example, calls upon each sense in his attempt to thwart Love’s attack on his heart:   But he with beauty first corrupted sight, My hearing bribed with her tongue’s harmony, My taste by her sweet lips drawn with delight, My smelling won with her breath’s spicery,   But when my touching came to play

in The senses in early modern England, 1558–1660
Crossing the (English) language barrier
Willy Maley

ago, I was preparing to teach a course on contemporary Scottish and Irish writing, and I sat down to select the poetry and drama options. Since the Renaissance was my own period I found three plays I thought would work well together: Brian Friel’s Making History (1989), the story of Hugh O’Neill, the Gaelic chieftain whose flight to the Continent left a vacuum into which a nascent Catholic nationalism was born; Frank McGuinness’s Mutabilitie (1997), the story of Spenser’s Irish sojourn, weaving in a visit by Shakespeare and an analogy between the theatre Norquay_02

in Across the margins
Gender, sexual difference and knowledge in Bacon’s New Atlantis
Kate Aughterson

constructed as Ralegh’s Guiana or Harriot’s Virginia was: it does not represent an invitation to plunder, invade and possess. In contrast, it is an image of chastity as both inviolable and reproductive: an image resonant, rather, of those linked to Elizabeth I, whose link to chastity paradoxically invoked dominion over others rather than subjection to them.34 Bacon’s image also echoes Spenser’s Britomart in book III of The Faerie Queene, where chastity symbolises marital union and reproduction in a protestant revision of marriage. At this late stage in the fable Bacon uses

in Francis Bacon’s New Atlantis
A queer history
Peter Buchanan

up, smiling at her audience. Beside her sat a plaster bulldog, almost life size, with a piratical scowl painted on his black muzzle. ‘Don't scold me’, she appealed to the room, ‘wouldn't he be lovely as a stand for bulletins? And I do think these days symbols are important.’ … ‘What about standing him in the fireplace?’ Mrs. Spenser suggested, watching the Tippett's embarrassment with delight. ‘Where did you find him?’ … ‘In a salvage sale, opposite the Food Office. I can't keep a dog, I

in Dating Beowulf