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Steve Sohmer

discovered encomium for Nashe tells us he ‘diedst a Christian faithfull penitent’? Could this be Nashe’s lament that his fellow writers (tosspots) had profited nothing by his sudden conversion – much like Paul on the Damascus road – and still had drunken heads? Likely, Nashe’s abrupt conversion suggested to Shakespeare the linking of Nashe and St Paul in Feste

in Reading Shakespeare’s mind
Rachel E. Hile

, Copies, 160–61, 36). Wadsworth adopts a similarly conciliatory tone, leading Izaak Walton to comment that in the letter exchange, “there seems to be a controversy, not of Religion only, but who should answer each other with most love and meekness; which I mention the rather, because it too seldom falls out to be so in a book-war” (Walton’s   4 For more on Wadsworth’s life, see Marotti, Religious Ideology, 119–21, 123; and Questier, Conversion, 80–81. MUP_Hile_SpenserSatire_Printer.indd 71 14/10/2016 15:35 72 Spenserian satire Lives, 153). Hall, on the other hand

in Spenserian satire
Rachel E. Hile

immediately after this, he no longer loves her idolatrously. Proof of his complete conversion from Calthanism comes when Diana, after metamorphosing him into a man, tells him to make a wish, asking, “What pleasure couldst thou wish to passe thy daies?” (147.5). Surprisingly, his wish has nothing to do with Caltha; instead, he asks Diana to make him into a good musician and thus is transformed into the human Musaeus. Despite being called in by the authorities, the poems of Spenser’s Complaints volume had sufficient presence (either through copies that were not turned in or

in Spenserian satire
Chloe Porter

in the next chapter, touch in this period is not a secure route to ontological certainty. 96 Understanding of the material construction of the puppet offers the Puritan clear parameters through which to configure and understand his relationship to and distinction from the puppet. Busy’s conversion, however, also acknowledges that he cannot fully ‘know’ the nature of spectacle, that there is always

in Making and unmaking in early modern English drama