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The ends of incompletion
Chloe Porter

against the threats perceived to be posed by the potential results of the Englishman’s acts of visual construction. The ‘security’ of the bareness of Boorde’s Englishman, then, is bolstered by the shears that he wields, and by the incomplete, unconstructed state of his appearance. This suggestion is strongly supported by the fact that in the dialogue which accompanies the woodcut, ‘the Auctor’ implores

in Making and unmaking in early modern English drama
Open Access (free)
Imitation of Spenserian satire
Rachel E. Hile

his “gratulatory poem.” Cyndia Clegg analyzes James’s “Achilles’ heel— his sensitivity about his mother, Scotland, and his own security,” noting that these issues motivated “most of the acts of personal censorship he performed as King of England” (Press Censorship Jacobean, 94); true, Drayton received no official condemnation for his poem, but James did not appreciate or reward it, and Drayton’s treatment of James’s mother may explain why. Just as Spenser could easily have chosen to make his treatment of Mary, Queen of Scots, less inflammatory by not naming her

in Spenserian satire