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This article delves into the collaborative dynamics of early modern literary production, emphasising the need for a comprehensive view of collaboration beyond joint authorship as the role of translators is still often overlooked, maintaining their perceived secondary status even after the translational turn. Using Petrarch's I Triumphi, first printed in 1470, and arguably one of the most decisive vernacular works in early modern Europe, as a case study, the article showcases the pivotal contribution of translators to a text's international prominence, challenging established gender norms in Petrarchism. The article highlights the role of the female translators as collaborators and proposes a nuanced understanding of gender, social class and religious factors in shaping translation practices, enriching our comprehension of early modern literary dynamics. [ABSTRACT FROM AUTHOR]

The progress of the human in cultural terms has been memorably presented as an evolution from tradition to reflection where "tradition" stands for the collective mind and the ritual/norm, while "reflection" for the growth of the individual self. In the field of literature, or to be more precise -- of verbal art, this opposition results in the progress of an individual talent liberating itself from the normative authority of generic and other prescriptions. The borderline, beyond which the power of genre visibly loses its prescriptive power and the individual talent takes over, is usually located somewhere between the late Renaissance and an early Romantic era. Sonnet is a glaring case with the role it played in "the origin of the modern mind" (P. Oppenheimer), the role that is the only way to answer a question -- why could it happen that a rigid verse form (seemingly opposite to the verbal freedom of the novel) could dominate the domain of European lyrical poetry in three centuries -- from Petrarch in the 14th to Shakespeare in the late 16th century. In all probability, the answer lies in the sonnet's capability of self-criticism, its reflective "poetics of doubleness" (J. Brooks-Davies), where petrarchism /anti-pertrarcism could co-exist in a delicate balance reached in Elizabethan poetry. [ABSTRACT FROM AUTHOR]

The article presents biography of the Welsh metaphysical poet Henry Vaughan. He was born in 1621 and brought up at Tretower Court in modern-day Powys and was educated by Matthew Herbert, rector of Llangattock, and at Jesus College, Oxford. His twin, Thomas, was a poet, too, and an alchemist. Hanry died in 1695.

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Layouts and paratexts of Elizabethan prose psalters advocate two competing reading methods: reading sequentially according to the church calendar or selecting psalms by occasion. Marked psalters and bibles, however, show that Elizabethan readers often disregarded printed prescription, practicing either method, or both, as they chose. To capitalize on reader independence, printers eventually produced texts that encouraged comparative reading across multiple translations, culminating in the two-text psalter of the 1578 Geneva Bible. This episode in the history of devotional reading demonstrates the tendency of Elizabethans to slip the confessional categories into which their own texts, and later historiography, would place them. [ABSTRACT FROM AUTHOR]

This article discusses Anglo-Dutch recusant polemicist and publisher Richard Verstegan's concern with the misuse of language and its impact on society, reflected in his religious–polemical publications. An analysis of pamphlets ascribed to Verstegan reveals that he acknowledged the existence of a close link between the misuse of power in Elizabethan England and the misuse of language. The former impacted linguistic communication through the foisting on English society of propaganda based on deliberate disinformation, and through the limiting of free speech. In his pamphlets, Verstegan used elements of mystification characteristic of the convention of 'epistolary fiction'. In the final part of this article, therefore, an answer is provided to the question whether such a literary strategy may be classified as a form of misuse of language. [ABSTRACT FROM AUTHOR]

The article discusses the influence of American author Barbara Kiefer Lewalski's scholarship and career on the study of early modern English literature. Topics discussed include Lewalski's focus on the epic of British poet John Milton, her genre criticism in her book "Milton's Brief Epic: The Genre, Meaning and Art of Paradise Regained," and her celebration of Milton's superlative poetry in the book "Paradise Lost and the Rhetoric of Literary Forms."

The article discusses the influence of American author Barbara Kiefer Lewalski's scholarship on the study of early modern English literature. Topics discussed include British poet John Milton's influence on the work of Lewalski, the assessment of Lewalski's own endeavors through her exploration of Milton's poem "Paradise Lost," and Milton's similes about Italian astronomer Galileo Galilei in the poem.

A literary criticism for a poem "Orlando furioso" by Ludovico Ariosto is presented. Topics discussed include that criticism has long focused on Ariosto's use of classical, imperial epic to fuel his poem's drive, however delayed, toward a dynastic conclusion that neatly converges with plots focused on the triumph of Europe over Africa and Christianity over Islam; and discusses Ariosto rarely employs kind of stanzaic enjambment, in which a sentence in one stanza abruptly splits.

The author discusses English poet Edmund Spenser's interest in English common law and discussion of it in his various works, including "A View of the Present State of Ireland" and "Faerie Queene." Topics include Spenser's defense of common law in "The Faerie Queene" through his discussion of the Briton monarchs Donwallo, Mertia, and Howell Dha, Spenser's argument that English common law has a long history, and Spenser's argument that English common law is useful in the Elizabethan Age.

The legend of King Ferrex was employed by Thomas Norton and Thomas Sackville in their succession play, Gorboduc (first performed 1561), and by John Higgins in his Mirror for Magistrates (1574; 1587), to reflect on contemporary politics and offer topical warnings to Elizabeth I and her subjects based on legendary British history. However, as well as including a section specifically focused on environmental exploitation, Higgins imbues the earth with a destructive animism in his poem which stands apart as an anomaly in his collection of verse complaints and amongst wider treatments of the story. Higgins's emphasis on the arbitrary amoral and areligious destruction of all by the agency of the earth and other non-human actors challenges the Mirror 's educative model, and renders the Gorboduc legend inert. Looking at various versions of the narrative in Gorboduc , Higgins's Mirror , and William Warner's Albion's England (1586), and analogous uses of environmental discourse in other contemporary poetic and dramatic texts by Shakespeare, Spenser, and Marlowe, this article considers the role of the nonhuman, and specifically the earth itself, in early modern imaginative historiography and political commentary. In particular, it suggests that there are fruitful connections to be made between modern posthumanist theoretical approaches, and the post-humanism of Higgins's approach to exemplary history, whereby his admonitory text appears to abandon its premise of human primacy and perfectability in response to the perceived failure of Elizabethan advice literature to effect political change. [ABSTRACT FROM AUTHOR]

Abstract George Herbert's poetic experiments are guided in part by a desire to influence how the early modern English ate. This article demonstrates that Herbert's verse collection The Temple is shaped by his responsibility as a rural parish priest for ensuring that his community was fed not just spiritually but also physically: as a country parson, he was tasked with collecting agricultural tithes and redistributing them to the hungry. Writing in a time of severe food insecurity, Herbert draws on a vast variety of poetic methods, from metrical sentences to verse emblems to hymns, in order to persuade his readers to join him in addressing the crisis of hunger that early modern England was facing through collectively restricting their consumption. [ABSTRACT FROM AUTHOR]

The article explores the Shakespeare’s Sonnets and the Metaphysical Poetry form of 17th-century English poetry. Topics discussed include information on the Jan Kott’s interpretation, Shakespeare’s works in the book, "Shakespeare Our Contemporary"; discussions on the use of use of metaphysical ideas and scholastical quiddities by the 17th-century English poets; and the information on the contrating nature of the Shakespeare’s Sonnets with the Petrarchan sonnet.

Although Ovid dedicated his Metamorphoses to the subject of change, the vast majority of the corporeal alterations catalogued in this ancient Roman poem are singular, permanent transformations. In contrast, dramatists writing for the Elizabethan stage tended to represent fantastical, neo-Ovidian metamorphoses as temporary and reversible. With particular reference to the plays of John Lyly -- and especially Love's Metamorphosis -- this article exposes conceptual and generic deviations between the static post-metamorphic norm found in Ovid's Latin poetry and Elizabethan England's theatrical depictions of bodily retro-metamorphoses. [ABSTRACT FROM AUTHOR]

The article discusses the influence of the scholarship and career of American author Barbara Kiefer Lewalski on early modern English literary studies. Topics discussed include Lewalski's study of the life and work of British poet John Milton, her views about Milton's poem "Paradise Lost," and her contribution to the study of English devotional poetry.

Copyright of Moreana is the property of Edinburgh University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article responds to the interpretative legacy emphasizing English reception of Mary Stuart's Casket Sonnets, by situating the poems within a context of French Renaissance literary production. It begins by elucidating how a specific biographical reading was put into place strategically by the Scottish queen's political adversaries and disseminated in early print editions, as well as how this tradition continues to inform modern readings. The remainder of the article proposes an alternative reading that highlights the author's intertextual borrowing from Ovid's Heroides. Particular attention is paid to claims of 'sincerity', both as the central literary topos around which the Casket Sonnets are rhetorically structured and as a critical term of assessment applied to the work of Renaissance lyric poets. [ABSTRACT FROM AUTHOR]

The article talks about the role played by poet John Dunne in reviving the couplet during the late Elizabethan era. Topics discussed include the prominence of the eighteenth-century couplet obscuring the earlier reputation of the form, and poets including Christopher Marlowe and Donne reviving the couplet in the mid 1950s as a reaction to the elaborateness of Elizabethan stanzaic poetry.

This article uses Elizabethan poetics and the Renaissance sonnet as a template for understanding the power of reading as it is exhibited in modern-day mental health contexts, specifically in the work of national charity The Reader. Our concern is with the medicine of verbal beauty, representative expression and formal ordering towards perfection – in particular, the relation of ‘erected wit’ and ‘infected will’ in Sidney’s Defence of Poetry. We examine reading group transcripts produced as part of research projects on reading and mental health conducted by the Centre for Research into Reading, Literature and Society (CRILS) at the University of Liverpool (where the authors are based). We demonstrate how Elizabethan poetry, precisely by not offering a form of directive or targeted therapy, has the potential to help ease the suffering of those whose personal and existential problems are too often ignored by conventional therapies because ‘incurable’ as such. [ABSTRACT FROM PUBLISHER]

The word 'nostalgia' was coined by the Swiss medical student Johannes Hofer in his 1688 Dissertatio medica de nostalgia, oder Heimwehe. Hofer's treatise and Edmund Spenser's 1595 poem Colin Clouts Come Home Againe exemplify a premodern nostalgia. Hofer moves between moments of familiarity and alienation, while Spenser's poem offers a richly imaginative response to the Elizabethan attempt to 'plant' new homes in Ireland. In each case, premodern nostalgia situates the longing for home within patterns of doubling and repetition that unsettle ideas of origin and belonging even as they propagate them. [ABSTRACT FROM AUTHOR]

This essay makes the case for a comparative analysis of the 1667 poetic volumes of Katherine Philips and John Milton. In their writings, Philips and Milton share a preoccupation with what might be called "queer union", referring less to positivist models of same-sex relations than to non-normative notions of embodied union in the various relations of homoerotic friendship, ideal marriage and erotic chastity. This essay does not undertake an analysis of Philips's and Milton's poems, except in precis form at its end. Rather, it offers critical grounds for thinking about how and why readers might embark on a comparative study of Philips and Milton as contemporaneous poets who draw on the rhetorical resources of epithalamium and elegy to assert the presence and value of queer integration amid the fragmentations of lived experience. [ABSTRACT FROM AUTHOR]

Songes and Sonettes, written by the ryght honorable Lorde Henry Haward (1557), was a landmark volume in English printing history and literary culture. However, its origins are poorly understood. While half a dozen possible editors have been suggested, critics have increasingly settled that role on the printer, Richard Tottel. 'The Network behind 'Tottel's' Miscellany' uses new manuscript evidence to show the involvement of one William Digges of Newington-next-Sittingbourne, Kent. Writing between the end of 1555 and the summer of 1557, an anonymous correspondent asked Digges to collect copies of Wyatt's works from 'bothe out of yo ur owne store and from my ladye wiat.' William was a cousin of Leonard Digges (who carried the letter), a relative of Thomas Wyatt the younger and a business partner of William Brooke, future Lord Cobham. His associations in these years point not to Tottel as the originating force behind the Miscellany, but to a network of network of kin, admirers, and 'frend es of olde S ir Thomas wiat.' If Songes and Sonettes initiated a trend in which printers rather than authors gathered and published poetry, it did so only by suggesting a production model in which it did not fully participate. [ABSTRACT FROM AUTHOR]

This article argues that the work of George Gascoigne represents a sophisticated attempt to come to terms with an issue at the heart of Elizabethan poetic authorship: poems, plays and even prose narratives were often occasional texts, subject to a range of worldly contingencies, but when published in print they assumed new identities and new meanings as part of a constructed corpus of work. Gascoigne confronts, both in his poetic theory and in practice, the fact that the processes of writing and publication are themselves contingent; and his fictions offer us multiple explorations of the human challenges of making sense of chaotic and unpredictable circumstances. The essay shows that he does so in part by adopting a rich language of chance, suddenness and accident, engaging with ancient and early modern philosophical and practical discourses about art, intention, judgement and equity. The essay deals with the full range of Gascoigne's eclectic output, but focuses especially on his pioneering miscellany, A Hundreth Sundrie Flowres (1573), arguing for a fortuitous resonance between that book's own complex and rather accident-ridden printing history and the conceptual preoccupations of its contents. Gascoigne is shown as a serious thinker about the nature and experience of poetic skill. [ABSTRACT FROM AUTHOR]

An afterword is presented to this special issue on topics focusing on translations and interpretations of Biblical Psalms during the Reformation in Tudor England.

This article examines the poetics of voice in early modern psalm translation. Translations always complicate poetic voice, since in these poems one must, somehow, hear both the voice of the original poet and the voice of translator. The voices of the psalms are further complicated when they are read or sung by Christians, either individually or collectively. Writers since the patristic period have encouraged Christians to speak the psalms as if the words are one's own, but how does this happen? Whose voices do we hear in congregational singing? Are God's, David's, the translator's, and the singer's voices blended in harmonious polyphony? Or can they sometimes clash or drown each other out? Thinking about voice is important for understanding how the psalms are written, read, sung, and ventriloquized by early modern Christians, but thinking about the psalms will have implications for the study of secular poetry as well, especially in translation. [ABSTRACT FROM AUTHOR]

The article discusses printed marginalia, extractive reading and the book "Devine Weekes" by Josuah Sylvester. Topics include marginalia in the scriptural poetry representation of printed marginalia in the Geneva Bible and English translations of the poem "Semaines" by Guillaume de Saluste Du Bartas before the publication of "Devine Weekes."

An essay on poet Ovid's elegies and Christopher Marlowe's translation of the poem "Amores" by Ovid as a starting point for an examination of the construction of an English poetics of softness at the end of the 16th century is presented. Topics include Marlowe's assertion of the potency of a soft poetics, the association of poetry and effeminacy, and the skepticism about epic virtus in Ovid's elegies.

Music and death were closely linked in the Elizabethan imagination: harmony provided a link between heavenly and earthly life, while death was portrayed as an inspiration for eloquent song or, conversely, the silencing of life and de-tuning of society. The Reformation, however, brought profound changes to the theology of death and the associated functions of music. As opportunities for musical mourning and commemoration within the liturgy decreased, the significance of non-liturgical song for expressing grief in public or commemorating the dead intensified. Considering first the 1560-70s fashion for death songs in the plays of the choirboy acting companies, and second, the growing trend for sung elegies in the 1580s, this article explores the role of non-liturgical song in representing and responding to death in Elizabethan England. The theatrical death songs mirrored the mythological swan's song, representing an outpouring of eloquence in the face of impending death that played on conceptions of music's ability to act as a liminal space between earth and heaven. The elegies were responses to actual bereavement and reveal how music provided both the medium and the imagery to express the experience of loss and disorder, or to create acts of consolation or remembrance. Though the Reformation influenced the prevalence of elegies and shaped responses to death within them, Catholic and Protestant elegies still shared both musical imagery and tendencies towards moralization and memorialization, despite their theological differences. These genres illustrate the musical creativity inspired by death and the social significance of song in fashioning responses to bereavement. [ABSTRACT FROM AUTHOR]

The article focuses on representation of the poems "Arcadia," and "Astrophil and Stella," as a literary work exclusively written by Philip Sidney for the few elite his coterie and for the general readership after his death in 1586. It is argued that Sidney was recognized as a significant poet during the English Renaissance after his manuscripts were circulated through print publication. The similarities of the fictitious Philisides and Astrophil with their creator are discussed.

The Ottoman Empire was a geographically, economically, religiously and politically powerful empire that lasted from the late thirteenth century to the early twentieth century, expanding its influence not only to Europe but also to the Middle East, Asia Minor and North Africa. Especially in the late fifteenth century and the sixteenth century, the Ottoman Empire, as the leader and spreader of Islam, began to have a profound impact on three continents and achieved several military victories, which led Western Europeans to fear that it would bring the downfall of Christianity. The conquest of Constantinople (contemporary Istanbul) by Mehmed II giving the Ottomans a foothold in Europe, and Selim I's becoming the caliphate in the Muslim world strengthened the idea that the Ottoman Empire was the leader of Islam which made the Ottomans a growing threat to Europe with its unavoidable advances. Accordingly, this article intends to discuss the representations of the Turks/Ottomans affiliated with the Muslims/Saracens in both medieval and the Elizabethan English poetry within the framework of The Turke and Gowin, Roland and Vernagu, The Romance of Otuel, Richard Coer de Lyon, Octovian, King Horn, Sir Ferumbras, The Sow done of Baby lone, The Sege off Melayne, Geoffrey Chaucer's The Canterbury Tales, Edmund Spenser's The Faerie Queene, Sir Philip Sidney's Astrophel and Stella and The Defense of Poesy and their associations as the religious, cultural and ethnic 'other' in both periods. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the attribution of the 17th-century English literary works "A Discovery of the Rebels," "The Great Antichrist," and "The Opinion of the Roman Judges," to the English minister John Viccars (ca. 1604-1653?), rather than to the poet John Vicars (1580-1652). Details are given outlining the initially mistaken attributions and the evidence for their correction. Further comments are offered regarding the implications of the discovery on 17th-century royalist activity.

Sebastiaan Verweij presents an analysis of a survey of surviving copies of James VI/I's Essayes of a Prentise in the Divine Art of Poesie (1584, 1585) and His Maiesties Poeticall Exercises in Vacant Houres (1591) in public collections. His survey has unearthed many more readers and owners of the king's books than were previously known, making it possible to shore up previously tentative proposals about the cultural impact of these collections, not only in Scotland but also in England. He also transcribes and discusses in detail three previously unknown manuscript poems of praise to the king that survive in a copy of the 1584 Essayes now at Lambeth Palace Library, and via these poems offers a potential reassessment of the bibliographical makeup of this book. [ABSTRACT FROM AUTHOR]

The article discusses the poetry of English Elizabethan-era poet Thomas Watson and argues that it was well received by contemporaries primarily because it is similar to the poetry of English poet Edmund Spenser. Topics discussed include the praise the two poets often gave each other, Watson's use of the Petrarchan sonnet poetic form, and Watson's book of poems "Hecatompathia or Passionate Centurie of Love."

Shakespeare occupies a rarefied place in the popular imagination. In particular, he is widely celebrated for his creativity with language, and he tends to be portrayed as a singular genius with an inimitable vocabulary and an astounding gift for word invention. Yet as recent scholarship has shown, Shakespeare's language was in fact remarkably average; rather than standing as a shining exception, Shakespeare had a lexicon and a word-invention rate in keeping with those of his contemporaries. However, Shakespeare's 'ordinariness' does not mean that he was not linguistically creative. This essay focuses on Shakespeare's brilliant but subtle manipulation of the existing resources of his language. Shakespeare has an uncanny ability to render common words fresh, and to exploit the unique features of the English of his day, so that even the most ordinary language is transformed into something resonant. Revising Shakespeare's reputation as linguistic innovator means acknowledging his more understated language skills and ultimately allows for a more complete understanding, and fuller appreciation, of his work. [ABSTRACT FROM AUTHOR]

This essay examines the prominent treatment of the body in the published works of Robert Herrick. Leaving behind the mere cataloguing of body features in Petrarchan imitations (so characteristic of Elizabethan poetry) Herrick deals not just with limbs and members but with the functional aspects of the parts of the body. This essay offers a reading of the volume of Herrick's works (which included both Hesperides and Noble Numbers) as part of the overall pattern that is focused on the physical body as it is represented in his verses. Further, rejecting the critical tendency to treat the divine poems of Noble Numbers as an entirely separate collection (albeit bound together with Hesperides), it argues that to be fully understood and appreciated the volume as a whole requires reading as a composite like the body and the soul, or as Herrick refers to the two parts a 'Hell' and a 'Heaven'. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Laura Estill analyzes the poetic and legal contents of Folger MS V.a.262, concluding that Charles Croke (1590/1-1657) was the manuscript compiler. This requires an in-depth examination of the manuscript as a physical object, of the poems in the manuscript, and of the social, literary, and historical contexts of this particular verse miscellany. The essay considers the religious and political connotations of the poetry in the manuscript in relation to Croke's education and the Croke family's struggles during the civil wars, while also addressing the circulation of the poems and the compiler's particular knowledge of Henry King. [ABSTRACT FROM AUTHOR]

Margaret Edson's play on the last days of a university professor dying of cancer is an intriguing example of modern reception of John Donne. The play depicts a grippingly intense introspective quest towards enhanced self-awareness that the protagonist undertakes when faced with a terminal illness. This central development of the play revolves around a number of themes, the principal one being the questionable value of knowledge in relation to ultimately important issues like one's attitude to death. While Wit displays a variety of levels on which Donne's early modern poetry may function in today's cultural awareness, the article analyses the play's juxtaposition of knowledge and wisdom, tracing the links of power, authority, dependence and conflict in teacher-student and doctor-patient relationships. The dramatic techniques employed are presented as successful tools that enable the author to highlight the illuminating power of memory and remembrance. Finally, the play's ending is discussed in connection with the ambiguity of using Donne's poems in a text that is open to both religious and secular interpretations. [ABSTRACT FROM AUTHOR]

It has been argued, with reference to Venus and Adonis, that Shakespeare is the poet targeted specifically by Robert Southwell in his mournful stanza on love poetry in 'The Author to the Reader'; this essay argues instead that Southwell's remark has a wider application to English poets of the early 1590s. The image of ' Venus Rose' draws attention to Tasso's celebrated canto della rosa (1581), which survives in a manuscript translation attributed to Southwell, although there is a significant shift, where Tasso's carpe diem conclusion is replaced with an invocation to turn to God. It has been suggested that the translation dates from Southwell's time in Rome in the 1580s; this essay favours a later date of composition, arguing that the poet was aware of both Spenser's adaptation of the song, and Daniel's rendering of it in Delia (1592), and that his translation should be read as further evidence of an engagement with contemporary poetry during the Jesuit mission in England. The essay also considers Shakespeare's treatment of the carpe florem motif in Venus and Adonis, arguing for the poet's direct awareness of Tasso's song and the Armida episode, and highlighting his bold reworking of it at the end of the poem. [ABSTRACT FROM AUTHOR]