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This work offers for the first time a complete list of all books published wholly or partially in the French language before 1601. Based on twelve years of investigations in libraries in France, the United Kingdom, the United States, Germany, the Netherlands and elsewhere, it provides an analytical short-title catalogue of over 52,000 bibliographically distinct items, with reference to surviving copies in over 1,600 libraries worldwide. Many of the items described are editions and even complete texts fully unknown and re-discovered by the project. French Vernacular Books is an invaluable research tool for all students and scholars interested in the history, culture and literature of France, as well as historians of the early modern book world. For vols. III & IV please go to French Books III & IV.
Beginning around 1559 and continuing through 1642, writers in England, Scotland, and France found themselves pre-occupied with an unusual sort of crime, a crime without a name which today we call 'terrorism'. These crimes were especially dangerous because they were aimed at violating not just the law but the fabric of law itself; and yet they were also, from an opposite point of view, especially hopeful, for they seemed to have the power of unmaking a systematic injustice and restoring a nation to its 'ancient liberty'. The Bible and the annals of classical history were full of examples: Ehud assassinating King Eglon of Moab; Samson bringing down the temple in Gaza; Catiline arousing a conspiracy of terror in republican Rome; Marcus Brutus leading a conspiracy against the life of Julius Caesar. More recent history provided examples too: legends about Mehmed II and his concubine Irene; the assassination in Florence of Duke Alessandro de 'Medici, by his cousin Lorenzino. Terrorism Before the Letter recounts how these stories came together in the imaginations of writers to provide a system of 'enabling fictions', in other words a 'mythography', that made it possible for people of the sixteenth and seventeenth centuries to think (with and about) terrorism, to engage in it or react against it, to compose stories and devise theories in response to it, even before the word and the concept were born. Terrorist violence could be condoned or condemned, glorified or demonised. But it was a legacy of political history and for a while an especially menacing form of aggression, breaking out in assassinations, abductions, riots, and massacres, and becoming a spectacle of horror and hope on the French and British stage, as well as the main theme of numerous narratives and lyrical poems. This study brings to life the controversies over 'terrorism before the letter' in the early modern period, and it explicates the discourse that arose around it from a rhetorical as well as a structural point of view. Kenneth Burke's 'pentad of motives' helps organise the material, and show how complex the concept of terrorist action could be. Terrorism is usually thought to be a modern phenomenon. But it is actually a foundational figure of the European imagination, at once a reality and a myth, and it has had an impact on political life since the beginnings of Europe itself. Terrorism is a violence that communicates, and the dynamics of communication itself reveal it special powers and inevitable failures.
The performance of violence on the stage has played an integral role in French tragedy since its inception. Onstage Violence in Sixteenth-Century French Tragedy is the first book to tell this story. It traces and examines the ethical and poetic stakes of violence, as playwrights were experimenting with the newly discovered genre during decades of religious and civil war (c. 1550-1598). The study begins with an overview of the origins of French vernacular tragedy and the complex relationships between violence, performance, ethics, and poetics. The volume focuses on specific plays and analyzes biblical, mythological, historical, and politically topical tragedies—including the stories of Cain and Abel, David and Goliath, Medea, the Sultan Süleyman the Magnificent, the Roman general Regulus, and the assassination of the Duke of Guise in 1588—to show how the multifarious uses of violence on stage shed light on a range of pressing issues during that turbulent time, such as religion, gender, politics, and militantism.