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Poetry, Signs, and Magic brings together in a single volume fourteen new and previously published essays by the eminent Renaissance scholar and literary critic Thomas M. Greene. This collection looks back toward two earlier volumes by Greene, his first essay collection The Vulnerable Text: Essays on Renaissance Literature, and Poesie et Magie, whose theme is here explored again at greater length and depth, from linguistic and literary critical perspectives. Greene argues that certain poetic gestures draw their peculiar strengths by serving as vestiges of poetry's ancestral acts - magic, prayer, and invocation. Poetry, in other words, feigns an earlier power, but in this diminishment there occurs a verbal subtlety, and figural poignancy, commonly associated with art's aesthetic pleasures. Greene employs his well-known skills as a close reader to texts by a range of writers including a variety of contemporary theorists. in diverse contexts the distinction between disjunctive and conjunctive linguistics, dual theories of sound and meaning of crucial importance to Plato and Aristotle, to Catholic and Protestant debates on the sacraments, to the more recent skeptical methodologies of Derrida and de Man. Thomas M. Greene was a Professor of English and Comparative Literature at Yale University.
In a culture as steeped in communal, scripted acts of prayer as Chaucer's England, a written prayer asks not only to be read, but to be inhabited: its "I" marks a space that readers are invited to occupy. This book examines the implications of accepting that invitation when reading Chaucer's poetry. Both in his often-overlooked pious writings and in his ambitious, innovative pagan narratives, the "I" of prayer provides readers with a subject-position thatcan be at once devotional and literary - a stance before a deity and a stance in relation to a poem. Chaucer uses this uniquely open, participatory "I" to implicate readers in his poetry and to guide their work of reading. In examining Christian and pagan prayers alongside each other, Chaucer's Prayers cuts across an assumed division between the "religious" and "secular" writings within Chaucer's corpus. Rather, it emphasizes continuities andapproaches prayer as part of Chaucer's broader experimentation with literary voice. It also places Chaucer in his devotional context and foregrounds how pious practices intersect with and shape his poetic practices. These insightschallenge a received view of Chaucer as an essentially secular poet and shed new light on his poetry's relationship to religion.
Presents a collection of critical essays on the works of John Milton.
Reflecting Milton's knowledgeability in many fields, this collection investigates a wide variety of subjects fundamental to an understanding of the seventeenth century, including the importance of the writings of Thrice-Great Hermes, the profound influence of Aristotle on Milton's conception of the power of matter, and the issue of Milton's relations with the Presbyterian church.
Mantic elements are manifold in the English drama of the Renaissance period: they are supernatural manifestations and have a prophetic, future-determining function within the dramatic plot, which can be difficult to discern. Addressing contemporaries of Shakespeare, this study interprets a representative number of revenge tragedies, among them The Spanish Tragedy, The White Devil, and The Revenger's Tragedy, to draw general conclusions about the use of mantic elements in this genre. The analysis of the cultural context and the functionalisation of mantic elements in revenge tragedy of the Elizabethan, Jacobean, and Caroline era show their essential function in the construction of the plot. Mantic elements create and stimulate audience expectations. They are not only rhetoric decorum, but structural elements, and convey knowledge about the genre, the fate of which is determined by retaliation. An interpretation of revenge tragedy is only possible if mantic providentialism is taken into account.
Originally published in 1985. This impressive research tool offers four different indexes to cross-reference works on the sources of Chaucer. The user can look up sources by author, genre type or title, or look up the title of one of Chaucer’s works to find which bibliographic entries they are mentioned within. This is a useful reference work on Chaucer source and analogue scholarship, including 1477 entries.
Since the publication of Kennedy's monumental Bibliography of Writings on the English Language, no bibliography has systematically surveyed the Old and Middle English scholarship accumulated over the past 60 years. Tajima's work aims to meet the need for an updated bibliography of Old and Middle English language studies; it lists books, monographs, dissertations, articles, notes, and reviews on Old and Middle English language. The items have been listed into fourteen fairly broad categories: (1) Bibliographies, (2) Dictionaries, glossaries and concordances, (3) Histories of the English language, (4) Grammars (historical, Old English and Middle English), (5) General and miscellaneous studies, (6) Language of individual authors or works, (7) Orthography and punctuation, (8) Phonology and phonetics, (9) Morphology, (10) Syntax, (11) Lexicology, lexicography and word-formation, (12) Onomastics, (13) Dialectology, (14) Stylistics.
Geoffrey Chaucer was arguably fourteenth-century England's greatest poet. In the nineteenth century, readers of Chaucer's early dream poems - the Book of the Duchess, House of Fame, and Parliament of Fowles - began to detect a tripartite model of his artistic development from a French to an Italian, and finally to an English phase. They fleshed out this model with the liberation narrative, the inspiring story of how Chaucer escaped the emasculating French house of bondage to become the generative father of English poetry. Although this division has now largely been dismissed, both the tripartite model and the accompanying liberation narrative persist in Chaucer criticism. In Chaucer's Queer Poetics, Susan Schibanoff interrogates why the tripartite model remains so tenacious even when literary history does not support it. Revealing deeply rooted Francophobic, homophobic, and nationalistic biases, Schibanoff examines the development paradigm and demonstrates that 'liberated Chaucer' depends on antiquated readings of key source texts for the dream trilogy. This study challenges the long held view the Chaucer fled the prison of effete French court verse to become the 'natural' English father poet and charts a new model of Chaucerian poetic development that discovers the emergence of a queer aesthetic in his work.