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Artistic and Political Patronage in Early Stuart England explores the remarkable life and career of William Herbert, Third Earl of Pembroke. Pembroke was one of the most influential aristocrats during the reigns of Elizabeth I, James I and Charles I. He was a great patron, a prominent politician and electoral manager, an entrepreneur, and a gifted poet. Yet despite his influence and many talents, Pembroke’s life has been little studied by historians. Drawing on archival material, this book throws new light on Pembroke, and demonstrates just how significant he was during his lifetime. This book will appeal to scholars and students of early modern British history, as well as those interested in politics and patronage during the sixteenth and seventeenth centuries.
During the past quarter of a century, the study of patronage-theatre relations in early modern England has developed considerably. This, however, is an extensive, wide-ranging and representative 2002 study of patronage as it relates to Shakespeare and the theatrical culture of his time. Twelve distinguished theatre historians address such questions as: What important functions did patronage have for the theatre during this period? How, in turn, did the theatre impact and represent patronage? Where do paying spectators and purchasers of printed drama fit into the discussion of patronage? The authors also show how patronage practices changed and developed from the early Tudor period to the years in which Shakespeare was the English theatre's leading artist. This important book will appeal to scholars of Renaissance social history as well as those who focus on Shakespeare and his playwriting contemporaries.
Church and state during Shakespeare's lifetime were in significant conflict on issues stemming from Henry VIII's break with Rome, issues centering principally on questions of authority and obedience - religious conformity, the form of church government, the jurisdiction of spiritual and temporal courts, and the source and scope of the monarch's power. To what extent were these disputes present in Shakespeare's work? In her compelling reassessment of Shakespeare's historicity, Donna Hamilton rejects the notion that the official censorship of the day prevented the stage from representing contemporary debates concerning the relations among church, state, and individual. She argues instead that throughout his career Shakespeare positioned his writing politically and ideologically in relation to the ongoing and changing church-state controversies and in ways that have much in common with the shifts on these issues identified with the Leicester-Sidney-Essex-Southampton-Pembroke group. In her readings of King John, Comedy of Errors, Twelfth Night, Measure for Measure, Cymbeline and Henry VIII, Hamilton finds Shakespeare reappropriating a wide range of idioms from church-state discourse, particularly those of anti-catholicism and nonconformity. And she uses this language to broach some of the broad social and political issues involving obedience, privacy, property, and conscience - matters that were often the focus of church-state disputes and that provided this historical period with its central rhetorics of subjectivity. In this first full-scale study of Shakespeare and church politics, Hamilton also provides an important reassessment of censorship practices, of the means by which dissident views circulated, of the centrality of anti-catholic discourse for all church-state debates, and of the overwhelming significance of church-state issues as an agent for print and stage.
The English civil wars radically altered many aspects of mid-seventeenth century life, simultaneously creating a period of intense uncertainty and unheralded opportunity. Nowhere was this more apparent than in the printing and publishing industry, which between 1640 and 1660 produced a vast number of tracts and pamphlets on a bewildering variety of subjects. Many of these where of a highly political nature, the publication of which would have been unthinkable just a few years before. Whilst scholars have long recognised the importance of these publications, and have studied in depth what was written in them, much less work has been done on why they were produced. In this book Dr Peacey first highlights the different dynamics at work in the conception, publication and distribution of polemical works, and then pulls the strands together to study them against the wider political context. In so doing he provides a more complete understanding of the relationship between political events and literary and intellectual prose in an era of unrest and upheaval. By incorporating into the political history of the period some of the approaches utilized by scholars of book history, this study reveals the heightened importance of print in both the lives of members of the political nation and the minds of the political elite in the civil wars and Interregnum. Furthermore, it demonstrates both the existence and prevalence of print propaganda with which politicians became associated, and traces the processes by which it came to be produced, the means of detecting its existence, the ways in which politicians involved themselves in its production, the uses to which it was put, and the relationships between politicians and propagandists.
This is a wide-ranging, closely-researched collection, written by scholars from both sides of the Atlantic, on the cultural placement and transmission of texts between 1520 and 1750. Material and historical conditions of texts are analysed, and the range of works is wide, including plays and the Lucrece of Shakespeare (with adaptations, and a discussion of 'reading' playtexts), Sidney's Arcadia, Greene's popular Pandosto (both discussed in the contexts of changing readerships and forms of fiction), Hakluyt's travel books, funerary verse, and the writings of Katherine Parr and Elizabethan Catholic martyrs.
This collection highlights exciting new areas of research related to Ben Jonson, including book history, social history and cultural geography.
Literary allegory has deep roots in early reading and interpretation of Scripture and classical epic and myth. In this substantial study, Mindele Treip presents an overview of the history and theory of allegorical exegesis upon Scripture, poetry, and especially the epic from antiquity to the seventeenth and early eighteenth centuries, with close focus on the Renaissance and on the triangular literary relationship of Tasso, Spenser, and Milton. Exploring the different ways in which the term allegory has been understood, Treip finds significant continuities-within-differences in a wide range of critical writings, including texts of postclassical, patristic and rabbinical writers, medieval writers, notably Dante, Renaissance theorists such as Coluccio Salutati, Bacon, Sidney, John Harrington and rhetoricians and mythographers, and the neoclassical critics of Italy, England and France, including Le Bossu. In particular, she traces the evolving theories on allegory and the epic of Torquato Tasso through a wide spectrum of his major discourses, shorter tracts and letters, giving full translations. Treip argues that Milton wrote, as in part did Spenser, within the definitive framework of the mixed historical-allegorical epic erected by Tasso, and she shows Spenser's and Milton's epics as significantly shaped by Tasso's formulations, as well as by his allegorical structures and images in the Gerusalemme liberata. In the last part of her study Treip addresses the complex problematics of reading Paradise Lost as both a consciously Reformation poem and one written within the older epic allegorical tradition, and she also illustrates Milton's innovative use of biblical "Accommodation" theory so as to create a variety of radical allegorical metaphors in his poem. This study brings together a wide range of critical issues—the Homeric-Virgilian tradition of allegorical reading of epic; early Renaissance theory of all poetry as "translation" or allegorical metaphor; midrashic linguistic techniques in the representation of the Word; Milton's God; neoclassical strictures on Milton's allegory and allegory in general—all of these are brought together in new and comprehensive perspective.
Published just after the execution of King Charles I in 1649, Eikon Basilike is a defence of the king’s motivations and actions prior to and during the British civil wars. Nine chapters of Eikonoklastes, John Milton’s response to Eikon Basilike, are also included in this edition. Here Milton, writing from a republican perspective, attacks the substance and style of the King’s Book. These fascinating texts are now available in an edition that also includes a rich selection of historical documents. This Broadview edition’s critical introduction discusses the publication history and both seventeenth-century and current debates regarding the work and its authorship, while the appendices provide a generous selection of contemporary responses to Eikon Basilike and accounts of the king’s trial and scaffold speech.