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Fouke examines the anti-enthusiastical crusade of the Cambridge Platonist, Henry More, while exploring connections between Hermeticism, Cartesianism, and religious radicalism. More is shown to offer, through the dialectical employment of speech genres, a consistent ideal of the spiritual life.
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In the first book-length study explicitly to connect the postcolonial trope of hybridity to Renaissance literature, Gary Schmidt examines how sixteenth- and seventeenth-century English authors, artists, explorers and statesmen exercised a concerted effort to frame questions of cultural and artistic heterogeneity. This book is unique in its exploration of how 'hybrid' literary genres emerge at particular historical moments as vehicles for negotiating other kinds of hybridity, including but not limited to cultural and political hybridity. In particular, Schmidt addresses three distinct manifestations of 'hybridity' in English literature and iconography during this period. The first category comprises literal hybrid creatures such as satyrs, centaurs, giants, and changelings; the second is cultural hybrids reflecting the mixed status of the nation; and the third is generic hybrids such as the Shakespearean 'problem play,' the volatile verse satires of Nashe, Hall and Marston, and the tragicomedies of Beaumont and Fletcher. In Renaissance Hybrids, Schmidt demonstrates 'postmodern' considerations not to be unique to our own critical milieu. Rather, they can fruitfully elucidate cultural and literary developments in the English Renaissance, forging a valuable link in the history of ideas and practices, and revealing a new dimension in the relation of early modern studies to the concerns of the present.
In this book leading Irish historians examine the origins of sectarian division in early modern Ireland.
Significant and unexplored signs of John Marston's literary rivalry with Ben Jonson are investigated here by Charles Cathcart. The centrepiece of the book is its argument that the anonymous play The Family of Love, sometimes attributed to Thomas Middleton and sometimes to Lording Barry, was in part the work of John Marston, and that it constitutes a whimsical statement of amity with Jonson. The book concerns itself with material rarely or never viewed as part of the "Poets' War" (such as the mutual attempted cuckoldings of The Insatiate Countess and the Middle Temple performance of Twelfth Night) rather than with texts (like Satiromastix and Poetaster) long considered in this light.