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11 essays which attempt to combine contemporary literary theory and sound practical criticism from a range of literary approaches. The contributors cover the poetry of John Donne, the theology and impact of The Book of Common Prayer, the politics of Jacobean theatre and other themes.
When was feminism born - in the 1960s, or in the 1660s? For England, one might answer: the early decades of the seventeenth century. James I was King of England, and women were expected to be chaste, obedient, subordinate, and silent. Some, however, were not, and these are the women who interest Barbara Lewalski - those who, as queens and petitioners, patrons and historians and poets, took up the pen to challenge and subvert the repressive patriarchal ideology of Jacobean England. Setting out to show how these women wrote themselves into their culture, Lewalski rewrites Renaissance history to include some of its most compelling - and neglected - voices. As a culture dominated by a powerful Queen gave way to the rule of a patriarchal ideologue, a woman's subjection to father and husband came to symbolize the subjection of all English people to their monarch, and all Christians to God. Remarkably enough, it is in this repressive Jacobean milieu that we first hear Englishwomen's own voices in some number. Elizabeth Cary, Aemilia Lanyer, Rachel Speght, and Mary Wroth published original poems, dramas, and prose of considerable scope and merit; others inscribed their thoughts and experiences in letters and memoirs. Queen Anne used the court masque to assert her place in palace politics, while Princess Elizabeth herself stood as a symbol of resistance to Jacobean patriarchy. By looking at these women through their works, Lewalski documents the flourishing of a sense of feminine identity and expression in spite of - or perhaps because of - the constraints of the time. The result is a fascinating sampling of Jacobean women's lives and works, restored to their rightful place in literary historyand cultural politics. In these women's voices and perspectives, Lewalski identifies an early challenge to the dominant culture - and an ongoing challenge to our understanding of the Renaissance world.
The extraordinary character of Ben Jonson has only recently been brought into the light. Critics traditionally exalted Shakespeare, at Jonson’s expense. In this biography, first published in 1986, the author presents a full and accurate account of Jonson’s life in modern times. Rosalind Miles follows Jonson from his obscure beginnings to his burial in Westminster Abbey, as the first Poet Laureate, in 1637. Her Jonson is vivid and vigorous, equally alive in his life and in his work. This title will be of interest to students of history, English literature and Renaissance drama.
Ben Jonson, who was with Shakespeare and Marlowe one of three principal playwrights of his age, was also one of its most original and influential poets. Known best for the country house poem ‘To Penshurst’ and his moving elegy ‘On my First Son’, his work inspired the whole generation of seventeenth-century poets who declared themselves the ‘Sons of Ben’. This edition brings his three major verse publications, Epigrams (1616), The Forest (1616), and Underwood (1641) together with his large body of uncollected poems to create the largest collection of Jonson’s verse that has been published. It thus gives readers a comprehensive view of the wide range of his achievement, from satirical epigrams through graceful lyrics to tender epitaphs. Though he is often seen as the preeminent English poet of the plain style, Jonson employed a wealth of topical and classical allusion and a compressed syntax which mean his poetry can require as much annotation for the modern reader as that of his friend John Donne. This edition not only provides comprehensive explanation and contextualization aimed at student and non-specialist readers alike, but presents the poems in a modern spelling and punctuation that brings Jonson’s poetry to life.
These poems are done by 17th-century writers who devised a new form of poetry full of wit, intellect and grace, which we now call Metaphysical poetry. They wrote about their deepest religious feelings and their carnal pleasures in a way that was radically new and challenging to their readers. Their work was largely misunderstood or ignored for two centuries, until 20th-century critics rediscovered it.
A new and comprehensive selection of Dryden's poetry, revealing him as a master of theatricality, ventriloquism, and unmistakable originality. In his lifetime, John Dryden gained fame at the cost first of gossip and scandal and then of suspicion and scorn. He wrote to order, currying favor with the Crown and repeatedly savaging its enemies. Yet the finest works of his political and spiritual imagination- "Absalom and Achitophel" and "The Hind and the Panther"-develop the themes of envy, ambition, and misdeed in ways that far transcend their era. During the Glorious Revolution, Dryden fell from patronage and favor: he then transformed himself into perhaps the greatest of English translators, a superb interpreter of Virgil and Horace, Juvenal and Persius, Boccaccio and Chaucer. This edition contains a preface and annotations accompanying each poem, modernized spelling and punctuation, and an informative introduction and chronology. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.