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King John’s evil reputation has outlasted and proved more enduring than that of Richard III, whose notoriety seemed ensured thanks to Shakespeare’s portrayal of him. The paradox is even greater when we realize that this portrait of John endures despite Shakespeare’s portrait of him in the play King John, where he hardly comes off as a villain at all. Here Igor Djordjevic argues that the story of John’s transformation in cultural memory has never been told completely, perhaps because the crucial moment in John’s change back to villainy is a literary one: it occurs at the point when the 'historiographic' trajectory of John’s character-development intersects with the 'literary' evolution of Robin Hood. But as Djordjevic reveals, John’s second fall in cultural memory became irredeemable as the largely unintended result of the work of three men - John Stow, Michael Drayton, Anthony Munday - who knew each other and who all read a significant passage in a little known book (the Chronicle of Dunmow), while a fourth man’s money (Philip Henslowe) helped move the story from page to stage. The rest, as they say, is history. Paying particular attention to the work of Michael Drayton and Anthony Munday who wrote for the Lord Admiral’s Men, Djordjevic traces the cultural ripples their works created until the end of the seventeenth century, in various familiar as well as previously ignored historical, poetic, and dramatic works by numerous authors. Djordjevic’s analysis of the playtexts’ source, and the personal and working relationship between the playwright-poets and John Stow as the antiquarian disseminator of the source text, sheds a brighter light on a moment that proves to have a greater significance outside theatrical history; it has profound repercussions for literary history and a nation’s cultural memory.
This is the first critical anthology of writings about memory in Renaissance England. Drawing together excerpts from more than seventy writers, poets, physicians, philosophers and preachers, and with over twenty illustrations, the anthology offers the reader a guided exploration of the arts of memory. The introduction outlines the context for the tradition of the memory arts from classical times to the Renaissance and is followed by extracts from writers on the art of memory in general, then by thematically arranged sections on rhetoric and poetry, education and science, history and philosophy, religion, and literature, featuring texts from canonical, non-canonical and little-known sources. Each excerpt is supported with notes about the author and about the text's relationship to the memory arts, and includes suggestions for further reading. The book will appeal to students of the memory arts, Renaissance literature, the history of ideas, book history and art history.
This book surveys the genesis of the modern conception of memory where gender becomes crucial to the processes of memorialization and suggests ways in which technology opens a new chapter in the history of memory.
Profusely illustrated with rare and unpublished imagesAn extraordinary insight into the Capell familyA tale of plots, intrigue, battles, court cases and family quarrelsA thoroughly researched and very readable account of this astounding family This is the dramatic, often erratic, and at times unbelievable story of the fortunes and misfortunes over 900 years to the present day of one of England’s premier aristocratic families, who in 1661 were given the Earldom of Essex by Charles II. This previously untold story begins just after the Norman Conquest and ends at the present day. Over a period of 400 years, the Capell family built a fortune, and over the next 500 years, lost it due to an incredible number of mistakes, bad judgement calls, and misfortunes. The Earls of Essex examines the rise and fall of this family, providing in-depth analysis and judgement on the reasons behind their decline.
Tombs in Shakespearean Drama explores the rhetorical deployment of tombs and monuments on the early modern stage, demonstrating their historiographic power and mythmaking potential. By analyzing references to tombs in plays by Shakespeare and others in conjunction with extant monuments, this volume demonstrates how these references function in two overlapping ways in period drama: monuments act as repositories of information about the past, and they allow the living to construct and preserve fictive narratives. The stage exposes the flimsy materiality of paper, placing less value on the written word than period poetry. In this way, critics have perhaps oversold as universal Shakespeare’s poetic praise of stone. Tombs within plays act as a powerful historical and narrative medium, raising the stakes to provide the stage with the illusion of permanency. Playwrights use tombs to anchor the stage action, giving a sense of lasting importance to dramatic events and combatting the ephemeral nature of the playhouse. In drama, Shakespeare and others drew on the persona preserved on tombs; this volume widens our view of how these representations interacted in the commemorative economy of early modern England. Within the playhouse, it was the tomb, not the tome, that stood as a symbol of permanence.
"The Catalogue ... has been prepared with a view to accomplish two objects. One, to offer an inventory of all the books on the shelves of the Reference Department of the Manchester Free Library: the other, to supply ... a ready Key both to the subjects of the books, and to the names of the authors." - v. 1, the compiler to the reader.
Placing the reading of history in its cultural and educational context, and examining the processes by which ideas about ancient Rome circulated, this study provides the first assessment of the significance of Roman history, broadly conceived, in early modern England.