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Quack, conjurer, sex fiend, murderer—Simon Forman has been called all these things, and worse, ever since he was implicated (two years after his death) in the Overbury poisoning scandal that rocked the court of King James. But as Barbara Traister shows in this fascinating book, Forman's own unpublished manuscripts—considered here in their entirety for the first time—paint a quite different picture of the works and days of this notorious astrological physician of London. Although he received no formal medical education, Forman built a thriving practice. His success rankled the College of Physicians of London, who hounded Forman with fines and jail terms for nearly two decades. In addition to detailing case histories of his medical practice—the first such records known from London—as well as his run-ins with the College, Forman's manuscripts cover a wide variety of other matters, from astrology and alchemy to gardening and the theater. His autobiographical writings are among the earliest English examples of their genre and display an abiding passion for reworking his personal history in the best possible light, even though they show little evidence that Forman ever intended to publish them. Fantastic as many of Forman's manuscripts are, it is their more mundane aspects that make them such a priceless record of what daily life was like for ordinary inhabitants of Shakespeare's London. Forman's descriptions of the stench of a privy, the paralyzed limbs of a child, a lost bitch dog with a velvet collar all offer tantalizing glimpses of a world that seems at once very far away and intimately familiar. Anyone who wants to reclaim that world will enjoy this book.
An attempt to tell as nearly as possible how the events took place. There is contemporary evidence for every fact and all the dialogue quoted.
The Mirror for Magistrates, the collection of de casibus complaint poems in the voices of medieval rulers and rebels compiled by William Baldwin in the 1550s, was central to the development of imaginative literature in the sixteenth and early seventeenth centuries. Additions by John Higgins, Thomas Blenerhasset, and Richard Niccols between 1574 and 1610 extended the Mirror's scope, shifted its focus, and prolonged its popularity; in particular, the texts' later manifestations profoundly influenced the work of Spenser and Shakespeare. Unperfect Histories is the first monograph to consider the text's early modern transmission history as a whole. In chapters on Baldwin, Higgins, Blenerhasset, and Niccols's complaint collections, it demonstrates that the Mirror is an invaluable witness to how verse history was conceptualized, written, and read across the period, and explores the ways in which it was repeatedly reinterpreted and redeployed in response to changing contemporary concerns. The Mirror corpus encompasses topical allegory, nationalist polemic, and historiographical skepticism, as well as the macabre humour and metatextual play which have come to be known as hallmarks of Baldwin's mid-Tudor writings. What has not been recognised is the complex interaction of these themes and techniques right across the Mirror's history. Higgins, Blenerhasset, and Niccols's contributions are analysed for the first time here, both within their own literary and historiographical contexts, and in dialogue with Baldwin's early editions. This new reading offers a lively account of the texts' depth and variety, and provides insight into the extent of the Mirror's influence and ubiquity in early modern literary culture.
This original analysis of the representation and self-representation of women in literature and visual arts revolves around multiple early modern senses of "painting": the creation of visual art in the form of paint on canvas and the use of cosmetics to paint women's bodies. Situating her study in sixteenth- and seventeenth-century Italy, France, and England, Patricia Phillippy brings together three distinct actors: women who paint themselves with cosmetics, women who paint on canvas, and women and men who paint women—either with pigment or with words. Phillippy asserts that early modern attitudes toward painting, cosmetics, and poetry emerge from and respond to a common cultural history. Materially, she connects those who created images of women with pigment to those who applied cosmetics to their own bodies through similar mediums, tools, techniques, and exposure to toxic materials. Discursively, she illuminates historical and social issues such as gender and morality with the nexus of painting, painted women, and women painters. Teasing out the intricate relationships between these activities as carried out by women and their visual and literary representation by women and by men, Phillippy aims to reveal the delineation and transgression of women's creative roles, both artistic and biological. In Painting Women, Phillippy provides a cross-disciplinary study of women as objects and agents of painting.