Katherine A. Brown
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780813049175
- eISBN:
- 9780813050034
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049175.003.0002
- Subject:
- Literature, Early and Medieval Literature
The first chapter establishes three distinct types of reversal in the fabliaux: rhetorical; narrative (or sociogenic); and structural (called inversion). Examples of each type demonstrate that ...
More
The first chapter establishes three distinct types of reversal in the fabliaux: rhetorical; narrative (or sociogenic); and structural (called inversion). Examples of each type demonstrate that reversal is a characteristic of the genre and that it serves to open the fabliaux to interpretation. Le Fablel de la Grue is taken as a model text in that it incorporates all three types of reversal. An analysis of the fabliau shows that they can combine different genres, such as exempla and lais, through reversal. A study of the manuscript contexts of La Grue shows how the fabliau interacts with contemporary texts and how each manuscript has its own characteristics.Less
The first chapter establishes three distinct types of reversal in the fabliaux: rhetorical; narrative (or sociogenic); and structural (called inversion). Examples of each type demonstrate that reversal is a characteristic of the genre and that it serves to open the fabliaux to interpretation. Le Fablel de la Grue is taken as a model text in that it incorporates all three types of reversal. An analysis of the fabliau shows that they can combine different genres, such as exempla and lais, through reversal. A study of the manuscript contexts of La Grue shows how the fabliau interacts with contemporary texts and how each manuscript has its own characteristics.
Katherine A. Brown
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780813049175
- eISBN:
- 9780813050034
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049175.003.0004
- Subject:
- Literature, Early and Medieval Literature
Chapter 3 argues that Eastern frame narrative collections such as the Seven Sages of Rome were being combined with Western stories in medieval manuscripts before Boccaccio wrote the Decameron. The ...
More
Chapter 3 argues that Eastern frame narrative collections such as the Seven Sages of Rome were being combined with Western stories in medieval manuscripts before Boccaccio wrote the Decameron. The fabliaux anthologies were often repositories of other short narrative collections, such as vernacular versions of the Seven Sages of Rome and the Disciplina Clericalis. More than other types of Western story collections, the fabliaux codices can be seen as prefiguring the combination of different narrative traditions in the Decameron. The levels of organization in the Decameron reflect Boccaccio's combining of the Eastern frame narrative with the Old French manuscript tradition, which also offers a structural archetype for the organization of the novellas and the arrangement of the ten days of storytelling.Less
Chapter 3 argues that Eastern frame narrative collections such as the Seven Sages of Rome were being combined with Western stories in medieval manuscripts before Boccaccio wrote the Decameron. The fabliaux anthologies were often repositories of other short narrative collections, such as vernacular versions of the Seven Sages of Rome and the Disciplina Clericalis. More than other types of Western story collections, the fabliaux codices can be seen as prefiguring the combination of different narrative traditions in the Decameron. The levels of organization in the Decameron reflect Boccaccio's combining of the Eastern frame narrative with the Old French manuscript tradition, which also offers a structural archetype for the organization of the novellas and the arrangement of the ten days of storytelling.
William M. Hamlin
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199684113
- eISBN:
- 9780191764677
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199684113.003.0007
- Subject:
- Literature, 16th-century and Renaissance Literature, European Literature
This chapter addresses the seventeenth-century vogue of distilling Montaigne's Essays into aphoristic form, assimilating Montaignian thought into vernacular-wisdom literature. It relies not only on ...
More
This chapter addresses the seventeenth-century vogue of distilling Montaigne's Essays into aphoristic form, assimilating Montaignian thought into vernacular-wisdom literature. It relies not only on early modern commonplace books and study notes which extract and condense ideas from Montaigne's Essays as translated by Florio, but also upon a previously-unknown anonymous English translation of portions of Montaigne which dates from the mid-seventeenth century. Aphoristic adaptation provides an exceptionally clear instance of Montaignian reception among early modern English readers. But the impulse toward compressed extraction also helps significantly to explain the gradual demise of Florio's translation and the appearance, in 1685, of Cotton's tighter, plainer, more thoroughly censored, and far less exuberant rendering of the Essays.Less
This chapter addresses the seventeenth-century vogue of distilling Montaigne's Essays into aphoristic form, assimilating Montaignian thought into vernacular-wisdom literature. It relies not only on early modern commonplace books and study notes which extract and condense ideas from Montaigne's Essays as translated by Florio, but also upon a previously-unknown anonymous English translation of portions of Montaigne which dates from the mid-seventeenth century. Aphoristic adaptation provides an exceptionally clear instance of Montaignian reception among early modern English readers. But the impulse toward compressed extraction also helps significantly to explain the gradual demise of Florio's translation and the appearance, in 1685, of Cotton's tighter, plainer, more thoroughly censored, and far less exuberant rendering of the Essays.
Konrad Hirschler
- Published in print:
- 2016
- Published Online:
- September 2018
- ISBN:
- 9781474408776
- eISBN:
- 9781474418812
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474408776.001.0001
- Subject:
- History, Middle East History
The written text was a pervasive feature of cultural practices in the medieval Middle East. At the heart of book circulation stood libraries that experienced a rapid expansion from the twelfth ...
More
The written text was a pervasive feature of cultural practices in the medieval Middle East. At the heart of book circulation stood libraries that experienced a rapid expansion from the twelfth century onwards. While the existence of these libraries is well known our knowledge of their content and structure has been very limited as hardly any medieval Arabic catalogues have been preserved. This book discusses the largest and earliest medieval library of the Middle East for which we have documentation – the Ashrafiya library in the very centre of Damascus – and edits its catalogue. This catalogue shows that even book collections attached to Sunni religious institutions could hold rather unexpected titles, such as stories from the 1001 Nights, manuals for traders, medical handbooks, Shiite prayers, love poetry and texts extolling wine consumption. At the same time this library catalogue decisively expands our knowledge of how the books were spatially organised on the bookshelves of such a large medieval library. With over 2,000 entries this catalogue is essential reading for anybody interested in the cultural and intellectual history of Arabic societies. Setting the Ashrafiya catalogue into a comparative perspective with contemporaneous libraries on the British Isles this book opens new perspectives for the study of medieval libraries.Less
The written text was a pervasive feature of cultural practices in the medieval Middle East. At the heart of book circulation stood libraries that experienced a rapid expansion from the twelfth century onwards. While the existence of these libraries is well known our knowledge of their content and structure has been very limited as hardly any medieval Arabic catalogues have been preserved. This book discusses the largest and earliest medieval library of the Middle East for which we have documentation – the Ashrafiya library in the very centre of Damascus – and edits its catalogue. This catalogue shows that even book collections attached to Sunni religious institutions could hold rather unexpected titles, such as stories from the 1001 Nights, manuals for traders, medical handbooks, Shiite prayers, love poetry and texts extolling wine consumption. At the same time this library catalogue decisively expands our knowledge of how the books were spatially organised on the bookshelves of such a large medieval library. With over 2,000 entries this catalogue is essential reading for anybody interested in the cultural and intellectual history of Arabic societies. Setting the Ashrafiya catalogue into a comparative perspective with contemporaneous libraries on the British Isles this book opens new perspectives for the study of medieval libraries.
Katherine A. Brown
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780813049175
- eISBN:
- 9780813050034
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049175.001.0001
- Subject:
- Literature, Early and Medieval Literature
The Old French fabliaux are humorous short stories from the 13th century that resemble some of the most memorable tales in Giovanni Boccaccio's Decameron (1348-1351). Yet their humor and ostensible ...
More
The Old French fabliaux are humorous short stories from the 13th century that resemble some of the most memorable tales in Giovanni Boccaccio's Decameron (1348-1351). Yet their humor and ostensible frivolity conceal a serious challenge to didactic literature. A century later, Boccaccio used these types of tales to promote the openness of literary interpretation as a choice for the reader. This study shows that the fabliaux had a greater influence on the Decameron than has previously been recognized. Boccaccio took from the fabliaux the use of reversal as a technique for manipulating narrative structure; in addition, the manuscripts in which the fabliaux were transmitted served as models for the organization of the Decameron. The use of reversal in both the fabliaux and the Decameron underscores a paradigm shift in medieval thinking away from purely didactic literature toward a literature of enjoyment. Reversal in the fabliaux brings together linguistic and thematic opposites and interchanges them in order to show that these opposites offer equally valid positions from which the stories can be interpreted. Reversal also allows the fabliaux to adapt to a variety of contemporaneous genres while still maintaining their fundamental character. The fabliaux's use of reversal disrupts the moral didacticism preserved with the texts in manuscript anthologies. As Boccaccio standardized the medieval short story in the Decameron, he drew from both the fabliaux tradition and from the manuscript anthologies in which they were transmitted in order to conjoin diverse genres and provoke a multiplicity of interpretations.Less
The Old French fabliaux are humorous short stories from the 13th century that resemble some of the most memorable tales in Giovanni Boccaccio's Decameron (1348-1351). Yet their humor and ostensible frivolity conceal a serious challenge to didactic literature. A century later, Boccaccio used these types of tales to promote the openness of literary interpretation as a choice for the reader. This study shows that the fabliaux had a greater influence on the Decameron than has previously been recognized. Boccaccio took from the fabliaux the use of reversal as a technique for manipulating narrative structure; in addition, the manuscripts in which the fabliaux were transmitted served as models for the organization of the Decameron. The use of reversal in both the fabliaux and the Decameron underscores a paradigm shift in medieval thinking away from purely didactic literature toward a literature of enjoyment. Reversal in the fabliaux brings together linguistic and thematic opposites and interchanges them in order to show that these opposites offer equally valid positions from which the stories can be interpreted. Reversal also allows the fabliaux to adapt to a variety of contemporaneous genres while still maintaining their fundamental character. The fabliaux's use of reversal disrupts the moral didacticism preserved with the texts in manuscript anthologies. As Boccaccio standardized the medieval short story in the Decameron, he drew from both the fabliaux tradition and from the manuscript anthologies in which they were transmitted in order to conjoin diverse genres and provoke a multiplicity of interpretations.
Katherine A. Brown
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780813049175
- eISBN:
- 9780813050034
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049175.003.0003
- Subject:
- Literature, Early and Medieval Literature
In chapter 2, the relationships of fabliaux to other types of works, particularly fables, reveal the generic specificity of the fabliau form as well as the interwoven structure of the system of ...
More
In chapter 2, the relationships of fabliaux to other types of works, particularly fables, reveal the generic specificity of the fabliau form as well as the interwoven structure of the system of genres in medieval literature. MS BNF 2173 offers an exemplary case, it is argued, of the manuscript compiler's deliberate mixing of genres. The analyses of various individual fabliaux demonstrate that rhetorical reversal in the fabliaux serves to undermine the genre's ostensible didactic aims, whereas similar techniques in fables reinforce the didacticism of that genre. The manuscript as a whole presents a progression of texts from the divine to the mundane.Less
In chapter 2, the relationships of fabliaux to other types of works, particularly fables, reveal the generic specificity of the fabliau form as well as the interwoven structure of the system of genres in medieval literature. MS BNF 2173 offers an exemplary case, it is argued, of the manuscript compiler's deliberate mixing of genres. The analyses of various individual fabliaux demonstrate that rhetorical reversal in the fabliaux serves to undermine the genre's ostensible didactic aims, whereas similar techniques in fables reinforce the didacticism of that genre. The manuscript as a whole presents a progression of texts from the divine to the mundane.
Sheldon Brammall
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780748699087
- eISBN:
- 9781474412384
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748699087.003.0004
- Subject:
- Literature, Criticism/Theory
Manuscript translations reveal a different side of Virgil’s reception than is apparent in printed texts. Several substantial English translations never entered print in any form during the ...
More
Manuscript translations reveal a different side of Virgil’s reception than is apparent in printed texts. Several substantial English translations never entered print in any form during the Renaissance. These include an anonymous translation discovered at Castle Ashby in 1977 (now BL Add. MS 60283), the version of Book 6 Sir John Harington presented to King James and Prince Henry in 1604 and Sir William Mure’s rendition of Books 1 and 4 in the Edinburgh University Library. These courtly translations treat Virgil’s epic with a freedom that is rare in printed versions. This chapter shows that Virgil was not always stern and dour in early modern English translation. The more mischievous Aeneids found their audiences through manuscript distribution, while print offered the more obviously useful, or propagandistic, versions of the epic.Less
Manuscript translations reveal a different side of Virgil’s reception than is apparent in printed texts. Several substantial English translations never entered print in any form during the Renaissance. These include an anonymous translation discovered at Castle Ashby in 1977 (now BL Add. MS 60283), the version of Book 6 Sir John Harington presented to King James and Prince Henry in 1604 and Sir William Mure’s rendition of Books 1 and 4 in the Edinburgh University Library. These courtly translations treat Virgil’s epic with a freedom that is rare in printed versions. This chapter shows that Virgil was not always stern and dour in early modern English translation. The more mischievous Aeneids found their audiences through manuscript distribution, while print offered the more obviously useful, or propagandistic, versions of the epic.
David Watt
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780859898690
- eISBN:
- 9781781385203
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780859898690.001.0001
- Subject:
- Literature, Early and Medieval Literature
Thomas Hoccleve's Series (1419-21) tells the story of its own making. The Making of Thomas Hoccleve's Series analyzes this story and considers what it might contribute to the larger story about book ...
More
Thomas Hoccleve's Series (1419-21) tells the story of its own making. The Making of Thomas Hoccleve's Series analyzes this story and considers what it might contribute to the larger story about book production in the fifteenth century. Focusing on four surviving manuscripts made by Hoccleve himself between 1422 and 1426, the first four chapters explore the making of the Series in context. They examine the importance of audience judgment in the selection and juxtaposition of forms, the extent to which the physical flexibility of books could serve the needs of their owners and their makers, the changing tastes of fifteenth-century readers, and the appetite for new paradigms for reform in head and members. The final chapter analyzes the most important non-authorial copy of the Series in order to ask what others made of it. While this study draws on Hoccleve's experience, it asserts that the Series offers a reflection on, not a reflection of, his conception of book production. The ironic contrast between what Thomas, Hoccleve's narrator, intends and accomplishes when making his book is its most redeeming feature, for it provides insight into the many conflicting pressures that shaped the way books were made and imagined in early fifteenth-century England.Less
Thomas Hoccleve's Series (1419-21) tells the story of its own making. The Making of Thomas Hoccleve's Series analyzes this story and considers what it might contribute to the larger story about book production in the fifteenth century. Focusing on four surviving manuscripts made by Hoccleve himself between 1422 and 1426, the first four chapters explore the making of the Series in context. They examine the importance of audience judgment in the selection and juxtaposition of forms, the extent to which the physical flexibility of books could serve the needs of their owners and their makers, the changing tastes of fifteenth-century readers, and the appetite for new paradigms for reform in head and members. The final chapter analyzes the most important non-authorial copy of the Series in order to ask what others made of it. While this study draws on Hoccleve's experience, it asserts that the Series offers a reflection on, not a reflection of, his conception of book production. The ironic contrast between what Thomas, Hoccleve's narrator, intends and accomplishes when making his book is its most redeeming feature, for it provides insight into the many conflicting pressures that shaped the way books were made and imagined in early fifteenth-century England.
William M. Hamlin
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199684113
- eISBN:
- 9780191764677
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199684113.001.0001
- Subject:
- Literature, 16th-century and Renaissance Literature, European Literature
Montaigne’s English Journey examines the genesis, early readership, and multifaceted impact of John Florio’s exuberant translation of Michel de Montaigne’s Essays. Published in London in ...
More
Montaigne’s English Journey examines the genesis, early readership, and multifaceted impact of John Florio’s exuberant translation of Michel de Montaigne’s Essays. Published in London in 1603, this book was widely read in seventeenth-century England: Shakespeare borrowed from it as he drafted King Lear and The Tempest, and many hundreds of English men and women first encountered Montaigne’s tolerant outlook and disarming candour in its densely-printed pages. Literary historians have long been fascinated by the influence of Florio’s translation, analysing its contributions to the development of the English essay and tracing its appropriation in the work of Webster, Dryden, and other major writers. William M. Hamlin, by contrast, undertakes an exploration of Florio’s Montaigne within the overlapping realms of print and manuscript culture, assessing its importance from the varied perspectives of its earliest English readers. Drawing on letters, diaries, commonplace books, and thousands of marginal annotations inscribed in surviving copies of Florio’s volume, Hamlin offers a comprehensive account of the transmission and reception of Montaigne in seventeenth-century England. In particular he focuses on topics that consistently intrigued Montaigne’s English readers: sexuality, marriage, conscience, theatricality, scepticism, self-presentation, the nature of wisdom, and the power of custom. All in all, Hamlin’s study constitutes a major contribution to investigations of literary readership in pre-Enlightenment Europe.Less
Montaigne’s English Journey examines the genesis, early readership, and multifaceted impact of John Florio’s exuberant translation of Michel de Montaigne’s Essays. Published in London in 1603, this book was widely read in seventeenth-century England: Shakespeare borrowed from it as he drafted King Lear and The Tempest, and many hundreds of English men and women first encountered Montaigne’s tolerant outlook and disarming candour in its densely-printed pages. Literary historians have long been fascinated by the influence of Florio’s translation, analysing its contributions to the development of the English essay and tracing its appropriation in the work of Webster, Dryden, and other major writers. William M. Hamlin, by contrast, undertakes an exploration of Florio’s Montaigne within the overlapping realms of print and manuscript culture, assessing its importance from the varied perspectives of its earliest English readers. Drawing on letters, diaries, commonplace books, and thousands of marginal annotations inscribed in surviving copies of Florio’s volume, Hamlin offers a comprehensive account of the transmission and reception of Montaigne in seventeenth-century England. In particular he focuses on topics that consistently intrigued Montaigne’s English readers: sexuality, marriage, conscience, theatricality, scepticism, self-presentation, the nature of wisdom, and the power of custom. All in all, Hamlin’s study constitutes a major contribution to investigations of literary readership in pre-Enlightenment Europe.
Joseph Hone
- Published in print:
- 2017
- Published Online:
- November 2017
- ISBN:
- 9780198814078
- eISBN:
- 9780191851728
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198814078.003.0002
- Subject:
- Literature, 18th-century Literature
This chapter introduces and explores the full spectrum of positions on the succession across a range of texts responding to the deaths of William III and James II. It demonstrates the collapse of ...
More
This chapter introduces and explores the full spectrum of positions on the succession across a range of texts responding to the deaths of William III and James II. It demonstrates the collapse of earlier norms of royal mourning by unearthing how royal elegy—a sacrosanct genre in the seventeenth century—became a vehicle for opposition satire. Anne Finch, Alexander Pope, Samuel Pepys, and William Pittis were all involved in writing or circulating Jacobite libels in manuscript. Examining the scribal circulation of satires sheds new light on their political allegiances and networks. The chapter ends with a sustained contextual examination of Daniel Defoe’s poem The Mock Mourners.Less
This chapter introduces and explores the full spectrum of positions on the succession across a range of texts responding to the deaths of William III and James II. It demonstrates the collapse of earlier norms of royal mourning by unearthing how royal elegy—a sacrosanct genre in the seventeenth century—became a vehicle for opposition satire. Anne Finch, Alexander Pope, Samuel Pepys, and William Pittis were all involved in writing or circulating Jacobite libels in manuscript. Examining the scribal circulation of satires sheds new light on their political allegiances and networks. The chapter ends with a sustained contextual examination of Daniel Defoe’s poem The Mock Mourners.
Michelle R. Warren
- Published in print:
- 2018
- Published Online:
- October 2018
- ISBN:
- 9780198795148
- eISBN:
- 9780191836497
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198795148.003.0012
- Subject:
- Literature, Early and Medieval Literature
Genre categories are shaped by cultural context and can change over time. This case study of Henry Lovelich’s Grail and Merlin (Cambridge, Corpus Christi College, MS 80) accounts for the malleability ...
More
Genre categories are shaped by cultural context and can change over time. This case study of Henry Lovelich’s Grail and Merlin (Cambridge, Corpus Christi College, MS 80) accounts for the malleability of ‘romance’ by assessing in detail how perceptions of genre are mediated by form, politics, religion, archival methods, aesthetics, and pedagogy. When MS 80 was created in the fifteenth century, the English text was part of a multilingual tradition in which romance and history were inherently entangled and overlapping. In the sixteenth century, the Grail and King Arthur served as politically useful history. As the religious polemics of the Reformation subsided, Lovelich’s translation came to represent the beginning of English national romance. By the mid-twentieth century, it had been repositioned as a much maligned ‘bad romance’. Later, from the perspective of manuscript studies, evaluations became more positive. Now, early in the twenty-first century, the expansion of digital archives supports new approaches that challenge traditional distinctions between literary history and book history.Less
Genre categories are shaped by cultural context and can change over time. This case study of Henry Lovelich’s Grail and Merlin (Cambridge, Corpus Christi College, MS 80) accounts for the malleability of ‘romance’ by assessing in detail how perceptions of genre are mediated by form, politics, religion, archival methods, aesthetics, and pedagogy. When MS 80 was created in the fifteenth century, the English text was part of a multilingual tradition in which romance and history were inherently entangled and overlapping. In the sixteenth century, the Grail and King Arthur served as politically useful history. As the religious polemics of the Reformation subsided, Lovelich’s translation came to represent the beginning of English national romance. By the mid-twentieth century, it had been repositioned as a much maligned ‘bad romance’. Later, from the perspective of manuscript studies, evaluations became more positive. Now, early in the twenty-first century, the expansion of digital archives supports new approaches that challenge traditional distinctions between literary history and book history.
Sheldon Brammall
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780748699087
- eISBN:
- 9781474412384
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748699087.001.0001
- Subject:
- Literature, Criticism/Theory
This book brings to light a history of English Renaissance Aeneids that has been lost from view. Previous monographs have explored the complete translations by Gavin Douglas (1513) and John Dryden ...
More
This book brings to light a history of English Renaissance Aeneids that has been lost from view. Previous monographs have explored the complete translations by Gavin Douglas (1513) and John Dryden (1697), but there has been little research focussing on the Aeneid translations which appeared in between. This book covers the period from the beginning of Elizabeth’s reign to the start of the English Civil War, during which time there were thirteen authors who composed substantial translations of Virgil’s epic. These translators include prominent literary figures — such as Richard Stanyhurst, Christopher Marlowe, and Sir John Harington — as well as colonists, schoolmasters and members of parliament. Rather than simply viewing these Aeneids as scattered efforts preceding Dryden and the ‘golden age’ of Augustan translation, this book argues that these works represent a recognisable and important period of English classical translation. Drawing on manuscripts and printed sources, the book sketches a continuous portrait of the English Aeneids as they developed through the ages of Elizabeth, James I and Charles I.Less
This book brings to light a history of English Renaissance Aeneids that has been lost from view. Previous monographs have explored the complete translations by Gavin Douglas (1513) and John Dryden (1697), but there has been little research focussing on the Aeneid translations which appeared in between. This book covers the period from the beginning of Elizabeth’s reign to the start of the English Civil War, during which time there were thirteen authors who composed substantial translations of Virgil’s epic. These translators include prominent literary figures — such as Richard Stanyhurst, Christopher Marlowe, and Sir John Harington — as well as colonists, schoolmasters and members of parliament. Rather than simply viewing these Aeneids as scattered efforts preceding Dryden and the ‘golden age’ of Augustan translation, this book argues that these works represent a recognisable and important period of English classical translation. Drawing on manuscripts and printed sources, the book sketches a continuous portrait of the English Aeneids as they developed through the ages of Elizabeth, James I and Charles I.
Luca Crispi
- Published in print:
- 2015
- Published Online:
- August 2015
- ISBN:
- 9780198718857
- eISBN:
- 9780191788307
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198718857.001.0001
- Subject:
- Literature, Criticism/Theory, 20th-century Literature and Modernism
This book is both a study of how James Joyce created two of the most iconic characters in literature—Leopold Bloom and Marion Tweedy Bloom—as well as a history of the genesis of Ulysses. From a ...
More
This book is both a study of how James Joyce created two of the most iconic characters in literature—Leopold Bloom and Marion Tweedy Bloom—as well as a history of the genesis of Ulysses. From a genetic critical perspective, this book explores the conception and evolution of the Blooms as fictional characters in the work’s wide range of surviving notes and manuscripts. At the same time, it also chronicles the production of Ulysses from 1917 to its first edition in 1922 and beyond. It engages with the textual archive of Ulysses, including the exciting, recently-discovered manuscripts now in the National Library of Ireland. The book excavates the raw material and examines the creative processes Joyce deployed in the construction of the Blooms and so the writing of Ulysses. Framed by a contextual introduction and four bibliographical appendices, the seven main chapters are a critical investigation of the fictional events and memories that constitute the ‘lives’ of the Blooms. Thereby, it is also a commentary on Joyce’s conception of Ulysses more generally. The book analyses how the stories in the published book achieved their final form and discloses previously unexamined versions of them for everyone who enjoys reading Ulysses. This book demonstrates the various ways in which specialist textual work on the genesis of Ulysses directly intersects with other critical and interpretive readings.Less
This book is both a study of how James Joyce created two of the most iconic characters in literature—Leopold Bloom and Marion Tweedy Bloom—as well as a history of the genesis of Ulysses. From a genetic critical perspective, this book explores the conception and evolution of the Blooms as fictional characters in the work’s wide range of surviving notes and manuscripts. At the same time, it also chronicles the production of Ulysses from 1917 to its first edition in 1922 and beyond. It engages with the textual archive of Ulysses, including the exciting, recently-discovered manuscripts now in the National Library of Ireland. The book excavates the raw material and examines the creative processes Joyce deployed in the construction of the Blooms and so the writing of Ulysses. Framed by a contextual introduction and four bibliographical appendices, the seven main chapters are a critical investigation of the fictional events and memories that constitute the ‘lives’ of the Blooms. Thereby, it is also a commentary on Joyce’s conception of Ulysses more generally. The book analyses how the stories in the published book achieved their final form and discloses previously unexamined versions of them for everyone who enjoys reading Ulysses. This book demonstrates the various ways in which specialist textual work on the genesis of Ulysses directly intersects with other critical and interpretive readings.
