During Anne Killigrew's lifetime (1660-1685) most of her known living relatives were connected to the court, yet very little is known about Anne herself. The twenty-five complete poems and five fragments that were collected and published by her father soon after her death probably represent only a portion of her output. They are reproduced here from the copy held in the Folger Shakespeare Library. These works suggest a poet quite conversant with the period's propensity to comment and compliment in verse. They suggest a sometimes conventional, sometimes merely competent, but often quite promising writer. Moreover, unlike many of her contemporaries, Killigrew never uses Latin, or French, or Italian in her verse. From the evidence of the poems here there is good reason to think that Killigrew would have been a fine eighteenth-century poet.
Poems" by Anne Killigrew is an affirmative and notable collection that showcases the poetic talent of the 17th-century English poet and artist. Published during the late 17th century, Killigrew's work reflects her skillful command of language, classical influences, and a deep engagement with themes such as love, spirituality, and the human condition. In this collection, readers can expect a series of poems that likely exemplify Killigrew's proficiency in both lyric and narrative forms. Anne Killigrew, recognized for her intellectual and artistic pursuits, may present verses that explore the complexities of emotions, celebrate the beauty of nature, and offer philosophical reflections. The title, "Poems," suggests a comprehensive anthology that brings together Killigrew's various poetic expressions. This collection likely includes her celebrated works, showcasing her ability to weave together themes of love, religion, and classical mythology.
A decade after the Restoration of Charles II, a disturbing group of tragedies, dubbed by modern critics the horror or the blood-and-torture villain tragedies, burst onto the London stage. Ten years later they were gone - absorbed into the partisan frenzy which enveloped the theatre at the height of the Exclusion Crisis. Despite burgeoning interest, until now there has been no full investigation into why these deeply unsettling plays were written when they were and why they so fascinated audiences for the period that they held the stage. The author’s contention is that the genre of horror gains its popularity at times of social dislocation. It reflects deep schisms in society, and English society was profoundly unsettled and in a (delayed) state of shock from years of social upheaval and civil conflict. Through recurrent images of monstrosity, madness, venereal disease, incest and atheism, Hermanson argues that the horror dramatists trope deep-seated and unresolved anxieties - engaging profoundly with contemporary discourse by abreacting the conspiratorial climate of suspicion and fear. Some go as far as to question unequivocally the moral and political value of monarchy, vilifying the office of kingship and pushing ideas of atheism further than in any drama produced since Seneca. This study marks the first comprehensive investigation of these macabre tragedies in which playwrights such as Nathaniel Lee, Thomas Shadwell, Elkanah Settle, Thomas Otway and the Earl of Rochester take their audience on an exploration of human iniquity, thrusting them into an examination of man’s relationship to God, power, justice and evil.
This is the first full-scale study of interactions between Italy's religious reform and English reformations, which were notoriously liable to pick up other people's ideas. The book is of fundamental importance for those whose work includes revisionist themes of ambiguity, opportunism and interdependence in sixteenth century religious change. Anne Overell adopts an inclusive approach, retaining within the group of Italian reformers those spirituali who left the church and those who remained within it, and exploring commitment to reform, whether 'humanist', 'protestant' or 'catholic'. In 1547, when the internationalist Archbishop Thomas Cranmer invited foreigners to foster a bolder reformation, the Italians Peter Martyr Vermigli and Bernardino Ochino were the first to arrive in England. The generosity with which they were received caused comment all over Europe: handsome travel expenses, prestigious jobs, congregations which included the great and the good. This was an entry con brio, but the book also casts new light on our understanding of Marian reformation, led by Cardinal Reginald Pole, English by birth but once prominent among Italy's spirituali. When Pole arrived to take his native country back to papal allegiance, he brought with him like-minded men and Italian reform continued to be woven into English history. As the tables turned again at the accession of Elizabeth I, there was further clamour to 'bring back Italians'. Yet Elizabethans had grown cautious and the book's later chapters analyse the reasons why, offering scholars a new perspective on tensions between national and international reformations. Exploring a nexus of contacts in England and in Italy, Anne Overell presents an intriguing connection, sealed by the sufferings of exile and always tempered by political constraints. Here, for the first time, Italian reform is shown as an enduring part of the Elect Nation's literature and myth.
The Daring Muse is a challenging account of the richness and complexity of Augustan poetry. It takes in a broad range of writers from the Restoration to the Regency, from Rochester and Dryden to Cowper and Crabbe, and shows the essential connections between them. Augustan poetry has too often been thought of as uniform, staidly classical, even dull. Margaret Doody explodes this myth once and for all. She shows it to be poetry of great energy and diversity: of extravagant conceits, subversive parody, incessant stylistic and formal experimentation; a self-consciously innovative poetry that sought to express and extend the perpetual, restless activity of the human mind. Both the principles and techniques of the verse are related to similar elements in the novels of the period; the book's numerous illustrations help to show how the poems were presented and interpreted in their own time.
Profiles pirates throughout history, especially women pirates of Europe, America, and Asia, such as Princess Alvilda, Ingean Ruadh, Grany Imallye, Elizabeth Killegrew, Anne Bonny, and Lai Cho San.
In Nicodemites: Faith and Concealment Between Italy and Tudor England, Anne Overell examines a rarely glimpsed aspect of sixteenth-century religious strife: the thinkers, clerics, and rulers, who concealed their faith. This work goes beyond recent scholarly interest in conformity to probe inward dilemmas and the spiritual and cultural meanings of pretence. Among the dissimulators who appear here are Cardinal Reginald Pole and his circle in Italy and in England, and also John Cheke and William Cecil. Although Protestant and Catholic polemicists condemned all Nicodemites, most of them survived reformation violence, while their habits of silence and secrecy became influential. This study concludes that widespread evasion about religious belief contributed to the erratic development of toleration. "Anne Overell is an accomplished practitioner of history as a sideways glance, revealing subtleties and contours that others have missed. In doing so, she enriches the story of the Reformation and helps us see its humanity and nuance more vividly and completely." - Diarmaid MacCulloch, Professor of the History of the Church, University of Oxford
This is the first ever complete critical edition of the writings of Anne Finch, Countess of Winchilsea (1661–1720), including work printed in her lifetime and material left in manuscript form at her death. Textual analysis, based on print and manuscript copies in repositories across the United Kingdom and the United States, reveals her revision processes and uses of manuscript and print. Extensive commentary clarifies her techniques, sources, contexts, and diction. A detailed essay traces the history of her works' reception and transmission. The result is a complete view of her achievements that will promote more accurate assessments of her contributions to literary and cultural shifts, including perspectives on literary value, women's equality, religion, and affairs of state. This first volume provides established texts of Finch's early manuscript books, including Poems on Several Subjects and Miscellany Poems with Two Plays written under her pen name, Ardelia.
Although mercers have long been recognised as one of the most influential trades in medieval London, this is the first book to offer a comprehensive and detailed analysis of the trade from the twelfth to the sixteenth century. The variety of mercery goods (linen, silk, worsted and small manufactured items including what is now called haberdashery) gave the mercers of London an edge over all competitors. The sources and production of all these commodities is traced throughout the period covered. It was as the major importers and distributors of linen in England that London mercers were able to take control of the Merchant Adventurers and the export of English cloth to the Low Countries. The development of the Adventurers' Company and its domination by London mercers is described from its first privileges of 1296 to after the fall of Antwerp. This book investigates the earliest itinerant mercers and the artisans who made and sold mercery goods (such as the silkwomen of London, so often mercers' wives), and their origins in counties like Norfolk, the source of linen and worsted. These diverse traders were united by the neighbourhood of the London Mercery on Cheapside and by their need for the privileges of the freedom of London. Extensive use of Netherlandish and French sources puts the London Mercery into the context of European Trade, and literary texts add a more personal image of the merchant and his preoccupation with his social status which rose from that of the despised pedlar to the advisor of princes. After a slow start, the Mercers' Company came to include some of the wealthiest and most powerful men of London and administer a wide range of charitable estates such as that of Richard Whittington. The story of how they survived the vicissitudes inflicted by the wars and religious changes of the sixteenth century concludes this fascinating and wide-ranging study.
Using previously unpublished material from the National Archives, David Thomas, David Carlton, and Anne Etienne provide a new perspective on British cultural history. Statutory censorship was first introduced in Britain by Sir Robert Walpole with his Licensing Act of 1737. Previously theatre censorship was exercised under the Royal Prerogative. By giving the Lord Chamberlain statutory powers of theatre censorship, Walpole ensured that confusion over the relationship between the Royal Prerogative and statute law would prevent any serious challenge to theatre censorship in Parliament until the twentieth century. The authors place theatre censorship legislation and its attempted reform in their wider political context. Sections outlining the political history of key periods explain why theatre censorship legislation was introduced in 1737, why attempts to reform the legislation failed in 1832, 1909, and 1949, and finally succeeded in 1968. Opposition from Edward VII helped to prevent the abolition of theatre censorship in 1909. In 1968, theatre censorship was abolished despite opposition from Elizabeth II, Lord Cobbold (her Lord Chamberlain) and Harold Wilson (her Prime Minister). There was strong support for theatre censorship on the part of commercial theatre managers who saw censorship as offering protection from vexatious prosecution. A policy of inertia and deliberate obfuscation on the part of Home Office officials helped to prevent the abolition of theatre censorship legislation until 1968. It was only when playwrights, directors, critics, audiences, and politicians (notably Roy Jenkins) applied combined pressure that theatre censorship was finally abolished. The volume concludes by exploring whether new forms of covert censorship have replaced the statutory theatre censorship abolished with the 1968 Theatres Act.
Digressive Voices in Early Modern English Literature looks afresh at major nondramatic texts by Donne, Marvell, Browne, Milton, and Dryden, whose digressive speakers are haunted by personal and public uncertainty. To digress in seventeenth-century England carried a range of meaning associated with deviation or departure from a course, subject, or standard. This book demonstrates that early modern writers trained in verbal contest developed richly labyrinthine voices thatcaptured the ambiguities of political occasion and aristocratic patronage while anatomizing enemies and mourning personal loss. Anne Cotterill turns current sensitivity toward the silenced voice to argue that rhetorical amplitude might suggest anxieties about speech and attack for men forced to be competitiveyet circumspect as they made their voices heard.
The first production of The New Globe Players was marked by murder. Now Suzanne Thornton’s company dares to mount the most cursed of plays… When charming Scotsman Diarmid Ramsay asks to play the titular role in Macbeth, he sets off a flurry of excitement among The New Globe Players. Despite protests from the company director that performing the “Scottish play” will lead only to disaster, Suzanne decides that the show must go on—with herself acting the part of Lady Macbeth, opposite the handsome stranger. Rehearsals begin—but then rumors about Ramsay arise, implicating him in the death of a sailor found behind the Goat and Boar. Is the man a murderer, possibly involved in a plot against the newly restored king? Suzanne refuses to believe it, until another murder connected to Ramsay occurs. It seems the curse of Macbeth may have been unleashed, leaving Suzanne no choice but to use her wits and her wiles to determine if Ramsay is a gifted actor—or a murderous villain.
Glitteringly detailed and engagingly written, the magisterial Elizabeth I brings to vivid life the golden age of sixteenth-century England and the uniquely fascinating monarch who presided over it. A woman of intellect and presence, Elizabeth was the object of extravagant adoration by her contemporaries. She firmly believed in the divine providence of her sovereignty and exercised supreme authority over the intrigue-laden Tudor court and Elizabethan England at large. Brilliant, mercurial, seductive, and maddening, an inspiration to artists and adventurers and the subject of vicious speculation over her choice not to marry, Elizabeth became the most powerful ruler of her time. Anne Somerset has immortalized her in this splendidly illuminating account. BONUS MATERIAL: This ebook edition includes an excerpt from Anne Somerset's Queen Anne.
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