tag:blogger.com,1999:blog-73899320942313625452024-03-13T05:18:06.994-07:00APPOSITIONS: Studies in Renaissance / Early Modern Literature & CultureAn electronic, international, peer-reviewed, MLA-indexed, EBSCO-distributed journal for studies in Renaissance/early modern literature & culture. APPOSITIONS publishes under a Creative Commons License and is an open-access, independently managed journal. ISSN: 1946-1992. APPOSITIONS will be on hiatus beginning October, 2017.whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.comBlogger194125tag:blogger.com,1999:blog-7389932094231362545.post-25999222112034048852017-08-16T18:07:00.000-07:002019-04-19T14:38:03.775-07:00VOLUME TEN (2017): ARTEFACTS<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></i></b>
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Literature
& Culture</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a></span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">ISSN:
1946-1992</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">VOLUME
TEN (2017):</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">ARTEFACTS</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">ARTICLES:<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Jason
Gleckman, </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
Chinese University of Hong Kong<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2017/08/jason-gleckman-puritan-assurance.html" target="_blank">Malvolio and Puritan Assurance</a></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Sara
Morrison, </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">William
Jewell College</span><br />
<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/sara-morrison-relic-making.html" target="_blank">A “pleasing sacrifice”: Relic-Making in John Donne’s Lyric Poetry</a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Jennifer
van Alstyne,<b> </b>University of Louisiana at Lafayette</span><br />
<a href="http://appositions.blogspot.com/2017/08/jennifer-van-alstyne-wives-and-daughters.html" style="font-family: times, "times new roman", serif;" target="_blank"><span style="font-size: medium;">Wives and Daughters: Social Acceptance and Agency in Chapman, Jonson, and Marston’s <i>Eastward Ho</i></span></a></div>
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></b>
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">REVIEWS:<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Diana
Galarreta-Aima,</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">
James Madison University, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2017/08/diana-galarreta-aima-women-playwrights.html" target="_blank">Feliciana Enríquez de Guzmán, Ana Caro Mallén, and Sor Marcela de San Félix, <i>Women Playwrights of Early Modern Spain</i>.</a>
Edited by Nieves Romero-Díaz and Lisa Vollendorf. Translated and annotated by
Harley Erdman. ITER Academic Press & Arizona Center for Medieval and
Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Lyn Bennett, Dalhousie University, review of<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2017/08/lyn-bennett-anna-trapnels-report-and.html" target="_blank">Anna Trapnel, <i>Anna Trapnel’s Report and Plea; or, A Narrative of Her Journey from London into Cornwall</i>.</a></span><span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Edited by Hilary
Hinds.</span><span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">ITER Academic Press & Arizona Center for Medieval and Renaissance
Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Susan
Broomhall, University of Western Australia, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2017/08/susan-broomhall-misfortunes-of-love.html" target="_blank">Claudine-Alexandrine Guérin de Tencin, <i>Memoirs of the Count of Comminge</i> and <i>The Misfortunes of Love</i>.</a><i> </i>Edited and translated by Jonathan D.
Walsh. ITER Academic Press & Arizona Center for Medieval and Renaissance
Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Elisabeth C. Davis, University at Buffalo, review of</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="https://acmrs.org/publications/catalog/mother-juana-de-la-cruz-1481-1534-visionary-sermons" target="_blank">Mother Juana de la Cruz, <i>Visionary Sermons (1481-1534)</i></a>. Edited by Jessica A. Boon and
Ronald E. Surtz. Translated by Ronald E. Surtz and Nora Weinerth. ITER Academic
Press & Arizona Center for Medieval and Renaissance Studies (Toronto,
Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
</div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Jeanette
M. Fregulia, Carroll College, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2017/08/jeanette-fregulia-letters-to-her-sons.html" target="_blank">Alessandra Macinghi Strozzi, <i>Letters to Her Sons (1447-1470)</i>.</a> Edited and translated by Judith
Bryce. ITER Academic Press & Arizona Center for Medieval and Renaissance
Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Kelly
D. Peebles, Clemson University, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2017/08/kelly-peebles-letters-from-queen-of.html" target="_blank">Jeanned’Albret, <i>Letters from the Queen of Navarre with an Ample Declaration</i>.</a> Edited
and translated by Kathleen M. Llewellyn, Emily E. Thompson, and Colette H. Winn.
ITER Academic Press & Arizona Center for Medieval and Renaissance Studies
(Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Carole
Slade, Columbia University, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2017/08/carole-slade-letters-of-spanish-nun.html" target="_blank">María Vela y Cueto, <i>Autobiography and Letters of a Spanish Nun</i>.</a> Edited by
Susan Diane Laningham. Translated by Jane Tar. ITER Academic Press &
Arizona Center for Medieval and Renaissance Studies (Toronto, Canada &
Tempe, Arizona, 2016).<o:p></o:p></span><br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Literature
& Culture</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a></span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">ISSN:
1946-1992</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">VOLUME
TEN (2017):</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">ARTEFACTS</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-75282926112983607672017-08-16T18:06:00.000-07:002017-09-07T15:32:55.059-07:00* * * ARTICLES * * *<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Literature & Culture</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/" style="color: #cc6633;">http://appositions.blogspot.com/</a></span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">ISSN: 1946-1992</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">VOLUME TEN (2017):</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">ARTEFACTS</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">ARTICLES:<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Jason Gleckman, </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">The Chinese University of Hong Kong<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/jason-gleckman-puritan-assurance.html" style="color: #cc6633;" target="_blank">Malvolio and Puritan Assurance</a></span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Sara Morrison, </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">William Jewell College</span><br />
<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/sara-morrison-relic-making.html" style="color: #cc6633;" target="_blank">A “pleasing sacrifice”: Relic-Making in John Donne’s Lyric Poetry</a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Jennifer van Alstyne,<b> </b>University of Louisiana at Lafayette</span><br />
<a href="http://appositions.blogspot.com/2017/08/jennifer-van-alstyne-wives-and-daughters.html" style="color: #cc6633; font-family: times, "times new roman", serif;" target="_blank"><span style="font-size: medium;">Wives and Daughters: Social Acceptance and Agency in Chapman, Jonson, and Marston’s <i>Eastward Ho</i></span></a><br />
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Literature & Culture</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/" style="color: #cc6633;">http://appositions.blogspot.com/</a></span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">ISSN: 1946-1992</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">VOLUME TEN (2017):</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">ARTEFACTS</span></i></b></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><br /></span></i></b></div>
</div>
</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-23253011626853476402017-08-16T18:05:00.001-07:002017-08-20T14:29:37.543-07:00Jason Gleckman: "Puritan Assurance"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Jason Gleckman<o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;"><a href="http://www.cuhk.edu.hk/english/index.html" target="_blank">The Chinese University of Hong Kong</a><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: 12.0pt;">Malvolio and
Puritan Assurance<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><b><span style="font-size: 12pt; line-height: 115%;">[1]</span></b></span><!--[endif]--></span></span></b><span style="font-size: 12.0pt;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">1> England in the late sixteenth
century was a time when religious issues were keenly explored, including on the
stage. Yet various factors – the May 16, 1559 prohibition on religious drama, the
intricacies of theological debates that may be lost to future generations, and
the inevitable exploration, within any dramatic text, of other themes alongside
religious ones </span><span style="font-family: "times" , "times new roman" , serif; font-size: 16px;">– </span><span style="font-family: "times" , "times new roman" , serif; font-size: 12pt;">make it difficult for scholars to understand how audiences living
in the time of the most radical transformation in Christianity since its
inception might have responded to the presentation of such topics in theatre
settings.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">2> The concept of the late
sixteenth-century English ‘Puritan’ is a useful example of the difficulties of
reading religion on stage. In the age of Shakespeare, Puritans could be seen in
many ways, all of which stressed their extremism. First, in the most basic
sense, one which could be termed ‘political’ in aiming for specific changes in
the nation’s institutions, Puritans were identified with ‘non-conformists,’ those
Protestants who (perhaps short of separatism) most strongly opposed the Church
of England as an obstacle to the progress of true religion; it is primarily in
this sense (as the OED indicates) that such opponents of what they considered
‘idolatrous’ church practices were termed “precisians” and “Puritans” by fellow
Protestants who felt their efforts to purge the Church of England of Catholic
residues went too far.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[2]</span></span><!--[endif]--></span><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">3> In a more general sense, relating
to theology and the religious beliefs that were most valued by Puritans, they could
be identified as “hot Protestants” (a 1581 definition [Collinson, <i>Elizabethan Puritan Movement</i> 27]) or
perhaps “high Calvinists” whose theological priorities differed from their “Anglican”
opponents. In this context, Puritans quoted the Bible more than other
Protestants did, searched their consciences more assiduously for signs of
election, and were more fully convinced than other Protestants of the deep-seeded
sinfulness of human nature. A third way of thinking about Puritans in this time
period relates to their personalities, which, in tune with their general
extremism, involved both strictness (austerity, a dislike of ornamentation, the
rejection of sensual pleasure, a focus on self-discipline that perhaps extended
to the disciplining of others as well) and zeal, expressed in the Puritan
confidence that they constituted an effective avant-garde in terms of making
England a fuller Protestant nation.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">4> Yet, understanding the nature of
late Elizabethan Puritans, both as they saw themselves and as they were seen by
others, requires even more careful attention. For example, even when it comes
to the most basic political sense in which Puritans opposed the practices of
the Church of England, some ‘non-conformists’ may have objected most to the Church
of England’s too-close associations with the nation’s government while others
may have been more opposed to the Church’s lingering Catholic-inflected rituals;
similarly, some non-conformists wanted England to move closer in spirit and
laws to Calvin’s Geneva, but others felt differently. The question is which
sorts of views can be grouped together and what sorts of terms can historians
use to describe such groupings; “Puritan” remains a useful term, but its
parameters still need further refinement.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">5> In terms of theology as well, the difference
between a ‘hot’ Puritan and a merely warm Protestant could obviously be
indistinct. After all, searching into the conscience, attentively reading
scripture, attending sermons, and trying to make better Christians of oneself
and others were surely characteristic of most Protestants of this era. Trying
to articulate a possible range of “Puritan” personality traits is even more
difficult; Kristen Poole has even argued that Puritans (or at least ‘stage
puritans’) were not actually characterized by asceticism and self-discipline so
much as by being “drunken, gluttonous, and lascivious” (Poole 12). As Patrick
Collinson summarizes this well-established sense of the stage Puritan, the figure
was “in a word, hypocrisy incarnate” (“Theatre Constructs Puritanism” 167).<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">6> Unlike his contemporary Ben
Jonson, Shakespeare does not offer many obvious presentations of Puritans in
his work. The most commonly referenced candidate is Malvolio from <i>Twelfth Night</i>, but as with other matters
relating to Elizabethan Puritans, such a perception has been questioned by scholars. Poole for instance, suggests that Falstaff
is more like a Puritan than Malvolio (Poole 37). In a less extreme vein, Brian
Walsh summarizes this important strand of perceptions on Malvolio when he says
the character is not a Puritan in either “a technical or historically
recognizable sense” (Walsh 95). Walsh’s evaluation is a sensible call for more
linguistic specificity when it comes to thinking about what the term “Puritan”
may have meant to Shakespeare and his contemporaries both within and outside
the theatre. For instance, Walsh argues that to call Malvolio a “Puritan” based
on such broad, frequently-found human traits as being divisive, sanctimonious,
strict, and with a distaste for festivity (particularly when displayed “in the
middle of the night in a house of mourning” as he pithily puts it [Walsh 101]),
would be to render the term vague to the point of meaninglessness. As such, it
would be better to see some of Malvolio’s more somber and precise qualities,
such as “a sad face, a reverend carriage” and “a slow tongue” (3.4.72-73), as
well as his “austere regard of control” (2.5.67) and the “demure travel of
regard” (2.5.53) that describes his gaze, as perhaps the traits of a Steward rather
than a Puritan.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[3]</span></span><!--[endif]--></span><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">7> Despite the validity of such
arguments, however, I believe it is possible and useful to see Malvolio as a
Puritan, an approach that can not only shed more light on this particular
character and his reception on stage, but on the depiction of Puritans generally
and specifically about the ways that certain theological beliefs also tend to
generate certain personality traits and overall value systems, many of which
are developed unconsciously. In terms of such behaviors, Malvolio is
Puritan-like in many ways, a possibility that Shakespeare clearly intended his
audience to ponder given Maria’s description of him as “a kind of Puritan”
(2.3.140). Malvolio carefully thanks God or Jove for his perceived blessings,
especially when he fears he has crossed the line into presumption or sin: “I
have limed her, but it is Jove’s doing” (3.4.74-75). He is equally alert to the
presence of sin in others; at least from Olivia’s viewpoint, Malvolio sees Feste’s
trivial “bird-bolts” as “cannon bullets” (1.5.92-3). Malvolio does not hesitate
to catechize these sinful people either; as Paul N. Siegel plausibly notes, the
phrases that Malvolio imagines preaching to Toby such as “you waste the
treasure of your time” (2.5.77), are “an expression of the Puritan bourgeois
ethic like the modern businessman’s ‘Time is money.’” (Siegel 220). Indeed,
Malvolio, like other extremist Protestants, may go so far as to imagine others
as reprobates; he implies that Feste will remain a fool “till the pangs of
death shake him” [1.5.73-4]), incapable of receiving divine love even at the
last moment.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">8> Even in terms of the most easily-seen
Puritan trait, a tendency towards schism in relation to the Church of England,
Malvolio is a relevant figure. He references Isaiah 65.5 which includes (in the
words of both the King James and the Geneva Bible), the famous phrase, “holier
than thou”; to cite the King James Version: “Stand by thyself, come not near to
me; for I am holier than thou. These are a smoke in my nose, a fire that
burneth all the day.” In Malvolio’s words, “I discard you [...] You are idle,
shallow things, I am not of your element” (3.4.90, 124-5). Like Isaiah,
Malvolio makes bold and absolute distinctions between himself and those others
who are unworthy of his gaze and will never experience the rejoicings of the
elect.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">9> To buttress the above arguments,
we can also look at one element of <i>Twelfth
Night</i> that has, since the time of Shakespeare, perhaps become obscured, seen
now as yet another of the countless theological minutiae that obsessed the
Reformers but which have since been relegated to the margins of history. This
is the philosophy of ‘assurance,’ a Protestant belief specifically associated
with ‘hot’ Protestants who intensely believed in the possibility of attaining a
state whereby one was absolutely certain of one’s election. This was neither an
Anglican nor a Catholic belief; in 1547, the Catholic Council of Trent stated
that “no one can know, by that assurance of faith
which excludes all falsehood, that he has obtained the grace of God” (Tanner 2.674;
Session 6, chapter 9); when William Barrett, a young theologian at Cambridge
University, was forced, by the ‘hot’ Protestants at his University, to recent a
sermon in which he had claimed that no person could be secure of his salvation,
Barrett’s position was generally supported by the Anglican Archbishop John Whitgift
as well as his chaplains, Adrian Saravia and Lancelot Andrewes (White 102-105).<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 12pt;">10> </span><span style="font-size: 12.0pt;">In contrast, it
was a key mark of Puritan theology (and probably a major reason for the Puritan
reputation for arrogance) to believe in assurance. Such a belief was heralded
at the start of the Reformation when Luther, frustrated with the Church for
being unable to ensure his salvation (and drawing on Augustine’s concept of the
‘perseverance of the Saints’), insisted that such certainty was within his
grasp; he wrote, “we have the pure and true doctrine of the Gospel – an
assurance of which the papacy cannot boast [...] Let us thank God, therefore,
that we have been delivered from this monster of uncertainty” (Luther 386-7).<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">11> Other Protestants followed Luther
in attacking Catholicism for its reluctance to encourage assurance among the
faithful. Calvin wrote:<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">“But,
it may be said, they [Catholics] do not take away hope, but only absolute
certainty. What! is there any expression of doubt or uncertainty when Paul
boldly asserts that a crown of righteousness is laid up for him? (1 Tim.iv.8). Is
there anything <a href="https://www.blogger.com/null" name="10001"></a><a href="https://www.blogger.com/null" name="rank1"></a><a href="https://www.blogger.com/null" name="1"></a><a href="https://www.blogger.com/null" name="conditional"></a><span class="subhit">conditional
</span>in the words, when he declares that an earnest of our adoption
has been given us, so that we can dare with loud voice to call God our Father?”
(Calvin “Acts” 137)<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">12> English ‘hot Protestants’ such as
William Perkins also opposed what they considered to be lukewarm Catholic
language relating to ‘hope’ or ‘conjecture’ of salvation; to Perkins, assurance
was as infallible as the God who bestowed it:<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">“when God by his
Spirit is saide to seal the promise in the heart of euery particular beleeuer,
it signifieth that he giues vnto them euident assurace [sic] that the promise
of life belongs vnto them.” (Perkins 541)<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">13> The pervasiveness of a doctrine
of assurance is further attested by its incorporation into various Protestant
documents and confessions, such as the 1595 Lambeth Articles which stated that
“the true believer, i.e. one who possesses justifying faith, is certain, by the
full assurance of faith, of the forgiveness of his sins and of eternal
salvation through Christ” (“Lambeth” 400) The 1619 Synod of Dort likewise
concluded that “the elect, in due time [...] attain the assurance of this their
eternal and unchangeable election [...] by observing in themselves, with a
spiritual joy and holy pleasure, the infallible fruits of election pointed out
in the word of God [...].” (“Canons” 459).<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[4]</span></span><!--[endif]--></span><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">14> Another possible origin for the ‘hot’
Protestant concern with assurance derived from the high Protestant stress on
double predestination, the sense that God had determined each person’s fate, as
elect or reprobate, before the origin of the world. In such a context, imagining
oneself as a reprobate involved not only, in the traditional Christian manner,
considering oneself a sinner – but especially as a sinner who could not choose
to be otherwise, whose heart God was continually hardening to justify one’s
future punishment. Such a fear that one might be a reprobate, unchangeably and
eternally created as an enemy of God, would require an equally strong
confidence in one’s status as elect. As Calvin phrased this psychological need:<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">“The conscience,
if it looks to God, must either have sure peace with his judgment or be
besieged by the terrors of hell. Therefore we profit nothing in discussing
righteousness unless we establish a righteousness so steadfast that it can
support our soul in the judgment of God. When our souls possess that by which
they may present themselves fearless before God's face and receive his judgment
undismayed, then only may we know that we have found no counterfeit
righteousness.” (Calvin, <i>Institutes</i> 765;
3.13.3)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">15> Yet, as Calvin’s remarks
indicate, attaining such a state of assurance was not easy. Rigid Protestants,
with their continual awareness of sin, could readily fall into despair
concerning their own possible fates. In addition, there was the danger of
presumption, of taking for granted that one was saved and living in the
illusion of a “carnal security” rather than a truly “spiritual security.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[5]</span></span><!--[endif]--></span> Consequently,
Protestants, following earlier Christian thinking, felt one’s confidence in
salvation must be accompanied by an ever-present fear of God. Calvin and Luther
may have taken joy in the possibility of being fearless before God’s face, but Calvin
also noted that <span style="background: white;">the conscience
should never fully rest in “peaceful repose, undisturbed by any tumult at all.”
(Calvin, <i>Institutes</i> 562; 3.2.17).</span><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">16> Malvolio nicely represents, in a
secular context, the complexities of this religious belief. He is, first, a man
who seeks assurance. As Douglas Trevor says, “Malvolio reads Olivia’s love [...] as the puritan elect read God’s love for them” (72); one key quality of such
a love is its indefatigable, absolute nature. Thus as Malvolio reads Maria’s forged
letter he first hopes to find signs of his election (“if this should be thee,
Malvolio!” [2.5.103-4]). But Malvolio goes further, trying hard as Protestants
did, to distinguish this sense of election from its evil <span style="background: white; color: #222222;">doppelgänger</span>,
namely a misguided belief that he is saved. As Sean Benson notes, if Malvolio’s
reading practices can be called Puritan, they should not be termed so in the
superficial sense of simply finding in the text what one expects to find, an
accusation made against Puritans in Shakespeare’s day.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[6]</span></span><!--[endif]--></span> In
contrast, as Benson argues, Malvolio’s reading practices are both cautious and
careful; his “use of both written and oral contexts is surely the mark of a
conscientious reader” (276). Malvolio’s joyful exclamation, on finally
attaining assurance, is as follows:<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">“Why, everything
adheres together, that no dram of a scruple, no scruple of a scruple, no
obstacle, no incredulous or unsafe circumstance – what can be said? </span><span style="font-family: "times" , "times new roman" , serif; font-size: 16px;">– </span><span style="font-family: "times" , "times new roman" , serif; font-size: 12pt;">nothing
that can be can come between me and the full prospect of my hopes.” (3.4.78-83)</span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">17> These words register the
necessary high level of confidence that Protestants felt was required to turn
mere hope into solid assurance. Malvolio’s praise of Jove for granting him this
prize (“Well, Jove, not I, is the doer of this, and he is to be thanked”
[3.4.83-4]) likewise conveys the cautious language of Protestants who did not
attribute their attainment of assurance to anything within their still sinful
selves. In contrast, to have “greatness thrust upon” one (2.5.146), as in
Malvolio’s case, was to be chosen for glory through no virtue of one’s own.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">18> The specific means of Malvolio’s
quest for assurance again stress a Puritan approach, namely engaging in
extremely ‘close reading’, particularly in the context of a sacred text. The
aim of such reading was, as George Abbot, Archbishop of Canterbury, put it in
1600, not to find evidence that “Christ is a savior but for what am I the
better for that – but a savior unto me” (Tyacke 263). Thus, like other
Protestants seeking assurance, Malvolio feels that careful reading can reveal a
deeply held secret (“No man must know” [2.5.102, 103]), and more importantly a
secret specifically about himself: “If this should be thee, Malvolio” (2.5.103-4). Thus he approaches the letter with an
appropriately hushed tone of awe: “By your leave, wax. Soft!” (2.5.94), Softly!
(2.5.122). He also continually reminds
himself of these sacred words and quotes them to himself and to others
(3.4.68-71), to persuade himself that his reading practices are reliable.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpLast" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">19> In such ways, Malvolio dramatizes
the situation of the seeker of assurance, finding himself on the cusp of a
long-sought enlightenment, and prepared for the most glorious possible
Christian experience, namely conversion. It is this experience that Malvolio
refers to when he feels his prayers have been answered and he is to be
henceforth directed by a powerful and loving force that will guide his
otherwise sinful will and make it righteous; “with a kind of injunction [she]
drives me to these habits of her liking” (2.5.169-70). In this state, Malvolio “will
be proud [...] will read politic authors [...] will baffle Sir Toby [...] will
wash off gross acquaintance [...] will be point device the very man”
(2.5.161-4). The repetition of the word “will” stresses, as avid Protestants
did, both the helplessness of the sinful will to turn to God, but also the
possibility that the will, when purified by God, will act in conjunction and
harmony with God’s will. Seeing himself in this latter position, Malvolio is
prepared to “cast” his “humble slough, and appear fresh,” (2.5.148-9); he will
henceforth be clothed in Christian armor, “even with the swiftness of putting
on” (2.5.172-3).<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[7]</span></span><!--[endif]--></span><o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoFootnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">20> As a text, <i>Twelfth Night</i> does not seem to admire Malvolio’s approach; as scholars
often point out, Malvolio is more than willing to “crush” his sacred text “a little”
(2.5.140) to “make that resemble something in me!” (2.5.121). In addition,
Malvolio’s personality does not benefit from his attainment of assurance. Basking in its effects, he sees himself as no
longer “idle” or “shallow,” properties of “things” driven wholly by sin; rather
he believes he has ascended to a higher “element,” presumably fire or air,
stressing his elect status in relation to others (3.4.124-5). Fabian’s blunt
aside to the audience following Malvolio’s final display of rapture (“if this
were played upon a stage now, I could condemn it as an improbable fiction”
[3.4.128-9]) reminds members of that audience that such ‘improbable’ encounters
with assurance did take place in religious circles, as Protestants struggled to
attain a sense that God had chosen them for greatness. Alas, this quest might
have appeared to others as it does to Fabian, as analogous to ‘madness’ – a
harsh judgment that must have intensified, as Donna Hamilton has argued it did,
tensions between Puritans and other members of the English nation.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[8]</span></span><!--[endif]--></span><o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoFootnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">21> An alternative method of approaching the
quest for assurance in <i>Twelfth Night</i>
is seen by the behavior of Sebastian in the play. While Malvolio is assured
that he is saved, Sebastian is equally confident that he is damned, a Jonah
whose presence on board the Captain’s ship may have been the reason for its
destruction and the death of his sister, Viola; as Sebastian says to his friend
Antonio: <o:p></o:p></span></div>
<div class="MsoNormalCxSpFirst" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">“my stars shine
darkly over me; the malignancy of my fate might perhaps distemper yours;
therefore I shall crave of you your leave that I may bear my evils alone.”
(2.1.3-6)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">22> Yet, judging from Sebastian’s
eventual good fortune in contrast to Malvolio’s degradation, it would appear
that even resigned assurance of reprobation is a better alternative than
seeking for assurance of election. Sebastian obtains the wife Malvolio had sought;
moreover, he suddenly finds himself in possession of assurance after all. The
“flood of fortune” he suddenly encounters at his lowest point does “exceed all
instance, all discourse” and so Sebastian is “ready to distrust mine eyes,/And
wrangle with my reason” in order to preserve his newfound sense of election (4.3.11-14).
In contrast, the man who pursued assurance and moreover held tenaciously to it
– even to the extent of enduring, like a Christian martyr, the tribulations of
solitary darkness and the mockery of unbelievers </span><span style="font-family: "times" , "times new roman" , serif; font-size: 16px;">– </span><span style="font-family: "times" , "times new roman" , serif; font-size: 12pt;">finds only ignominy,
discovering his scripture was written by a serving maid and his Christian armor
only yellow garters.</span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">23> Yet, in the end, despite the
mockery Malvolio is subjected to because of his foolhardy quest, the need for
assurance he displays is not fully dismissed by the play. In the fallen world
early modern Protestants felt they inhabited, even the most basic evidence of
one’s senses could be deluded, and merely reaffirming simple empirical truths
(as Sebastian says, “This is the air, that is the glorious sun,/This pearl she
gave me, I do feel’t and see’t” [4.3.1-2]) was by no means a simple matter. Indeed,
without being able to assure oneself of these basic truths, one might go mad, a
condition both Malvolio and Sebastian come close to experiencing and which
Malvolio apparently earlier wishes upon Orsino in the play, urging Viola to put
him “into a desperate assurance she will none of him” (2.2.7). Malvolio’s evil
will is implemented when Orsino apparently does go somewhat mad, threatening to
“kill” (5.1.117) first Olivia and then, apparently, Cesario (5.1.127-8) for
making clear to him the hopelessness of his quest to be assured of Olivia’s
love.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">24> As we see, assurance was needed
by Puritans not only to comprehend their eternal fates, but even to exist daily
in the world. “Plight me the full assurance of your faith” (4.3.26) says Olivia
to Sebastian, reminding him and all husbands of the necessary high level of
assurance required in marriage. Indeed, Shakespeare plays such as <i>Much Ado About Nothing</i>, <i>Othello</i>, and <i>The Winter’s Tale </i>all posit the loss of absolute and total
assurance in the fidelity of one’s beloved as a potent sign of one’s own sinfulness.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">25> In this light, Malvolio is
perhaps not to be over-mocked for trying to see, in the course of his earthly
fortunes concerning possible marriage to Olivia and the enhancement of his
social power, something deeper and more significant about his role in God’s
universe. He is confident that there exists a text which outlines the path to
assurance and which its author cannot repudiate (“Write from it, if you can, in
hand, or phrase </span><span style="font-family: "times" , "times new roman" , serif; font-size: 16px;">– / </span><span style="font-family: "times" , "times new roman" , serif; font-size: 12pt;">Or say ‘tis not your seal, not your invention: / You can say
none of this. [5.1.331-3]). His plaintive cries to Olivia </span><span style="font-family: "times" , "times new roman" , serif; font-size: 16px;">– </span><span style="font-family: "times" , "times new roman" , serif; font-size: 12pt;">asking her to
explain “Why you have given me such clear lights of favour [...] Why have you
suffer’d me to be imprison’d, / Kept in a dark house” (5.1.335, 340-1) </span><span style="font-family: "times" , "times new roman" , serif; font-size: 16px;">– </span><span style="font-family: "times" , "times new roman" , serif; font-size: 12pt;">reflect
the anguish of the religious person who comes so close to what he perceives as the
attainment of grace, only to find it snatched away; there are echoes of Job and
even of Psalm 22 (“My god, my God, why hast thou forsaken me”) a Biblical
passage of such potency it rarely finds its ways into Shakespeare’s plays.</span><span class="MsoEndnoteReference" style="font-family: "times" , "times new roman" , serif; font-size: 12pt;"><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[9]</span></span></span><span style="font-family: "times" , "times new roman" , serif; font-size: 12pt;"> In
this context, audience laughter at Malvolio is also a nervous laughter,
directed at our own most deeply held quests, and the fear they too may be the
obsessions of fools.</span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 8.0pt; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpLast" style="line-height: normal; margin-bottom: 8.0pt; mso-add-space: auto;">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Works Cited:<o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Benson, Sean.
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">---.
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">---.
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<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">“The
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Rules,” in <i>Sussex Archaeological
Collections, Relating to the History and Antiquities of the County</i>, vol. 7
(London: John Russell Smith, 1854), 173-212.<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Patterson,
W.B. <i>William Perkins and the Making of a
Protestant England</i>. Oxford: Oxford University Press, 2014.<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 12.0pt;">Perkins,
William. “A Discourse of Conscience.” </span><i><span style="font-size: 12.0pt;">The Workes of [...] William Perkins.</span></i><span style="font-size: 12.0pt;"> </span><span style="font-size: 12.0pt;">3
vols. London, 1626-31. 1.515-554. <o:p></o:p></span></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Poole,
Kristen. <i>Radical Religion From
Shakespeare to Milton: Figures of Noncomformity in Early Modern England</i>. Cambridge:
Cambridge University Press, 2000. <o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Shakespeare,
William. <i>Twelfth Night</i>. Ed. J.M.
Lothian and T.W. Craik. Arden Edition. London and New York: Methuen, 1975.<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Siegel,
Paul N. “Malvolio: Comic Puritan Automaton.” <i>Shakespearean Comedy</i>. Ed. Maurice Charney. New York: New York
Literary Forum, 1980. 217-230.<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Simmons,
J.L. “A Source for Shakespeare’s Malvolio: The Elizabethan Controversy with the
Puritans.” <i>Huntington Library Quarterly</i>
36.3 (1973): 181-201. <o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Stanglin,
Keith D. <i>Arminius on the Assurance of
Salvation: The Context, Roots, and Shape of the Leiden Debate, 1603-1609</i>. Leiden,
Netherlands: Koninklijke Brill NV, 2007.<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Tanner,
Norman, ed. <i>Decrees of the Ecumenical
Councils</i>. 2 vols. Washington, D.C.: Georgetown University Press, 1990. <o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Trevor,
Douglas. “Self-love, Spirituality, and the Senses in <i>Twelfth Night</i>.” <i>Shakespearean
Sensations: Experiencing Literature in Early Modern England</i>. Ed. Katharine
A. Craik and Tanya Pollard. Cambridge: Cambridge University Press, 2013. 64-82.<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Tyacke,
Nicholas. <i>Aspects of English
Protestantism c. 1530-1700. </i>Manchester: Manchester University Press, 2001.<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpLast" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Walsh,
Brian. <i>Unsettled Toleration: Religious
Difference on the Shakespearean Stage</i>. Oxford: Oxford University Press,
2016.<o:p></o:p></span></div>
<div class="MsoNormalCxSpFirst" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">“Westminster
Confession of Faith, 1647.” <i>Documents of
the English Reformation</i>. Ed. Gerald Bray. Minneapolis, MN: Fortress Press,
1994. 486-520.<o:p></o:p></span></div>
<div class="MsoNormalCxSpLast" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">White,
Peter. <i>Predestination, Policy and
Polemic: Conflict and Consensus in the English Church from the Reformation to
the Civil War</i>. Cambridge: Cambridge University Press, 1992.<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpFirst" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Winship,
Michael P. “Weak Christians, Backsliders, and Carnal Gospelers: Assurance of
Salvation and the Pastoral Origins of Puritan Practical Divinity in the 1580s,”
<i>Church History</i> 70.3 (2001): 462-81.<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoFootnoteTextCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">Notes:<o:p></o:p></span></b></div>
<div class="MsoFootnoteTextCxSpLast" style="margin-left: .5in; mso-add-space: auto; text-indent: -.5in;">
<br /></div>
<div>
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> This essay was
fully supported by a grant from the Research Grants Council of Hong Kong
Special Administrative Region, China (Project No. CUHK444611).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
</div>
<div id="edn2">
<div class="MsoNormalCxSpFirst" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Basil Hall,
drawing his definition from Thomas Fuller’s 1655 <i>Church History of Britain</i>, says that “before 1642 the ‘serious’
people in the Church of England who desired some modifications in Church
government and worship were called Puritans” (289). More recently, W.B.
Patterson defines Puritans in the late Elizabethan and early Jacobean period
“as<span style="background: white;"> an ideologically articulate and
self-aware group of clergy and laity who formulated detailed plans for the
reordering of key features of the Church’s polity, liturgy, and discipline”
(34).<o:p></o:p></span></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
</div>
<div id="edn3">
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[3]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Anthony-Maria
Browne, the second Viscount Montagu (and a Catholic), speaks, in 1595, of the
duties of the household steward in ways that presage the creation of Malvolio: “I
will thatt in civill sorte he doe reprehende and correcte the negligent and
disordered parsons, and reforme them by his grave admonition and vigilant eye
over them” (Montagu 186).<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpLast" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
</div>
<div id="edn4">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[4]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> See also the
“Westminster Confession of Faith, 1647” which provides an extensive discussion
of the necessity for Protestants to obtain “infallible assurance,” despite the
challenges one faces in doing so (“Westminster” 500).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
</div>
<div id="edn5">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[5]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> For this
distinction, which he argues was implemented by the Reformation, see Stanglin,
168, 171-2. Winship makes a similar point about Perkins who formulated the
concept of “unconscious hypocrites” who “sincerely thought themselves among the
saved, but in reality they had only temporary faith” (Winship 475).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
</div>
<div id="edn6">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[6]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> See for example
J.L. Simmons, who makes an argument that many scholars have accepted: that Malvolio
represents “the comic and dramatic equivalent of Richard Hooker’s charge that
Puritans rack and wrest the Bible for ‘what strange fantastical opinion soever
at any time enter[s] their heads’” (182).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
</div>
<div id="edn7">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[7]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> The letter’s
reference to “cast thy humble slough, and appear fresh” brings to mind passages
such as Zechariah 3.4: “Behold, I have caused thy iniquity to pass from thee,
and I will clothe thee with change of raiment.” The image also suggests a
snake, shedding its skin.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
</div>
<div id="edn8">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[8]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Hamilton’s
argument is that the cruel treatment of Malvolio could serve to remind Shakespeare’s
audiences of <i>Twelfth Night</i> that wiser
approaches to Puritans would be needed than those practiced by Sir Toby and his
crew; as Hamilton puts it, “Toby thought only to suppress and contain
challenge, not make it more visible, permanent and threatening” (Hamilton 106).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
</div>
<div id="edn9">
<div class="MsoNormalCxSpFirst" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[9]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> See Hannibal Hamlin
for a discussion of Psalm 22 (and Psalm 68.15) in relation to Antony’s line in <i>Antony and Cleopatra</i>: “O that I
were/Upon the hill of Basan, to outroar/The horned herd” (3.13.126-8); (Hamlin
222).<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: 12.0pt;">Jason Gleckman</span></b><span style="font-size: 12.0pt;"> is Associate
Professor of English at The Chinese University of Hong Kong. His research interests
include, as in this essay, Shakespeare and the Protestant Reformation. His
essays on such topics have recently appeared in the journals <i>Shakespeare </i>and<i> Reformation</i>.
His monograph on the subject is in preparation.</span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt;">_____</span><br />
<br />
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
<b><i>Literature and Culture</i>,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,</b><br />
<b>ISSN: 1946-1992,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Volume
Ten (2017): <i>Artefacts</i></span></b></div>
</div>
<div class="MsoNormalCxSpLast" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 12.0pt;">_____</span><span style="font-size: 12.0pt;"><o:p></o:p></span></span></div>
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</div>
</div>
</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-74111170191407774972017-08-16T18:04:00.001-07:002017-08-21T16:37:38.386-07:00Sara Morrison: "Donne's Relic-Making"<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Sara Morrison<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><a href="http://www.jewell.edu/" target="_blank">William Jewell College</a></span><span style="font-family: "times" , "times new roman" , serif;"> </span></span><br />
<br />
<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">A “pleasing sacrifice”: Relic-Making
in John Donne’s Lyric Poetry</span></b></div>
<div class="MsoBodyTextCxSpFirst" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="font-family: "times" , "times new roman" , serif;">1> John Donne’s “The Relique” opens with the
speaker’s meditations on what might happen to his and his lover’s bodies after
death. He first imagines that their mutual grave will be disturbed to
accommodate another corpse. Although he describes this invasion as inevitable,
he hopes that the gravedigger will oppose customary practice and leave them
alone when he sees a remnant, a relic, of their living bodies: “a bracelet of
bright haire about the bone” (6).</span><span class="MsoEndnoteReference"><span class="MsoEndnoteReference">[1]</span></span><span style="font-family: "times" , "times new roman" , serif;">
Synecdochal of their earthly love, the hair performs two roles: first, as
inspiration for the gravedigger to re-cover their grave, and second, as a
mnemonic device for the lovers’ resurrected souls, so that they might reconvene
in the afterlife. If the sight of the hair changes the gravedigger’s course of
action, the hair then functions successfully as an active relic, transforming
the viewer. The speaker is not convinced of the hair’s efficacy, however, and
so he imagines another way for the dead lovers to influence the gravedigger. If
he refuses to sanctify their grave as a resurrection rendezvous, the speaker
imagines that perhaps the gravedigger will take their bodies to “the Bishop,
and the King” to be sanctioned as relics that can perform miracles (15). As
such, the lovers’ bodies would be capable of transforming many viewers, and
their miracles would not be forgotten in the grave of time, since, as the
speaker insists, poetry would resurrect the relics’ actions: “and since at such
time, miracles are sought, / I would have that age by this paper taught / What
miracles wee harmelesse lovers wrought” (20-22). Poetry can narrate the lovers’
“miracles” and can therefore save them from silent death; however, in this
case, it falls short when its task is to describe the beauty of the speaker’s
lover. “But now alas,” mourns the speaker, “All measure, and all language, I
should passe, / Should I tell what a miracle shee was” (31-33). The same
language that can describe the ineffable is too limited to describe the mortal.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">2> “The Relique” reveals quite explicitly Donne’s
interest in material relics, but when faced with the possibility that his
poetic relics lack affective muscle, the speaker invokes rather more
conventional tropes of a poem’s immortality. The “paper” may be able to teach
its readers of the “miracles wee harmelesse lovers wrought,” even though the
speaker is unable to describe his beloved (22). When he stops short of
blazoning her, acknowledging the limits of encomiastic language, the speaker gestures
toward the possibility that what’s wrought from blazonic language can function
as a substitute for lost relics. Once officially sanctioned as relics, the
lovers can be seen, and their miracles can teach people how to love “well and
faithfully” (23). Such miracles rooted in action can be described; but she <i>is</i> a miracle and so defies blazonic
description. Elsewhere, Donne relies on such language to describe the body, and
in most cases, the poet-speaker himself confers sanctity on the blazoned body,
elevating disarticulated body parts to relics. Poetic blazon is the vehicle
through which the poet-speaker creates lively relics of ordinary bodies. In
those instances, the dismembered body used for poetic preservation is much like
the martyred body, because it is reduced to an amalgam of parts or relics to
which a viewer has access. Here, blazoned relics are not static artifacts;
rather, like medieval relics, they have the potential to engage, even alter,
their viewer or reader. Because poetic blazons both house and represent the
fragmented body, they function as reliquaries that themselves actively engage
their readers, guiding their view. Just as medieval reliquaries often focus the
eye on the relic housed inside, the poetic blazon, too, directs the reader to
one particular body part at a time. Moreover, as Caroline Walker Bynum has observed,
there is a synecdochal identification of reliquary with relic, such that the
reliquary that houses the relic shares its inhabitant’s curative powers.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[2]</span><!--[endif]--></span>
Such identification of the aesthetic with the material allows for a reading of
Donne’s blazons as both reliquary and relic: poetic blazons both produce active
bodily relics and are the lens through which a viewer experiences them.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">3> Critical discussion of the Renaissance blazon
has been informed by the idea that poetic blazon silences the blazoned subject.
A tool of self-actualization for the poet, the blazon dismembers the subject
either to affirm the poet’s integral identity, to endear him to a patron, or to
display his command of the poetic form, among others. Whatever the presumed
mid-range goal, the blazoner’s desired end is mastery. This critical tradition
owes much to the influential work of Nancy Vickers, whose triangular model maps
poetic description as a conversation between men, which effectively renders the
female subject arbitrary and silent.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[3]</span><!--[endif]--></span> In
her recent discussion of the blazon, Catherine Bates locates a sea change in
critical understanding of the blazoner. Drawing on Vickers’ ideas about Acteon,
“the iconic figure that stands behind every <i>blasonneur</i>
and whose mythic story shadows every scene of voyeuristic looking and bodily
partition,” which suggest that the blazoner fragments the female subject in
defense of his own subjectivity, Bates argues instead that the blazoner’s
subjectivity is unstable and vulnerable.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[4]</span><!--[endif]--></span>
Such mastery is elusive, thereby disrupting the myth of the stable writing—and
reading—subject; I argue, therefore, that the blazoned subject’s silence is
likewise unstable. In this model, voyeurism is welcome, not forbidden, as the
blazoned subject’s afterlife relies on such looking. Acteon is destroyed by his
own hounds, yet the relic’s response to the voyeur is not compulsorily punitive
but can be restorative as well.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">4> The blazoned subject’s body is much like the
martyred body: both are reduced to an amalgam of parts capable of post-partition
activity. Relics resulting from martyrdom or from poetic blazon are effective
because of their visibility; when a viewer adores (or abhors) them, they, in
turn, transform the viewer. Thus, a relic’s effectiveness relies on an
audience. The metonymy of part to whole is critical to an understanding of the
interaction between viewer and relic: “If a martyr was present in every minute
bit of his dust, if he cured the sick and raised the dead, then both decay and
partition could be overcome.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[5]</span><!--[endif]--></span>
The belief that the whole martyr, including his or her restorative powers, was
encapsulated in each body part helped to explain not only whole-body
resurrection but also the healing capabilities of sanctified, dismembered
parts. Martyrs’ relics often were housed in reliquaries, which facilitated
public viewing and individual access to the relic. In the case of poetic
relics, the poem itself functions as the reliquary—it allows for communal
viewing, and it guides the reader’s eye precisely.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">5> Reliquaries partially or wholly conceal the
relic housed inside, yet they point to what they conceal; concealment is also
revelation. Such is the rhetorical function of the blazon; the metaphors that
conceal the body (whether expressing adoration or repulsion) also reveal it. Eroding
the dichotomy of container and contained, reliquaries “reveal fragmentation but
mask decay,”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[6]</span><!--[endif]--></span> housing
relics, parts of bodies, but hiding the gross materiality of death. In doing
so, they function also as “<i>memoria</i> of
the saints, reminders of the glorified bodies we will receive in heaven.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[7]</span><!--[endif]--></span> As
a comfort to early Christians, the <i>memoria</i>
reminded them that their mortal body could escape post-mortem decay. For
reasons both material and psychic, distinguishing relic from reliquary became
increasingly difficult in the later Middle Ages, “suggest[ing] not only that
the bone is the saint but also perhaps that <i>the
reliquary is the relic</i>.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[8]</span><!--[endif]--></span><o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">6> Such an ontology informs the process and effect
of reading the blazon: the distancing of the viewer from the relic itself and
the transforming of reliquary into relic. The aesthetic image is equal to the
physical relic; it is a kind of second-degree relic, capable of performing as
does its “original.” Not exactly a copy of the relic, the reliquary nonetheless
accomplishes the same degree of cultural work as does the relic it houses. Some
reliquaries were elaborate shrines that contained nooks in the structure,
providing worshippers access to the shrine, and thus to the saint: “Pilgrims
seeking favors would touch or place their bodies within these niches believing
that a miraculous power permeated the whole structure.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[9]</span><!--[endif]--></span>
Cradled by the shrine, the pilgrim was surrounded by both reliquary and relic.
Indeed, if only temporarily, the pilgrim shared the reliquary’s compartmentalized
internal space with the relic. Nestled in the niche, the pilgrim accessed the
relic through the shrine, distanced from the physical relic itself, but closely
connected to its aesthetic image. While readers cannot experience the
ontological materiality of Donne’s rhetorical relics, they can perhaps encircle
themselves within blazonic language. The poem itself is the aesthetic image
through which readers access its relics.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">7> Such linguistic relics may have been acceptable
to a culture divided on issues of religious materiality. In an attempt to
control the adoration of Mary, Queen of Scots’ relics, for example, “the
English immediately turned to curtailing Mary’s unsanctioned spectacularization
as saintly martyr or <i>mater dolorosa</i>,
as onlookers were carefully prevented from acquiring any relics of the
execution scene.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[10]</span><!--[endif]--></span> Such
efforts of the Elizabethan government, which also included “encas[ing] her
coffin in an inordinate amount of lead,” delaying her burial in Peterborough
Cathedral for five months, and burying her “in the middle of the night” acknowledged
the potential for Mary Stuart’s relics to threaten religious reform.<span class="MsoEndnoteReference"> <!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[11]</span><!--[endif]--></span>
Such relics were disruptive because of their materiality. Poetic relics, on the
other hand, may have seemed less so because of their immateriality. Of the
sanctity of poetic relics, Arthur Marotti suggests that “After Catholic relics
came under attack, starting with the depredations of the late 1530s, when the
shrine of Thomas à Becket was destroyed and his bones scattered, the reverence for
relics began to migrate into print culture, where the remains of a person were
verbal.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[12]</span><!--[endif]--></span>
But poetic blazon, it seems to me, exceeds the verbal, recruiting and reviving
the person’s physical nature as well. As many of Donne’s sermons attest, he
preached often about the resurrected body, expressing hopeful assurance in
postmortem physical integrity. Donne’s interest in the rhetorical capability
not only to fragment the body, which can potentially confer sanctity on both
blazoned subject and viewer, but also to rejoin its parts may itself have been
a remnant of his ancestral Catholicism in a climate unsympathetic to its
material signs. As suggested earlier, some of Donne’s blazoned bodies do not
function as active relics, but rather as static icons unable to transform their
viewers. Yet, this is not consistently so. Rather, some of Donne’s blazoned
subjects lose their bodily integrity only to be resuscitated by the very medium
of their destruction.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">8> Donne’s Elegy, “The Comparison,” yokes together both
poetic blazon and images of martyrdom, demonstrating his athletic
experimentation with relics’ transformative capabilities. In this elegy, Donne
alternates blazon and anti-blazon to compare the speaker’s mistress with
another man’s. Likening the latter woman to martyrs, the speaker acknowledges
her potential to alter those with whom she comes into contact; but in this
case, such transformations are dangerous to the viewer, as he insists that her
diseased body is infectious. He fears that she confers not sanctity but
disease. Yet she herself is sanctified, restored by the blazon that undoes her.
Unlike “The Relique,” “The Comparison” thus illustrates the way in which blazon
and anti-blazon produce effective active relics, which in this case, transform
through the tactile as well as the visual.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">9> Opening with a comparison not of the two women’s
breasts and necks—traditional objects of a blazon—but of the sweat clinging to
the mistresses’ skin, the speaker expresses fear that female bodily fluids are
lively, capable of transmitting disease to other bodies (both male and female).
Described as “ranke sweaty froth…like spermatique issue’of ripe menstruous boiles”
(7-8), the other mistress’ sweat is pungent, tactile, and the product of
reproductive boils. And, like its progenitor, the sweat is generative: the
“spermatique issue” can reproduce itself.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[13]</span><!--[endif]--></span>
Her sweat is thus infectious, and physical contact with her dangerous.
Continuing his insistence that the other mistress’ filth is contagious, the
speaker asks his friend: “Are not your kisses then as filthy, ’and more, / As a
worme sucking an invenom’d sore?” (43-44). Kissing his mistress is like
ingesting poison. The speaker’s anti-blazon of his friend’s mistress exposes
his fear that her body, the relics of his blazon, can infect her sexual
partners. In contrast, the speaker describes his own mistress’s sweat<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“As the sweet sweat of Roses
in a Still,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">As that which from chaf’d
muskats pores doth trill,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">As the Almighty Balme of
th’early East,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Such are the sweat drops of
my Mistris breast,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">And on her necke her skin
such lustre sets,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">They seeme no sweat drops,
but pearle carcanetts.” (1-6)<span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">10> Even though the speaker is here describing
sweat, he likens her drops of perspiration to that of fragrant roses and to
“the Almighty Balme of th’early East,” which are familiar encomiastic images.
Whereas the other mistress’ perspiration is described as infectious and thus
dangerous, the speaker’s mistress’ sweat is “lustrous,” strangely beautiful,
and non-threatening. But the final description of them, in which the speaker
redefines them not as “sweat drops, but pearle carcanetts,” conflates the
language of adornment and punishment. The <i>Oxford
English Dictionary</i> defines “carcanet” as “an ornamental collar or necklace,
usually of gold or set with jewels,” but it also defines “carcan,” as “an iron
collar used for punishment.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[14]</span><!--[endif]--></span>
Reading the mistress’ sweat either as a jeweled necklace or as an iron collar
draws together traditions of Petrarchan rhetoric and physical torture, locating
her body as the site of praise and pain, thereby likening it to the martyred
body. By blurring the boundaries between ideal Petrarchan beauty and martyr,
the poem begins to establish the mistresses as not entirely dissimilar. The
elegy gestures toward the primary mistress’ martyrdom and her infectious
capability, yet by comparison, she is less threatening than her counterpart.
Not quite an active relic because her martyrdom is incomplete, the mistress
functions as a model by which to understand the other mistress as capable of
transforming others.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">11> Drawing on language both anti-encomiastic and
martyrological, the speaker enlists anti-blazons to describe the other
mistress’ skin. In lines 29-32, for example, the speaker compares her skin to
that of men who have been dismembered and displayed for public view:<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto; mso-outline-level: 1;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto; mso-outline-level: 1;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“Like
rough bark’d elmboughes, or the russet skin<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Of men late scurg’d for
madnes, or for sinne,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Like Sun-parch’d quarters on
the citie gate,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Such is thy tann’d skins
lamentable state.” (29-32)<span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">12> The comparison in this anti-blazon echoes
established Petrarchan tradition: the speaker insists that the other mistress’
dark skin is “lamentable,” less desirable than his own mistress’ “white
beauty-keeping chest” (23). But the tropes rely on the visible markers of
violence—flogging and dismemberment—to describe her. At issue in the similes
employed to express degree of skin pigmentation is corporeal torture,
mutilation, and the display of body parts. The “men” have “russet skin” because
they have been “scurg’d,” or flogged, for “madnes, or for sinne”; their skin
has been made “russet.” Similarly, the “quarters on the citie gate” are
“Sun-parch’d”; they, too, have been darkened, reddened by the sun. While
ostensibly focusing on skin pigmentation, both images evoke violent ontological
change. Like this tortured skin, “such is” the other mistress’ skin; it is
“tann’d,” changed by the sun but also evoking the process of making leather,
which must be preceded by flaying an animal’s skin. In both images, the men’s
transgressions—madness, sin, treason—linger as visible markers of behavior not
officially sanctioned. She is like them, a martyr for her “sinnes.” And, her
skin, in a “lamentable state,” is capable of both expressing grief and causing
onlookers to pity her.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">13> The poem dramatizes this threat to bodily
integrity of which the speaker warns his interlocutor. The speaker cautions the
other man against the mistress’ “ripe menstruous boiles” (8), her “worme eaten
trunkes, cloth’d in seals skin, / Or grave, that’s dust without, and stinke
within” (25-26), and perhaps most threatening, her “dread mouth of a fired gunne”
(39). What is dangerous about her body is not her particular filth, but that
her diseased body can infect the men who touch her. “Are not your kisses then
as filthy, ’and more,” the speaker asks, “As a worme sucking an invenom’d
sore?” (43-44). If one of this Petrarchan quadrangle’s four points is diseased,
then the other three points are in jeopardy, since “kisses” breed disease. Yet
it is precisely her diseased body that is powerful: the speaker fears her
sexuality because he fears that she could kill him. It is ironic then that his
comparisons—his blazons of her—transfer his (de)generative talent to her. Her
“ripe menstruous boiles,” her “invenom’d sore,” her “warts,” her “weals,” are effective
blazonic relics—she threatens to alter men physically with whom she comes into
contact. Here, the blazoned woman is not a powerless, partitioned object. Even
though she is repulsive to the speaker, her filth evokes fear in him that is
visceral. By blazoning her using images of martyrdom, the speaker acknowledges
her potentially destructive influence, which he fears can poison not just her
lover but the speaker’s mistress and the speaker himself.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">14> The final series of comparisons illustrates the
speaker’s fear that his friend’s sexual contact with his mistress can infect
each lover. His descriptions of sex are violent, yet the speaker tries to
soften his own experience by using words like “reverent” (50). When describing
the other couple, the speaker asks his friend: “Is not your last act harsh, and
violent, / As when a Plough a stony ground doth rent?” (47-48) Yet the
speaker’s description of his own sexual act is paradoxically encomiastic:<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 2.5in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"> </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">“[…] so devoutly nice<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Are Priests in handling
reverent sacrifice,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto; mso-outline-level: 1;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">And such
in searching wounds the Surgeon is<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">As wee, when wee embrace, or
touch, or kisse.” (49-52)<span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">15> In language couched in terms of partition and
voyeurism, the speaker compares sex with his own mistress first to religious
sacrifice and second to medical examination. Both are encoded with the
potential for death and the invasive gaze of the public eye, either on the
altar or in the anatomy theaters.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[15]</span><!--[endif]--></span>
Here, the comparisons that the speaker has tried to keep distinct start to
converge. Whether explicitly violent or more subtly “reverent,” sex partitions
both mistresses’ bodies, and begins to make vulnerable their lovers’ bodies as
well. Curiously, this account of sex neglects to name any specific body parts,
instead using synecdoche to suggest the body parts that the lovers use to
“embrace, or touch, or kisse” (52). In this way, the description acts as a
reliquary through which to view the enclosed bodies, distancing viewers from
the precise body part, yet allowing them to “search” for it successfully.
Unlike “The Relique” whose blazon the speaker fears may produce static icons
only, “The Comparison” is a poem that dramatizes poetic blazon’s capability to
produce active relics. Moreover, here the blazon itself functions as an
aesthetic reliquary, housing the relics and directing readers’ eyes toward
them, warning them against transgression or perhaps offering a model of secular
sanctity.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">16> Among Donne’s blazons are those that allow for
self-examination; in these instances, the speaker becomes his own voyeur,
exploring the possibility of his own sanctity. In “Loves Exchange,” for
example, the speaker combines an invitation for self-martyrdom with an implicit
challenge to its efficacy. By doing so, he neutralizes the damaging effects of
Love’s torture, representing himself as an active relic and thereby challenging
death. Self-blazons allow the speaker to partition his own body, creating of
himself relics that dispense grace beyond the grave. Because there is nothing
doctrinally heretical about self-examination, Donne’s self-blazons create
acceptable relics that invite voyeurs. In “Loves Exchange,” the speaker invites
“future Rebells” to examine his “Rack’t carcass” so that they might avoid
love’s tortures (38, 42).<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.5in; mso-add-space: auto; mso-outline-level: 1;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“[…] if
I must example bee<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">To future Rebells; If th’unborne<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Must learne, by my being cut
up, and torne:<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Kill, and dissect me, Love;
for this<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Torture against thine owne
end is,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Rack’t carcasses make ill
Anatomies.” (37-42)<span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">17> The “if” clauses suggest that “future Rebells”
can learn from the speaker’s dissected body; however, his directive to Love to
“kill and dissect” him reveals the didactic limits of dissection. Although the
speaker invites Love’s torture and dissection, he warns that his partition will
not serve Love’s ends—tortured carcasses make poor subjects of study. The
speaker’s challenge to Love is a curious one, since he hopes to outwit Love by
inviting him to “cut up” and tear his body. This challenge is all the more
curious because the speaker seems to invite not dismemberment but
vivisection—Love “enrage[s]” him, “yet kills not.” This is a reluctant martyr
who resists corporeal torture. But when faced with it, the speaker curiously
attempts to maintain control by undermining the mangled body’s active power. In
“The Comparison,” active relics are powerful, granting lively autonomy (for
better or worse) to the blazoned body. Here, however, the speaker resists
Love’s torture and so downplays relics’ effect. Unable ultimately to stave it
off, if he “must example bee,” then he seeks comfort in his relics’ power to teach
“future Rebells.” The speaker wants it both ways. He envisions his own
vivisection, but he does not cut himself open; he is at Love’s whim.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">18> Even so, he is unwilling to concede control; to
challenge Love’s torture, he imagines his vivisected body as a set of active
relics. Such attempts at control of one’s posthumous body reach beyond the
imaginative, however, and so might seem familiar to some of Donne’s readers. In
his discussion of Southwell’s execution, Arthur Marotti observes that Southwell
attempted to manage his own relic production:<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“Southwell apparently gave
his cap to the Keeper of Newgate prison who treated it, in effect, as a
relic….[And] when Southwell got to the place of execution after being dragged
on a hurdle through the muddy streets, he cleaned his face with a cloth that he
then threw to someone in the crowd….The third holy object was the rosary
Southwell threw from the scaffold to a friend.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[16]</span><!--[endif]--></span><span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">19> While only a select few had contact with
Southwell’s physical relics, many more had access to his writings, which, as
Marotti notes, the publisher William Leake associated with his dismembered
body.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[17]</span><!--[endif]--></span>
Such ideas echo Donne’s spectrum of concerns, which focuses not only on death,
dismemberment, and resurrection but also on the literary management of such
events.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">20> Donne’s representation of the dismembered self
as a corpus of active relics functions as a post-partition control mechanism,
since corporeal torture cannot silence the relics’ productive influence. By
constructing a paradigm that assuages the terrors of dismemberment, Donne seeks
to manage the uncertainty of death. But this is only a temporary fix for the
loss of control that death brings, a kind of purgatory for the dismembered,
decaying body. Resurrection raises a host of new challenges; chief among them
is the condition of the resurrected body. Although in poems like “Loves
Exchange,” Donne explores ways to cope with vivisection and death, other poems
express concern that the afterlife render the body intact. In “The Autumnall,”
for example, the speaker rehearses practical problems posed for bodily
resurrection.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“If transitory things, which
soone decay,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Age</i> must be
lovelyest at the latest day.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">But name not <i>Winter-faces</i>, whose skin’s slacke;<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Lanke, as an unthrifts
purse; but a soules sacke;<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Whose <i>Eyes</i> seeke light within, for all here’s shade;<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Whose <i>mouthes</i> are holes, rather worne out, then made;<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Whose every tooth to’a
severall place is gone,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">To vexe their soules at <i>Resurrection.</i>” (35-42)<span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">21> If bodies are to be resurrected whole, then
each part must be recovered. Resurrection thus complicates the active relic’s
temporary purgatory. The couplet of lines 41-42 expresses a fear of
partial-body resurrection and suggests that the dismembered body whose relics
can be uncannily lively is also the body that “vex[es] soules at <i>Resurrection</i>.”<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">22> Many of Donne’s sermons echo the speaker’s
concern with whole-body resurrection, especially if death has dispersed the
body’s parts. But in sermons, Donne brings these concerns out of the imaginary,
existing only in language, into the real. In a sermon preached at Lincoln’s
Inn, Easter Term (1620), he dramatizes the postmortem reunion of body parts and
of body and soul.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[18]</span><!--[endif]--></span><o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“Shall I imagine a
difficulty in my body, because I have lost an Arme in the East, and a leg in
the West? because I have left some bloud in the North, and some bones in the
South? Doe but remember, with what ease you have sate in the chaire, casting an
account, and made a shilling on one hand, a pound on the other, or five
shillings below, ten above, because all these lay easily within your reach.
Consider how much lesse, all this earth is to him, that sits in heaven, and
spans all this world, and reunites in an instant armes, and legs, bloud, and
bones, in what corners so ever they be scattered….I, I the same body, and the
same soul, shall be recompact again, and be identically, numerically,
individually the same man. The same integrity of body, and soul, and the same
integrity in the Organs of my body, and in the faculties of my soul too; I
shall be all there, my body, and my soul, and all my body, and all my soul.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[19]</span><!--[endif]--></span><span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">23> As sure and comforting as this may sound, the
promise of whole-body resurrection, that the body will be “recompact again,”
raises questions about the ontological state of the resurrected body. What
Donne’s sermon must leave unanswered is what constitutes the “identically,
numerically, individually” “same man.” Although such questions recur in his
poetry and sermons, Donne promises his listeners in this sermon and others that
God will make each person materially himself.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[20]</span><!--[endif]--></span>
Such assurances anticipate ontological conditions to which Donne can only give
shape through language.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">24> Donne’s numerous references to dispersal and
recovery testify to the human concern with both the “individual” as a unique instance
of body/soul union and the mysteries of death. In a sermon preached on 19
November 1627 at the Earl of Bridgewater’s house in London on the occasion of
his daughter’s marriage, Donne imagines numerous manifestations of
dismemberment that could frustrate one’s resurrection:<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“Where be all the splinters
of that Bone, which a shot hath shivered and scattered in the Ayre? Where be
all the Atoms of that flesh, which a <i>Corrasive</i>
hath eat away, or a <i>Consumption</i> hath
breath’d, and exhal’d away from our arms, and other Limbs? In what wrinkle, in
what furrow, in what bowel of the earth, ly all the graines of the ashes of a
body burnt a thousand years since? In what corner, in what ventricle of the
sea, lies all the jelly of a Body drowned in the <i>generall flood</i>? What cohærence, what sympathy, what dependence
maintaines any relation, any correspondence, between that arm that was lost in
Europe, and that legge that was lost in Afrique or Asia, scores of yeers
between? One humour of our dead body produces worms, and those worms suck and
exhaust all other humour, and then all dies, and all dries, and molders into
dust, and that dust is blowen into the River, and that puddled water tumbled
into the sea, and that ebs and flows in infinite revolutions.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[21]</span><!--[endif]--></span><span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">25> Whether a body is “shivered and scattered,”
“eat away,” “burnt,” “drowned,” “blown into the river, [then] tumbled into the
sea,” the end result is the same: the seemingly infinite dispersal of body
parts.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">26> To a human, preacher or parishioner, the task
of retrieving those scattered parts would certainly seem daunting, if not
impossible. And, if by some remote chance, a complete body could be recreated,
how could the re-creator be sure that each part belonged to that body? Humans
cannot achieve the promise of personal restoration, but pied-piper-like, God
“whispers, hisses, and beckons” the scattered body to reassemble:<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“[…] and still, still God
knows in what <i>Cabinet</i> every <i>seed-Pearle</i> lies, in what part of the
world every graine of every mans dust lies; and…he whispers, he hisses, he
beckons for the bodies of his Saints, and in the twinckling of an eye, that
body that was scattered over all the elements, is sate down at the right hand
of God, in a glorious resurrection.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[22]</span><!--[endif]--></span><span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">27> More precisely, God “whispers, he hisses, [and] he beckons for the <i>bodies</i> of his Saints.” Yet, Donne concludes with just one individual body: “that <i>body</i> that was scattered over all the
elements, is sate down at the right hand of God, in a glorious resurrection.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[23]</span><!--[endif]--></span>
Beckoning bodies produces one body; however, the threat of becoming lost in the
anonymous generalities of martyred bodies lingers. In the same sermon, Donne
offers an answer to the question of the “identical” resurrected body by
insisting that “God raises me a body, such as it should have been, if these
infirmities had not interven’d and deformed it.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[24]</span><!--[endif]--></span>
“Such as it <i>should have been</i>,” not as
it necessarily was. This proclamation is only momentarily comforting, however,
because it does not suggest on whose terms the “should have” rests. Is the
individual in control of his or her own ideal iconic production? Because
“should have” is a verb tense of the imagination and a mode of the conditional
verging on the imperative, the resurrected body is the rhetorically imaginative
work of the individual. The agency of making (or re-making) the body becomes a
shared project between God, who “raises [the] body” after death, and the
individual who rhetorically creates the body “such as it should have been.”
Donne’s self-blazons appropriate the creative function of resurrection in order
to evoke preservation of the self in a culture that has the potential to debase
the self.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">28> Such concerns with self-preservation surface
not only in Donne’s sermons but also in his lyric poetry. Lyric allows Donne to
explore the space of the blazoned woman, occasionally to share that space with
her and more often to experiment with the blazon as a vehicle of relic
production. For example, Donne’s self-blazons work to proliferate his own
iconic production both pre- and post-mortem. This is also true of his blazons
of others. Like the speaker in “Loves Exchange,” who invites Love to “kill and
dissect” him in an attempt to create relics of his vivisected body, the bride’s
“embowel[ling]” in “Epithalamion made at Lincolnes Inne” paradoxically
preserves her. The poem’s final stanza represents a moment of disembowelling
that seems more fitting for an execution than for a wedding night and describes
the bride as a lamb going to slaughter on what the previous stanza had called
“love’s alter”:<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“Even like a faithfull man
content,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">That this life for a better
should be spent;<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> So, shee a mothers rich stile doth preferre,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">And at the Bridegroomes
wish’d approach doth lye,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto; mso-outline-level: 1;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Like an
appointed lambe, when tenderly<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> The priest comes on his knees t’embowell her;<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto; mso-outline-level: 1;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Now sleep or watch with more joy;
and O light<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Of heaven, to morrow rise
thou hot, and early;<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">This Sun will love so dearely<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Her rest, that long, long we shall want her sight;<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Wonders are wrought, for shee
which had no maime,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .7in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>To night puts on perfection, and a womans name</i>.”</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">(85-96; italics in the original)<span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">29> The violent image of marital sex evokes the
blood that results from the breaking of the virgin’s hymen; however, the result
is couched in terms of neither pleasure nor conception but the apparent loss of
her bodily integrity. The bride is figured as an obedient servant who knows her
role; she is likened to “an appointed lambe,” who is greeted “tenderly” by the
priest who also performs his appointed function. The oxymoronic language of
tender disembowellment is further complicated by the bride’s intact body on the
following morning; the new bride awakens with “no maime,” so that her body has
been cleansed and made the same as was her virginal body.<span class="MsoEndnoteReference"> <!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[25]</span><!--[endif]--></span>
But “no maime” may be a pun on the French “non même,” or “not the same,” which suggests
that she was not the same in the morning. The line invites both contradictory
readings, that she was and was not the same. As in the Protestant figuration of
married chastity, the line suggests that the bride remains chaste—the same—even
after her wedding night, although she is not the same if she is no longer a
virgin. But the oxymoron that maiming is perfection is also a narrative
borrowed from martyrology. The priest’s “embowelling” of the lamb/bride
suggests an embalming, which would result in an iconic moment of cleansing:
embalming involves a cleansing of the body at the moment of death, or in this
case at the moment of the loss of virginity.<span class="MsoEndnoteReference"> <!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[26]</span><!--[endif]--></span>
Though the bride has been gutted, an iconography has been created of the moment
of loss. If the bride has been transformed into a mimesis of martyrdom, then
the imagery of the wedding night, along with its ritualism and voyeurism,
martyrizes sexuality.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">30> The moment at which the priest approaches the
bride “t’embowell her” marks a moment of bodily crisis—what appears to deny the
bride corporeal integrity ushers in an iconic moment which leaves the bride
with “no maime.” This is analogous to what happens to the blazoned body.
Blazons destroy the whole body, yet they create and house active relics that
can transform their viewer. As Stephen Greenblatt has observed, “the act of
tearing down is the act of fashioning.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[27]</span><!--[endif]--></span>
Inherent in poetic blazon is just such a paradox: it is only through the
violent act of itemizing the female body that the blazon and active relics can
be created. Donne dramatizes this paradox repeatedly in his verse. In his
discussion of the “erotics of salvation” of Donne’s Holy Sonnet, “Batter my
heart,” Richard Rambuss observes that the intact subject rides the fence
between the desire to maintain bodily integrity and a “matching desire for the
self’s utter abasement, even dissolution.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[28]</span><!--[endif]--></span>
If the male speaker of “Batter my heart” asserts his own subjectivity and will
over the episode of sacred ravishment, the bride of the “Epithalamion made at
Lincolnes Inne” is denied access to her voice that could utter such imperatives
as “o’erthrow mee, ’and bend / Your force, to breake, blowe, burn, and make me
new” (“Batter my heart,” 3-4). Although the epithalamion does not actively
dramatize the bride’s voice, it appropriates her desires and seeks to function
as an amenuensis for her silence. At the poem’s blazonic moment, the bride can
neither request nor refuse her “disembowelling,” and her silence shrouds her
agency. She accedes to the sacrifice because she “preferres” a “mothers rich
stile,” to which she can have access only if she undergoes the wedding night’s
ritual (87). It is “the Bridegroomes wish’d approach” that initiates the scene
of consummation/martyrdom; however, the line’s syntax obscures the active agent
who “wishes” for the approach (88). The bridegroom may wish for the ritual;
however, the bride herself may also wish for the bridegroom’s approach. Donne’s
penchant for “deliberate misinterpretation” as Annabel Patterson puts it,
obscures the desiring agent.<span class="MsoEndnoteReference"> <!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[29]</span><!--[endif]--></span><o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">31> The language of this wedding song’s last stanza
is punctuated with images of sight: after the priest comes “t’embowell” her,
the speaker instructs an unnamed audience, which is perhaps the bride, perhaps
the watchful community, to “sleep or watch with more joy” (91). After the bride
falls asleep, the sun will covet her sleep so long that “we”—presumably
speaker, community, and reader—“shall want her sight” (94). Just as the poem
embraces the possibility that the bride wishes for the bridegroom’s approach,
the agent who “wants her sight” is clouded. “We” want the sight of her, but
“we” also want her active sight; “we” want her to look at “us.” This paradox is
echoed in <i>The Second Anniversary: Of the
Progres of the Soule</i>. As the speaker considers Elizabeth Drury’s death, he
suggests a causal relationship between sight and understanding:<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“Shee, of whose soule, if we may say, t’was Gold,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Her body was th’Electrum, and did hold<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Many degrees of that; <i>we understood<o:p></o:p></i></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i>Her by her
sight</i>, her pure and eloquent blood<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Spoke in her cheekes, and so distinckly wrought,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">That one might almost say, her bodie thought,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Shee, shee, thus richly, ’and largely hous’d, is gone:<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">And chides us slow-pac’d snailes, who crawle upon<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Our prisons prison, earth, nor thinkes us well<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Longer, then whil’st we beare our brittle shell.”</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> (241-50,
emphasis added)<span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">32> Here, “we” “understood her” either by looking
at her (by the sight of her) or perhaps by her looking at “us” (by her sight).
Her metamorphosis in death sanctifies her; the speaker ultimately likens her to
a saint to whom true devotion is due (511-18), and he acknowledges the
transformative capabilities of her dead body. That she and the “Epithalamion”
bride-as-relic are active forces is of principal import for Donne’s
construction of poetic relics. Rather than create icons that are only acted
upon, Donne constructs relics that actively interact with bridegroom and
reader. Moreover, by fashioning animated female relics, Donne opens a space for
his own self-creation as relic. Both bride and poet seeking favor (from a
patron or from God) are simultaneously active and receptive. They are
culturally similar, as both are subject to self-effacement; the relic, however,
functions as a vehicle for self-preservation in just such hostile cultural
environs.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">33> A precondition for a relic’s lively force is an
audience. The poet’s afterlife depends on his readers, and the speaker of the
“Epithalamion” extends the voyeurism of the wedding ceremony into the bedroom,
which, albeit troubling, facilitates the bride’s being such a relic. Martyrdom’s
effectiveness is dependent upon its capacity to elicit both horror and glory
from an audience: the horror of torture leads to eternal glory. In the case of
martyrdom, glory is a cultural production; it is disseminated through stories
and relics that miracle- or redemption-seekers can experience first-hand. The
bride’s relics in the “Epithalamion” are contained in the reliquary that is the
poem, and the reliquary is flexible enough so that “we” can see her and she can
see “us.” Crowded though the bedroom is, the bride is the visual center. A priest
performs both the wedding and the “disembowellment”; the bride acts according
to the “Bridegroomes wish’d approach,” but from that point on, the bridegroom
is curiously absent from the scene. He returns only among the unnamed “we” who
“want her sight” as the sun steals her from “them” in sleep. The bedroom seems
as populated as was the wedding. As Richard Halpern puts it in his discussion
of the complicated matrix of the intersection of public and private spaces in
Donne’s lyric, “his erotic poems define a private space set off from the social
world. Yet his metaphors often reintroduce the very world he claims to want to
exclude.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[30]</span><!--[endif]--></span> The
poem invites the world into the domestic space that one might expect to be
reserved only for bride and groom.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">34> In the “Epithalamion” bedroom, Donne’s use of
metaphor functions precisely the way that Halpern explains the Donnean conceit,
as “a structure of absolute difference or separation generated paradoxically
through the medium of resemblance.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[31]</span><!--[endif]--></span>
Moreover, Halpern’s argument provides a useful lens through which to view the
poem’s use of such disparate metaphors for bride and groom, not to mention for
the moment of consummation itself. The metaphor constructs the bride as a lamb
willingly going to the slaughter, and although the poem avoids naming the groom
as priest, the metaphor suggests such a linkage. It thus conflates and
separates public and private spaces and their rituals. Because it is a priest
who performs the slaughter, rather than a butcher, for example, the ritualistic
moment of the lamb’s death/bride’s loss of virginity produces an iconic moment
of martyrdom that destabilizes the prototypical blazonic triangle and invites
the bride to participate in the audience’s desire to see her. In fact, she
turns this voyeuristic desire on its head, co-opting it for herself, so that
she shares their desire to see. Moreover, the reader is implicated in this
event of martyrdom as the poem moves from the crowded privacy of the bedroom to
a public arena where “we” wait to welcome the bride from her sleep. In this
case, loss of bodily integrity, through both “tender disembowellment” and
blazonic description, does not deplete the bride, leaving her unable to act.
Instead, the martyred bride makes choices and expresses desire. In the poetic
reliquary, she is preserved for all to see, yet she sees “all” in return. Her
relics can be seen (and can see) through the openings of the poem. Moreover,
because of the synechdochal, symbiotic relationship between relic and
reliquary, the reliquary shares her dynamic powers. Like the reliquary of the
martyred body, the aesthetic image is equivalent to the physical relic;
reading, then, preserves both poet and reader.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">35> But like the martyred saint, the bride must
undergo “embowell[ment]”; violence necessarily precedes sanctity. In the poem’s
first stanza, the speaker says to her, “Leave, leave, faire Bride, your
solitary bed, / No more shall you returne to it alone, / It nourseth sadnesse,
and your bodies print, / Like to a grave, the yielding downe doth dint” (2-5).
Before the ritual spectacle of her wedding night, her bed is “solitary,” “like
a grave,” and thus threatens to hide her from sight—or from seeing. Yet the
rituals involved not only in the wedding night but also in their retelling and
their re-reading are what continually create relic and reliquary. As the
penultimate stanza suggests, “Till now thou wast but able / To be what now thou
art; then that by thee / No more be said, <i>I</i>
<i>may bee</i>, but, <i>I am</i>” (81-83, italics in the original). Ontologically transformed
from a state of future possibility to present reality, the bride is figured as
forever present, forever being seen and seeing through the spaces of the poetic
reliquary.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">36> Odd as the “Epithalamion’s” wedding night may
seem to a modern reader, Allen Ramsey observes that George Puttenham’s
sixteenth-century definition of epithalamion is infused with violence that
dovetails with salvation. Puttenham’s version of the English wedding night
dramatizes the groom as a thief who “rob[s] his spouse of her maidenhead <i>and save[s] her life</i>”; and, “the bride
so lustely to satisfie her husbandes love and scape <i>with so litle daunger of her person</i>.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[32]</span><!--[endif]--></span>
Here, the groom is a thief, not a priest as in Donne’s “Epithalamion.” However,
Puttenham’s curious suggestion that the husband’s theft of his wife’s virginity
might “save her life” finds a modified echo in Donne’s epithalamion, in which
the bride accedes to the wedding night ritual because it is a necessary hurdle
to the “rich stile [she] doth preferre” (87). In Puttenham’s rhetorical
treatise, the bride’s reward is far less rewarding than it is for Donne’s
bride. Performing the perfunctory wedding night ritual causes each bride only a
“<i>litle</i> daunger of her person,” but
the “Epithalamion” bride is rewarded with agency: her martyrdom translates into
her iconic production as a compendium of active relics that can be seen (and
can see) through the openings of the poem.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">37> Puttenham’s treatise and Donne’s poem converge
on two counts: first, the wedding night’s potential for the bride’s danger and
for her salvation, and second, that an audience attends the wedding’s rituals.
Ramsey observes that the English epithalamic tradition was divided into three
parts, and each involves an audience for the new bride and groom. First, there
were “‘songs [that] were very loude and shrill’ (41) to drown the noise made by
the newlyweds”; second, “when the musicians arrived at the chamber door,
because ‘the ballade was to refresh the faint and weried bodies and spirits,’
since ‘the first embracementes never bred barnes…but onley made passage for
children’ (42)”; and third, “when ‘it was faire broad day’ (42); the bride
emerges ‘no more as a virgine, but as a wife’ (42).”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[33]</span><!--[endif]--></span>
In part one, musicians must play loudly enough so that people cannot hear the
newlyweds. The musicians themselves are the audience in part two. And, in part
three, there must be an audience to assess the bride’s change from virgin to
wife. For the “Epithalamion” bride, the lack of privacy “save[s] her life,”
because she has an audience with whom to interact.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">38> Donne’s lyric metaphors repeatedly pair the
seemingly disparate categories of love and martyrdom in such a way as to create
for them a shared psychic landscape. By doing so, he makes possible the
salvation of those marginalized by their cultural environs. Poet and bride
share the prospect of surviving corporeal threat by positioning themselves as
active relics. The speaker of “The Funerall” names himself “Loves martyr,” (19)
and, as suggested at the beginning of this essay, the speaker of “The Relique”
looks forward to the moment at which someone will exhume his and his lover’s
bodies from the grave. After the exhumation, the poetic archaeologist will<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: 1.5in; mso-add-space: auto; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">“[…] bring<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Us, to the Bishop, and the King,<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .5in; mso-add-space: auto; mso-outline-level: 1; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">To make us Reliques; then<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Thou shalt be’a Mary Magdalen, and I<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; margin-left: .5in; mso-add-space: auto; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">A something
else thereby;<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;">All women shall adore us, and some men.” (14-19)<span style="font-size: large;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">39> The poem associates the speaker’s lover with “a
Mary Magdalen,” with a prototype, in other words. The speaker, too, will be “a
something else thereby,” another prototype.<span class="MsoEndnoteReference"> <!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[34]</span><!--[endif]--></span> Because
Mary Magdalen is most often paired with Christ, the poem’s subtle metaphoric
non-namings invite the association of the “I” of the poem with Christ, the
model of religious martyrdom. However, because Mary Magdalen is also often
characterized as a prostitute, the speaker’s construction of himself as “a
something else” also insinuates that he is a common John, so to speak. He
invites the reader to associate him with the resurrected Christ, but also needs
to be associated with the mortal Christ, because Christ’s body defies the grave.
In order that bodies may be cherished as relics, there must be bodies to
cherish. For love to translate into martyrdom in “The Relique,” the exhumed
bodies must be officially sanctioned and viewed by lay people. Relics take
shape when body parts are viewed by the living. Like the bride in the
“Epithalamion made at Lincolnes Inne,” the speaker of “The Relique” wants
people to look at him and his lover after they are dead. Unlike the bride, the speaker
of “The Relique” explicitly verbalizes his desires, insisting that he wants the
lovers’ physical remains to be sanctified as relics. Because the poem names “the
Bishop, and the King” as the adjudicators of proper relics, Donne’s metaphor
constructs the lovers as legally sanctioned relics for public view. In fact,
the poem itself raises the question of the legality of relics. The exhumed
bodies need such official sanctification only “if this fall in a time, or land,
/ Where mis-devotion doth command” (12-13). If the exhumation takes place in a
time or a place that is plagued by “mis-devotion,” then the relics must be
publicly legitimated. Typically, relics are the remains of a martyr or saint
that are powerful enough to perform miracles on their devotees. Relic
construction in “The Relique” is different, since the bodies were “harmelesse
lovers,” not martyrs or saints, thereby expanding relic production to include
lovers. Love and martyrdom converge to produce secular saints of marginally
auspicious figures. Yet, in this case, those who wield political power must
sanctify the lovers’ bodies. Elsewhere, the blazon allows Donne to confer such
status himself.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">40> What the relic tradition offers for Donne is the
possibility not only of disenfranchised people becoming the direct distributors
of divine grace but also of lyric poetry functioning as a substitution for lost
relics. In the sermons and sacred poetry, Donne explores the material
conditions of death, ultimately assuring his audiences that God will restore
bodily wholeness posthumously. Even when he prefaces such comforts with violent
images, anxieties over corporeal disintegration give way to faith in God’s
ability to reconstruct individual, particular integrity. The <i>Songs and Sonnets</i>, too, consider the effects
of violence, expressed through the blazon, on the body, often drawing on images
of both martyrdom and voyeurism. In this way, when blazonic partition creates
not static icons but active relics, rhetorical flourish replaces the material
body. Faced with the imaginative challenge of the ravishing effects of death
and decay, viewers may find comforting spaces in which to find ontological
truths and articles of faith.<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">_____<o:p></o:p></span></div>
<div class="MsoBodyTextCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoBodyTextCxSpLast" style="line-height: normal;">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Notes:</span></b></div>
<div>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">
</span>
<br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="file:///C:/Users/scott.howard/Desktop/Writing/Edited%20Collections/Appositions/Volume%20Ten/Submissions/YES/Morrison/Morrison%20Final.docx#_ednref1" name="_edn1" title=""></a>I wish to thank
Katherine Eggert, Kimberly Johnson, Alison Shell, Deborah Uman, and Mark
Walters, who have read drafts of this paper and provided invaluable insights
and guidance.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[1]</span><!--[endif]--></span> All references to Donne’s poetry are taken from <i>The Complete Poetry of John Donne</i>, ed.
John T. Shawcross (New York: New York UP, 1968). Among inventories of parish
churches in pre-Reformation England, women’s hair was listed as a relic. See,
for example, Eamon Duffy, <i>The Stripping
of the Altars. Traditional Religion in England c.1400-c.1580</i> (New Haven:
Yale UP, 1992), 164.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn2">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[2]</span><!--[endif]--></span> Caroline Walker Bynum, <i>The Resurrection of the Body in Western Christianity, 200-1336</i> (New
York: Columbia UP, 1995), 211-12.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn3">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[3]</span><!--[endif]--></span>Nancy Vickers, “’The blazon of sweet beauty’s best,’”
in <i>Shakespeare and the Question of Theory</i>,
ed. Patricia Parker and Geoffrey Hartman (New York: Methuen, 1985).<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn4">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[4]</span><!--[endif]--></span> Catherine Bates, <i>Masculinity,
Gender, and Identity in the English Renaissance Lyric</i> (Cambridge: Cambridge
UP, 2007), 90, 96.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn5">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[5]</span><!--[endif]--></span> Bynum, 108.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn6">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[6]</span><!--[endif]--></span> Ibid, 202.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn7">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[7]</span><!--[endif]--></span> Ibid, 209. Here Bynum quotes Ellert Dahl, “Heavenly
Images: The Statue of St. Foy of Conques and the Signification of the Medieval
Cult-Image in the West,” <i>Acta ad
archaeologiam et Artium historiam pertinentia</i> 8 (Rome 1979): 175-92, esp.
186.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn8">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[8]</span><!--[endif]--></span> Bynum, 211-12, emphasis added.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn9">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[9]</span><!--[endif]--></span> John Phillips, <i>The
Reformation of Images: Destruction of Art in England, 1535, 1660</i> (Berkeley:
U of California P, 1973), 24-25.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn10">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[10]</span><!--[endif]--></span> Katherine Eggert, <i>Showing
Like a Queen. Female Authority and Literary Experiment in Spenser, Shakespeare,
and Milton</i> (Philadelphia: U of Pennsylvania P, 2000), 155.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn11">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[11]</span><!--[endif]--></span> Ibid.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn12">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[12]</span><!--[endif]--></span> Arthur Marotti, <i>Religious
Ideology and Cultural Fantasy. Catholic and Anti-Catholic Discourses in Early
Modern England</i> (Notre Dame, IN: U of Notre Dame P, 2005), 27.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn13">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[13]</span><!--[endif]--></span> The <i>Oxford
English Dictionary</i> defines “spermatic” as: “containing, conveying, or
producing sperm or seed; seminiferous”; and as “full of, abounding in, sperm;
generative, productive.” For a discussion of the androgynous nature of the
mistress, see Heather Dubrow, <i>Echoes of
Desire. English Petrarchism and Its Counterdiscourses</i> (Ithaca: Cornell UP,
1995), 237-44.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn14">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[14]</span><!--[endif]--></span> <i>Oxford English
Dictionary</i> 1a, 1.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn15">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[15]</span><!--[endif]--></span> For a discussion of the anatomy theaters, see
Jonathan Sawday, <i>The Body Emblazoned.
Dissection and the Human Body in Renaissance Culture</i> (London: Routledge,
1995).<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn16">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[16]</span><!--[endif]--></span> Marotti, 25.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn17">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[17]</span><!--[endif]--></span> Ibid, 26-27.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn18">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[18]</span><!--[endif]--></span> Donne’s seventeenth-century sermons have earlier
precedents. Bynum explains that twelfth-century theologians believed that “the
resurrection body <i>was</i> the body of the
saint” (Bynum, <i>The Resurrection of the
Body,</i> 200).<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn19">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[19]</span><!--[endif]--></span> John Donne, <i>The
Sermons of John Donne</i>, vol. III, ed. George R. Potter and Evelyn M. Simpson
(Berkeley: U of California P, 1957), 109-10.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn20">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[20]</span><!--[endif]--></span> For a discussion of Donne’s views on resurrection,
see Ramie Targoff, <i>John Donne Body and
Soul</i> (Chicago: The U of Chicago P, 2008).<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn21">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[21]</span><!--[endif]--></span> John Donne, <i>The
Sermons of John Donne</i>, vol. VIII, ed. Evelyn M. Simpson and George R.
Potter (Berkeley: U of California P, 1956), 98.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn22">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[22]</span><!--[endif]--></span> Ibid.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn23">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[23]</span><!--[endif]--></span> Ibid.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn24">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[24]</span><!--[endif]--></span> Ibid.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn25">
<div class="MsoBodyText" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[25]</span><!--[endif]--></span> Donne’s conflation of the intact yet wounded female
body may be an imitation of Edmund Spenser’s description of Amoret’s body in
Book 3 of <i>The Faerie Queene</i>.
Britomart rushes into Busirane’s castle and saves Amoret from him, although not
before the enchanter has bound her and cut open her heart so that he could use
her blood to write his “straunge characters of his art.” Both Spenser and Donne
employ the paradox of the “perfect hole” to describe female characters who have
endured violent penetration and yet have been restored to their prior, wholly
integral condition. Amoret’s wound “was closed vp, as it had not bene bor’d,”
and the new bride of Donne’s poem, through a “wonder” awoke from the night with
“no maim.” Edmund Spenser, <i>The Faerie
Queene</i>, ed. A. C. Hamilton (London: Longman, 1977), III.xii.31, 38.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn26">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[26]</span><!--[endif]--></span> In William Shakespeare’s <i>1 Henry IV</i>, both Prince Hal and Falstaff use the word “embowelled.”
A. R. Humphreys, editor of the Arden edition, glosses the word “embowelled” as
“disembowelled for embalming, though with an equivoque on the ‘assay’ or
ceremony of disembowelling the deer” (William Shakespeare, <i>1 Henry IV</i>, ed. A. R. Humphreys [London: Routledge, 1989], 160 fn
108). “Embowelled” both connotes the emptying out of the body in order to
prepare for embalming the body, or filling the body up, after death, and the
emptying out of the body to prepare it for dismemberment.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn27">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[27]</span><!--[endif]--></span> Stephen Greenblatt, <i>Renaissance Self-Fashioning. From More to Shakespeare</i> (Chicago: The
U of Chicago P, 1980), 188.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn28">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[28]</span><!--[endif]--></span> Richard Rambuss, <i>Closet
Devotions</i> (Durham, NC: Duke UP, 1998), 54, 59-60.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn29">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[29]</span><!--[endif]--></span> Annabel Patterson, ‘Quod oportet <i>versus</i> quod convenit: <i>John
Donne, Kingsman?’</i> in <i>Critical Essays
on John Donne</i>, ed. Arthur F. Marotti (New York: G.K. Hall and Co., 1994),
159.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn30">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[30]</span><!--[endif]--></span> Richard Halpern, “The Lyric in the Field of
Information: Autopoiesis and History in Donne’s <i>Songs and Sonnets</i>,” in <i>Critical
Essays on John Donne</i>, ed. Arthur F. Marotti (New York: G.K. Hall & Co.,
1994), 63.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn31">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[31]</span><!--[endif]--></span> Ibid, 64.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn32">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[32]</span><!--[endif]--></span> Allen Ramsey, “Donne’s ‘Epithalamion made at
Lincolnes Inne’: The Religious and Literary Context” in <i>John Donne’s Religious Imagination. Essays in Honor of John T.
Shawcross</i>, ed. Raymond-Jean Frontain and Frances M. Malpezzi (Conway,
Ariz.: UCA Press, 1995), 42, emphasis added to Puttenham by Ramsey.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn33">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[33]</span><!--[endif]--></span> Ibid, 99-100.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn34">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[34]</span><!--[endif]--></span> In <i>John Donne
and the Rhetorics of Renaissance Discourse</i>, James S. Baumlin also suggests
that the poet “claim[s] to become ‘a something else’—that is, a resurrected
Christ to the lady’s Mary Magdalen” (Columbia, MO: U of Missouri P, 1991), 173.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">_____<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>Sara Morrison</b>
is Associate Professor of English at William Jewell College, Liberty, MO. She
is co-editor of <i>Staging the Blazon in Early Modern English Theater</i> (Ashgate
2013); her current work continues her interest in the blazon and focuses also
on constructions of time in early modern drama.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">_____<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>APPOSITIONS:</i></b><o:p></o:p></span></div>
</div>
<div class="MsoEndnoteTextCxSpMiddle">
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>Studies
in Renaissance / Early Modern</i></b></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>Literature and Culture</i></b><b>,</b><o:p></o:p></span></div>
</div>
<div class="MsoEndnoteTextCxSpMiddle">
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a>,</b></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>ISSN: 1946-1992,</b><o:p></o:p></span></div>
</div>
<div class="MsoEndnoteTextCxSpMiddle">
<div style="text-align: center;">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Volume Ten (2017):
<i>Artefacts<span style="font-size: medium;"><o:p></o:p></span></i></span></b></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-73687667838298945742017-08-16T18:03:00.000-07:002017-09-07T15:22:19.032-07:00Jennifer van Alstyne: "Wives and Daughters"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Jennifer
van Alstyne<o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><a href="https://www.louisiana.edu/" target="_blank"><span style="font-size: large;">University of Louisiana at Lafayette</span></a><span style="font-size: large;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><span lang="EN">Wives and Daughters: Social
Acceptance and Agency in Chapman, Jonson, and Marston’s <i>Eastward Ho</i></span></b><b><o:p></o:p></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span lang="EN" style="background: white;">1> <i>Eastward Ho</i> is a 1605 city comedy staged
by the Children of the Queen’s Revels and written by George Chapman, Ben
Jonson, and John Marston. Written in response to <i>Westward Ho</i>, a city comedy by Thomas Dekker and John Webster, each
play examines the River Thames as natural boundary within the city of London. <i>Eastward Ho</i>, of some controversy due to
anti-Scottish rhetoric, revolves around goldsmith Master Touchstone, his two
very different daughters Gertrude and Mildred, and his apprentices Quicksilver
and Golding. The play utilizes anxiety over social issues like changing social
mobility and the beginning of the privatization of the family unit which will
cement itself during the 17th century in the urbanscape of London, presenting a
stage of comical relationships that reaffirm those anxieties towards a more
stable change.</span><span lang="EN"><o:p></o:p></span></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">2> The past decade or so has seen a resurgence of
interest in Jonson’s lesser studied works including articles on <i>Eastward Ho </i>from Emily Isaacson,
Theodora Jankowski, Shona McIntosh, David W. Kay, and Maren L. Donley<sup><sup><span lang="EN" style="line-height: 115%;">[1]</span></sup></sup>. Isaacson and Jankowski focus on the role of Quicksilver, Touchstone’s thieving
and manipulative apprentice<sup><sup><span lang="EN" style="line-height: 115%;">[2]</span></sup></sup>. In her article, Isaacson suggests that Puritan conduct books, popular during
this period, like city comedies, exemplify “anxieties about the family.” And,
as Puritan conduct books were not only directed at the male head of household,
they sought to reinforce hierarchical and patriarchal ideals within the “nexus
of household relationships.” Isaacson argues that the servant role, after
Northrop Frye’s <i>dolosus servus</i>, is
central to the city comedy. Jankowski argues that <i>The Royall King and the Loyall Subject</i> and <i>Eastward Ho!</i> revolve around discussion of the way class roles were
changing in 16th and 17th-century England by looking at socio-historical class
models like that of Tillyard and Lovejoy<sup><sup><span lang="EN" style="line-height: 115%;">[3]</span></sup></sup>. New
classes emerging during this time disrupted the known ideas of “gentleman” and
questioned the emergence of large numbers of people in new trades that did not
fit into the old system of class stratification. McIntosh on the other hand,
focuses on the uncertainty over social mobility but mentions the women only
tangentially to their male counterparts<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[4]</span></sup><!--[endif]--></sup>. She
discusses the different types of redemption in <i>Eastward Ho</i> and <i>The Alchemist</i>
(1610).</span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">3> Kay and Donley discuss the relationship between
Quicksilver and Touchstone. Kay examines <i>Eastward
Ho</i> as a Calvinistic double-morality play in which honor and prosperity is
restored through crime and imprisonment by examining Touchstone and
Quicksilver’s roles as performance and satire. Donley takes a closer look at
Quicksilver’s repentance in prison. Like Isaacson and Jankowski, Kay focuses on
Quicksilver and Touchstone, although he notes that typical “citizen” traits
such as jealousy, cuckold, moneylending, and hypocritical Puritanism are
granted to Security<b> </b>rather than
Touchstone. I would suggest that this allows the Touchstone and his family to
rise through the marriages of his daughters. Kay is one of the few critics that
talk about the female characters<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[5]</span></sup><!--[endif]--></sup>.
Kay even notes that Gertrude’s “role is frequently ignored in critical
discussions,” and that she may be the “true prodigal” in the play<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[6]</span></sup><!--[endif]--></sup>.
That being said, Kay’s article is largely about Gertrude’s role as satire, and
my research focuses on her role as agent necessary to solidify the family’s
upward social mobility<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[7]</span></sup><!--[endif]--></sup>.<o:p></o:p></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">4> Richard Horwich notes similarities between
Shakespeare's <i>Hamlet</i> (1603, 1604-5,
1623) and Jonson’s <i>Eastward Ho</i> based
on a number of things: both plays are set in a corrupted world, they contain
characters named Gertrude and Hamlet, and both comment on the death or loss of
chivalry. Horwich notes several specific situations in which <i>Eastward Ho</i> directly comments upon or
parodies <i>Hamlet</i>, noting that
“Touchstone and Golding do literally what Hamlet conceives of his mother doing
only figuratively: they arrange one wedding to take advantage of food remaining
from another,” (223). Horwich’s argument revolves largely around the male
figures, noting both Gertrudes are considered “dupes,” (224) but also suggests
the Gertrude of <i>Eastward Ho</i> might be
revisionary, alleviating some of the blame of Shakespeare’s Gertrude.<o:p></o:p></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">5> While Liz Schafer’s chapter focuses on female
directors of Ben Jonson plays, she notes a substantial history of the staging
of <i>Eastward Ho</i> involves women despite
Jonson’s occasional reputation for at worst, misogyny (155). She even noted,
perhaps to Horwich’s disdain, that Charlotte Ramsay Lennox removed all of the <i>Hamlet </i>jokes and removing the more
repudiating lines and characters in her production of <i>Old City Manners</i> (1775)<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[8]</span></sup><!--[endif]--></sup>.
That <i>Eastward Ho</i> has seen a high
number of female directors and adapters suggests they too saw at the heart of
this, a female play of reunification and regeneration. Schafer recounts a long
history of feminist adaptation of the play and, while her own criticism
discusses the women involved in the resurgence of this play, it also suggest
the need for the continuation of feminist criticism in this field.<span style="background: white; mso-highlight: white;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span lang="EN" style="background: white;">6> In <i>Eastward Ho</i>, upward mobility is ac</span><span lang="EN">hieved through the actions and
decisions of female characters who are essential in both maintaining stable
definitions of hierarchical social rank and in bringing about rank change for
themselves and their families. This definition is achieved by three actions:
women accept or reject their own social stations through marriage; women also
accept or reject their relationships and the social status of other w<span style="background: white; mso-highlight: white;">omen; and lastly, that women must
forgive the men in their lives for grievous wrongs, thereby solidifying the
family unit as per societal Elizabethan norms. </span>In the patriarchal
society of <i>Eastward Ho</i>, men’s class mobility
is made possible by their female relatives in a way that gives the women agency
in their outcome. <span style="background: white; mso-highlight: white;">Women’s
actions serve to reify the roles outlined by societal norms—being a faithful
wife, a good daughter, and to have their male relations accepted in larger
political and economic society—as desired by their characters and obtained
through a variety of choices and actions<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[9]</span></sup><!--[endif]--></sup>.<o:p></o:p></span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span lang="EN" style="background: white;">7> Of the anxieties
expressed, the play ends in contentment among all characters, and Quicksilver
alone on stage implores the audience be content as well. In the epilogue, he
says: “Oh, may you find in this our pageant here, / The same contentment which
you came to seek,” (V, epilogue, 6-7)<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[10]</span></sup><!--[endif]--></sup>.
This contentment not only refers to the play as entertainment, but to normative
social hierarchical behavior as well because of its placement at the conclusion
rather than the introduction and because it is spoken by Quicksilver who
represents a character who conforms through crime and repentance. The
contentment achieved by class-improvement refers not only to the characters of <i>Eastward Ho</i>, but to the audience that
watches as well whom Quicksilver addresses. And, while the play reports at the
end to warn the audience of potential dangers of trying to exceed one’s social
standing, the characters have all managed it by the end of the play with little
or no damage to themselves or the outside world.</span><span lang="EN"><o:p></o:p></span></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><span style="font-size: large;">8> Utilizing Susan Amussen’s work for structure, my
research is broken into three parts based on her understanding of class and
gender in order to examine the interpersonal relationships through a varied
lens. Amussen proposes that family was not only the “fundamental economic unit
of society; it also provided the basis for political and social order...the
family served as a metaphor for the state,” (1). And while the family unit as
we know it today didn’t become a private relationship until later in the 17th
century, the family must be examined within a social sphere. The metaphor
Amussen refers to then is only clear when examined at “different levels of
social organization — from family, to village, county, church and state,” (2)
in order to understand how society worked</span><sup style="font-size: medium;"><!--[if !supportFootnotes]--><sup><span lang="EN" style="font-size: small; line-height: 115%;">[11]</span></sup><!--[endif]--></sup><span style="font-size: large;">.
Gender and class are hierarchical systems that are intertwined: class
hierarchy, dealing with property, title, and the moral reflection of worth that
comes along with it is equally as dependant upon gender hierarchy</span><sup style="font-size: large;"><!--[if !supportFootnotes]--><sup><span lang="EN" style="font-size: small; line-height: 115%;">[12]</span></sup><!--[endif]--></sup><span style="font-size: large;">.
Amussen says, “wives were subject to their husbands, so women were subject to
men, whose authority was sustained informally through culture, customs and
differences in education, and more formally through the law,” (3) but also that
women, particularly wealthy neighbors and mistresses, can have authority over
men. For the purposes of this paper, I will focus on the systems which might be
analysed through the information provided in </span><span style="font-size: large;"><i>Eastward Ho</i>:</span><span style="font-size: large;"> family relationships, local society, and state or
national trends.</span></span><br />
<b style="font-family: times, "times new roman", serif; font-size: x-large;"><span lang="EN"><br /></span></b>
<b style="font-family: times, "times new roman", serif;"><span lang="EN" style="font-size: large;">Family Relationships</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;">9> Family is integral to</span></span><span style="font-family: "times" , "times new roman" , serif;"> </span><i style="font-family: times, "times new roman", serif;"><span style="font-size: large;">Eastward Ho</span></i><span style="font-family: "times" , "times new roman" , serif; font-size: large;">, as it revolves around the Touchstones and their
economic and social relationships in London as their daughters pave the pathway
for upward mobility. In this section, I discuss Touchstone in relation to his
two daughters, Gertrude and Mildred. Touchstone describes his daughters to the
audience in the opening act</span><sup style="font-family: times, "times new roman", serif;"><sup><span lang="EN" style="font-size: small; line-height: 115%;">[13]</span></sup></sup><span style="font-family: "times" , "times new roman" , serif; font-size: large;">:</span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">“[…]
have I only two daughters, the eldest of a proud ambition and nice wantonness,
the other of a modest humility and comely soberness. The one must be ladyfied,
forsooth, and be attired just to the court cut and long tail. So far as she ill
natured to the place and means of my preferment and fortune that she throws all
the contempt and despite hatred itself cast upon it.” (I, i, l. 96-104)<o:p></o:p></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">10> At the start of the play, Gertrude is engaged to be
married to Sir Petronel Flash, a newly minted knight. Touchstone and his wife,
Mistress Touchstone, represent two different opinions of this match, as well as
different opinions about the wider national issue of social mobility muddled by
the practice of purchasing titles.<o:p></o:p></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">11> Touchstone devises an experiment to find out which
marriage, Gertrude’s or Mildred’s, “thrives the best, the mean or lofty love,”
(I, ii, 194) but what he believes makes for a good marriage, the basis for the
test, is unusual but understandable because of his economic role as
merchant-citizen. Touchstone’s negative opinion of Gertrude’s manner is made
clear, but his view of Mildred, at least the qualities he suggests make her a
good candidate for wife, are about her appearance rather than temperament. He says,
“She is not fair, well favoured or so, indifferent, which modest measure of
beauty shall not make it they only work to watch her, nor sufficient mischance
to suspect her,” (I, i, 171-4) meaning she is not so beautiful she’ll be
seduced away by another man, nor is she ugly enough to warrant self-fulfillment
through an illicit affair. It seems the main things of import to Touchstone are
fidelity and loyalty. Economically, this would make sense as Touchstone
represents the introduction of merchant-citizen and the structure of the
apprentice-master relationship is played out through his daughters as well. The
bifurcation in personality between Golding and Quicksilver is equivalent to the
differences between Gertrude and Mildred. Both Quicksilver and Gertrude seek
upward mobility, but Quicksilver has made grave legal errors and Gertrude’s
error in judgement was based in naivete.<o:p></o:p></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">12> While Golding hints in Act I that Sir Petronel Flash
likely does not have a castle, it is unclear until Act II in which Flash confesses
to Quicksilver<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[14]</span></sup><!--[endif]--></sup>.
“Alas, all the castles I have are built with air, thou know’st,” (II, ii,
246-7) he says when Quicksilver attempts to offer him a loan on behalf of
Security. The references to Flash’s castle as “Eastward,” (244), of “air”
(247), “enchanted,” (256), and “invisible” (257), as well as its association
with “smoke,” (244) and the “sun” (253) help to evoke the sense that the
castle, like Flash’s title, is built out of smoke and mirrors. Flash says, “the
sun being outshined with her ladyship’s glory, she fears he goes westward to
hang himself,” (253-5). While the sun in this situation parodies Petrarchan
idolization, Flash recognizes that Gertrude’s albeit temporary happiness in
gained position and title, her dream of being a country lady fulfilled, is
brighter than the sun. The passing of time with the sun’s movement, follows her
rather than the other way around, but he also suggests that glory will be
extinguished upon the discovery of Flash’s lies, associated here with the
“hanging.” And, while the sun rises in the east and sets in the west, van
Fossen also notes that “westward” is another allusion to the gallows at Tyburn
when Quicksilver suggests Gertrude will “return and follow his [the sun’s]
example,” (258). However, this is an underestimation of Gertrude’s will and
character; by seeing only the frivolity in Gertrude’s quest for ladyship, the
men disregard her strength and resolve.<o:p></o:p></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">13> When Gertrude is introduced, after Touchstone’s
negative description, she is connected with a variety of material things
representing the mode of dress of upper class women prompted by her tailor
Poldavy. Gertrude expresses that her understanding of aristocratic women is
based on these items, “I must be a lady. Do you wear your coif with a London
licket, your stammel petticoat with two guards, the buffin gown with the
tuftaffety cape, and the velvet lace,” (I, ii, 17-20), referring to a
headdress, ornamental and embroidered cloth, and tufted taffeta. She envisions
a city dame eating cherries only at “an angel a pound,” (23) referring to the
cost of the cherries rather than the quality. And, while Gertrude speaks
directly to Mildred, even offering “when I am a lady, I’ll pray for thee,”
(50), the person she relies on for answers is the lecherous tailor Poldavy who
makes use of Gertrude’s naivete. In response to one question he says, “Here was
a fault in your body, but I have supplied the defect with the effect of my
steel instrument, which, though it have but one eye, can see to rectify the
imperfection of the proportion,” (61-5), a phallic euphemism suggesting he may
correct women’s appearance through the disguise or costume of dress, and
sexually as well.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">14> Most of Gertrude’s advice on being a lady comes from
men who, like Poldavy, have ulterior motives and likely do not know themselves.
While Touchstone warns Gertrude modesty is essential, Flash tells her “Boldness
is good fashion and courtlike,” (I, ii, 86), but it isn’t just contradictory
advice Gertrude receives that promotes naivete. No one accurately corrects her
misunderstanding of both what is said and what is misheard as when Flash
discusses a match of balloon, a game involving a large inflated leather ball,
which she mishears as baboon. Van Fossen notes this as “wildly intemperate
sexual behavior.” Even Mistress Touchstone revels in her daughter’s upward
mobility suggesting she “would ha’ dubbed you myself,” to Flash (117-9) and
calling Gertrude her “lady-daughter” (124). Gertrude makes statements and asks
questions about aristocratic life but it is both the lack of response and lack
of understanding the motivations of people around her that results in her
ignorance of her own position after marriage.<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">15> Mildred, like Golding with the master-servant bond,
represents unwavering faith in the role she plays in relation to her father. “I
am all yours: your body gave me life, your care and love happiness of life; let
your virtue still direct it, for to your wisdom I wholly dispose myself,” (I,
ii, 186-9). Mildred’s attempts to steer Gertrude’s traits, her acceptance of
her father’s proposed marriage to Golding, and her forgiveness of Gertrude
results in the stability of not only her own marriage, but Gertrude’s,
Winifred’s, and Sindefy’s as well. When asked if she prefers the costly
garments Gertrude aspires to, Mildred replies <o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin: 0in 0in 0.0001pt 0.5in;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">“I
have observed that the bridle given to those violent flatteries of fortune is
seldom recovered; they bear one headlong in desire from one novelty to another;
and where those ranging appetites reign, there is ever more passion than
reason: no stay, and so no happiness. These hasty advancements are not natural.
Nature hath given us legs to go to our objects, not wings to fly to them.” (II,
i, 69-77)<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">16> For Mildred it seems
observation, rather than Gertrude’s statement-question method of figuring one’s
place in the world, is key to the status quo both she and Golding find
acceptable. What appears as lack of ambition, especially when contrasted with
Gertrude’s obsession with being a lady, seems at first stagnant but in this statement
suggests it is not advancement Mildred finds fault with, but rather the hasty
passion with which people pursue it. Mildred’s advancement follows the steady
trajectory she if not aspires to, does not oppose, resulting in marriage to a
dedicated apprentice of her father who gains political and economic stability
when released from that service role.<a href="https://www.blogger.com/null" name="_yfogg8bz0v39"></a><o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><span lang="EN">Local Society</span></b><b><span lang="EN"><o:p></o:p></span></b></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">17> In terms of local society as
lens, the three interpersonal relationships I address are Golding as political
representative in relation to both Touchstone and Mildred, followed by a
discussion of Sindefy and Gertrude. While Quicksilver and Golding begin as
Touchstone’s apprentices, neither man ends up that way by the end of the play.
Apprentices, as Isaacson notes, were “in both a learning and service
relationship” (64), and Touchstone’s release of Quicksilver for fault and
Golding for virtue, removes the constructed outlines of that formal working
relationship. And while Golding represents a dedication to learning, duty, and
honor, he also shows a lack of passion both in his work and in his relationship
with Mildred: “you shall want nothing fit for your birth and education; what
increase of wealth and advancement the honest and orderly industry and skill of
our trade will afford in any, I doubt not will be aspired by me,” (II, i,
87-9). While contemporary ideals might want for a more pronounced ambition in
the workplace, a complete lack of ambition in the Jacobean-era, as exemplified
by Golding, is an extreme.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">18> As a wealthy
merchant-citizen, Touchstone encompasses two worlds without belonging to either
of them, but Golding gains upward mobility without intention. Golding, like
Mildred, represents a lack of ambition, a dedication to work, and a
comfortability with the status quo. Isaacson says, “Golding seems never to have
any higher ambition than being an honest member of this adopted family, though
he keeps finding himself rewarded for his hard work and honesty,” (77) which
results in a variety of promotions on the first day of his freedom: deputy to
the alderman and election to the Common Council. Beyond Golding’s own success,
however, the promotions also change Touchstone’s understanding of those
positions and their role in his own economic security, saying he “shall think
the better of the Common Council’s wisdom and worship while I live...Forward,
my sufficient son, and as this is the first, so esteem in the least step to
that high and prime honour that expects thee,” (IV, ii, 75-70). Touchstone
feels his experiment is validated by Goldings political success and, by calling
him a “sufficient son,” the master-servant bond is released by the elimination
of the apprentice contract and solidified anew by the marriage contract between
Golding and Mildred, both of which Touchstone attributes to his own credit<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[15]</span></sup><!--[endif]--></sup>.<b><o:p></o:p></b></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">19><b> </b>Touchstone vehemently opposes Gertrude’s ambition, but the
smallest glimpse of upward mobility in Golding results in a foreseen trajectory
of continued social mobility Touchstone delights in:<b><o:p></o:p></b></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin: 0in 0in 0.0001pt 0.5in;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">“I
hope to see thee one o’ the monuments of our city, and reckoned among her
worthies, to be remembered...and thou and thy acts become the posies for
hospitals, when thy name shall be written upon conduits, and thy deeds played
i’ thy lifetime, by the best companies of actors and be called their getpenny.
This I divine. This I prophesy.”<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin: 0in 0in 0.0001pt 0.5in;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">(IV,
ii, 79-89)<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">20> Touchstone likens Golding to great political and
charitable figures of the day. I suggest that there is no way to tell if
Golding achieves promotion solely through his own merit, or if the placement of
this announcement after Gertrude’s wedding allows room for the possibility that
Golding’s new connection to the aristocracy, purchased or not, promoted his
name to the council for consideration. And, while Golding is the catalyst for
the legal forgiveness of Quicksilver, Flash, and Security, I wonder if the task
would have been important if Mildred hadn’t taken the mission upon herself
first.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">21> There is some support to the idea that Gertrude’s
marriage has a wider reach than her own family, certainly resulting in agency
through the power of gossip. Mistress Fond and Mistress Gazer are citizen’s
wives, of Touchstone’s class, who watch Gertrude’s departure for Flash’s castle
upon her marriage. In their only scene, the women discuss Gertrude’s match in
terms Gertrude herself must have spread: “O she’s married to a most fine castle
i’ th’ country, they say,” (III, ii, 22-3). Mistress Fond’s use of the pronoun
“they” also suggests Gertrude’s speech act of announcement and promoting her
husband’s title through gossip is successful, as had they heard from Gertrude
herself, “she” would have been used instead. The gossips also suggest similar
naivete in their thinking about castles, titles, and aristocracy , likening
Flash to medieval romantic heroes: “they say her knight killed [the giants] ‘em
all, and therefore he was knighted,” (25-6). The gossips say only ten lines
between them, but their role in proving Gertrude’s ability to paint a portrait
of her own marriage, her husband’s gallantry, and the romantic life she heads
to as a country lady allows for our understanding of how Gertrude got her naive
understanding of Flash. The family is only able to find stability after Flash
is jailed and then forgiven. It is the social aspect of gossip that creates
acceptance, even weaves lies in favor of stability, in which the Touchstones
and their daughters can gain upward class mobility through scandal but also
social forgiveness and acceptance<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[16]</span></sup><!--[endif]--></sup>.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">22> Sindefy, Quicksilver’s mistress, is utilized in the
plot by Quicksilver who inserts her into Gertrude’s new household as a
gentlewoman, but he does not recognize Sindefy’s ability to rise above her
station as mistress, saying “these women, sir, are like Essex calves: you must
wriggle ‘em on by the tail still, or they will never drive orderly,” (266-7).
Referring to women as cows, as well as the sexual innuendo of “wriggle ‘em,”
does not account for Sindefy’s ultimate friendship with Gertrude<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[17]</span></sup><!--[endif]--></sup>.
While she is aware of her position, and gladly accepts her role, it is doubtful
Security or Quicksilver could have predicted the social elevation from mistress
to “gentlewoman of the country, new come up with a will for a while to learn
fashions,” (II, ii, 195-7) would stick. And yet, from the moment Gertrude
accepts Sindefy into her household, she is exactly what she is pretending to
be, encompassing the role for her own benefit<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[18]</span></sup><!--[endif]--></sup>.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">23> It is Sindefy who accompanies Gertrude on her coach
trip eastward, and when Touchstone welcomes her back with proverbial snide
remarks on her failed marriage, Gertrude reveals herself to be a strong-willed
woman despite humiliation, especially when her mother tells her to kneel,
“Kneel? I hope I am not brought so low yet; though my knight be run away, and
has sold my land, I am a lady still,” (IV, ii, 134-6). Gertrude’s stubbornness
might appear to some as ridiculous, but in this scene Gertrude stands up to a
father who seeks to humiliate her further, and a mother who has transitioned
from pushing her daughter towards an unexamined match to attempting to force
Gertrude into physical submission. Isaacson suggests that by Touchstone casting
Gertrude out of the house, “Touchstone risks his public reputation in this
moment, since he is admitting to his inability to control the members of his
household, but this is the price he must pay in order to keep...the noble
portion of his family intact,” (77). Noble in this sense, would refer to
morality rather than hierarchy, but it is through this action, Gertrude’s
separation from both her husband and family, that she is granted the ability to
find her own moral center.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">24> Sindefy, who might have returned to Quicksilver upon
returning to the city, and again upon finding Gertrude is to be cast onto the
street, remains showing a sisterly bond was formed perhaps through betrayal by
men, a loyalty Gertrude reciprocates when imagining their future. When Gertrude
asks her if she has ever heard of such happenings to a lady and her servant,
Sindefy responds, “Not I, truly, madam; and if I had, it were but cold comfort
should come out of books now,” (V, i, 4-5). Such calamity is unimaginable in
their understanding of how life ought to happen that comfort is found in each
other, even if Gertrude has little understanding of Sindefy’s own past because
their bond is based on a lie constructed by Quicksilver. Getrude sells her
jewels and gowns and even considers selling her title, “I’m sure I remember the
time when I would ha’ given a thousand pound, if I had had it, to have been a
lady,” (73-5). And while she does not wish to sell her title, she has some
economic brilliance in the suggestion of leasing it, “I would lend it— let me
see— for forty pound in hand, Sin; that would apparel us; and ten pound a year;
that would keep me and you, Sin, with our needles, and we should never need to
be beholden to our scurvy parents” (80-5), and by extension, the men who
control the money. While this isn’t a feasible plan, Gertrude envisioning a
world in which she could keep herself is far from her original understanding of
her place as woman. Her generosity towards Sindefy who has shown a great deal
of loyalty, proves a noble character that needed a catalyst of necessity and
independence in order to emerge and for this reason, marriage to Sindefy is
part of Quicksilver’s repentance, solidifying her once pretend role of
gentlewoman.<a href="https://www.blogger.com/null" name="_8libdycvb3nz"></a><o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><span lang="EN">State</span></b><b><span lang="EN"><o:p></o:p></span></b></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">25> With a wider scope of <i>Eastward Ho</i> at the level of state, analysis revolves around two
things: how Winifred subverts social commentary on expeditions to the new
world, and how the final acts of forgiveness create stability for the social
relationships at the play’s end. Gertrude’s eastward journey to the country and
Flash and crew’s eastward journey to Virginia end without reaching their
respective destinations. Each of the major characters wash ashore in a location
particular to their crime: Security who has gone after his wife, lands at Cuckold’s
Haven, Winifred finds herself at Saint Katharine’s which van Fossen notes is a
“reformatory for fallen women,” and the rest of the lot land on the Isle of
Dogs which at the time was a “refuge for debtors,” (32). Each location outside
of the city reflects the actions of the characters who land there, but also
comments on the roles each play in the wider narrative.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">26> Several of the voyagers capsize in the storm and wash
up on the Isle of Dogs; their expedition to Virginia is an avenue by which we can
look at state relations. On the Isle of dogs, Flash, who speaks French,
attempts to communicate with two gentlemen who remark on the foolhardy decision
to begin such an expedition during a storm. Further, they humiliate Flash for
his purchased title when Gentleman 1 says, “Farewell, we will not know you for
shaming of you. I ken the man weel; he’s one of my thirty-pound knights,” (IV,
i, 196-8). Gentleman 2 goes further to say, “he stole his knighthood o’ the
grand day for four pound, giving to a page all the money in ‘s purse, I wot
well,” (199-200). The view of the newly minted knight on foreign land
reinforces the perception of purchased titles, even outside of the country.
Beyond that commentary about Flash, and the idiocy of setting out during a storm,
the legitimacy of a Virginia expedition is also questioned. Van Fossen says in
his introduction that “during this period the name ‘Virginia’ might mean a
place anywhere from Florida to Newfoundland,” (18). This is significant because
after the failed colony at Roanoke, Sir Walter Raleigh had only a limited
amount of time to establish a colony in the new world in order to maintain his
right<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[19]</span></sup><!--[endif]--></sup>.
As such, “the Virginia venture is central not only to both plots of the play
but also to the sophisticated social commentary which provides much of its
sharpest humor and many of its most serious implications,” (17). The failure of
this venture represents that social commentary, and Winifred, the only woman on
the expedition, revises that narrative by returning home and convincing her
husband she’d never left.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">27> Parallels to <i>Eastward
Ho</i> can be made to Shakespeare’s <i>As
You Like It</i> (1599), particularly in reference to what Winifred refers to as
“woman’s wit, and fortune” (IV, i, 281). Winifred washes up on Saint
Katharine’s, but she is not taken for an adulterous by the Drawer who cares for
her after the boat capsizes, nor does anyone find issue with her presence as
sole woman on the boat. She even awakens to find “a gentlewoman’s gown, hat,
stockings, and shoes,” (IV, i, 104-5), the modes of dress discussed earlier
about Gertrude as the costume or outward appearance of a lady, and receives the
confidence of the Drawer who brings her back to his tavern so she may return
home unseen at which point she asks to be left with her wit. This may refer to
lines from Shakespeare’s <i>As You Like It</i>,
performed in the year or two before <i>Eastward
Ho</i>,<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-indent: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-indent: 0.5in;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">“Or else she could not have the wit
to do this: the<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-indent: 0.5in;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">wiser, the waywarder: make the doors
upon a<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-indent: 0.5in;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">woman's wit and it will out at the
casement; shut<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-indent: 0.5in;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">that and 'twill out at the key-hole;
stop that, 'twill <o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-indent: 0.5in;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">fly with the smoke out at the
chimney.”</span><br />
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;"> (V, i, 160-5)<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">—a play which also features a character named Touchstone,
although Shakespeare’s Touchstone is a court jester<sup><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[20]</span></sup><!--[endif]--></sup>.
Winifred’s wit creates a further disparity between herself and her husband,
Security the usurer because he has followed and capsized himself in the fitting
Cuckold's Haven, so Winifred has ample time to return home and claim she’d
never left. Winifred revises the narrative of the journey itself, as well as
the narrative Security believes to be, and indeed is, true.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">28> While Winifred returns home, the rest of the
traveling party is taken into custody at Golding’s order and the men, including
Security, go through moral transformation in the enclosed space of the prison.
It is Golding who acts as go-between, as the only character with enough social
trust to trick Touchstone, won over only by Quicksilver’s song of “Repentance,”
into witnessing that transformation. Critics like Isaacson and Donley have
attributed this act of forgiveness to Golding’s machinations, but the scene’s
appearance after Gertrude’s discussion with Mistress Touchstone to, “Go to thy
sister’s, child; she’ll be proud thy ladyship will come under her roof. She’ll
win thy father to release thy knight, and redeem thy gowns, and thy coach, and
thy horses, and set thee up again,” (V, ii, 177-81), suggests Mildred’s agency
if not over her father, certainly her husband. Golding, of self-stated no
ambition, shows an unusual amount of loyalty to his previously fellow
apprentice. It is Mildred who helps relay the message of Golding’s faux arrest
and, while Touchstone’s response to his “virtuous” daughter is, “Away, sirens,
I will immure myself against your cries, and lock myself up to your
lamentations” (V, iv, 7-8), I suggest Mildred’s agency lies in Golding’s plot
through her own decision to forgive her sister which happens offstage. As such,
rather than emphasizing Golding’s agency, the repentance which most matters to
the security and stability of the relationships and social standing of
Touchstone’s family lies with Gertrude’s apology and Mildred’s forgiveness and
the strength of that sisterly bond.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">29> <i>Eastward Ho </i>results
in five reaffirmed or created marriages who have resolved or forgiven each
other’s errors. It is by separating actions of the female characters into
various levels or lenses of analysis that their agency becomes more pronounced.
The women in this play utilize tools like acceptance of marriage, speech act
and gossip, and controlled forgiveness, to solidify their relationships and the
positions of their husbands on the political and economic sphere. And while
they are given fewer lines, and some significant acts of forgiveness like that
of Gertrude and Mildred happen offstage, the offerings I have proposed give new
understanding to their overall agency within the text. While Gertrude, Mildred,
Winifred, and Sindefy are given stock personality traits—ambition on the marriage
mart, contentment with the status quo, unhappiness within a marriage,
prostitutes—it is through their shared dedication to each other, and to finding
stability and happiness within their relationships, that ultimately extends
that stability to the men in their lives as well.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">_____<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<b><span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Works
Cited<o:p></o:p></span></b></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Amussen, Susan Dwyer. <i>An
Ordered Society: Gender and Class in Early Modern England</i>. Columbia UP,
1988.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Chapman, George, et al. <i>Eastward
Ho</i>. Edited by R.W. van Fossen, Manchester UP, 2006.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Donley, Maren. “The Mechanics of Virtue: Quicksilver’s
‘Repentance,’ and the Test of Audience, and Social Change in <i>Eastward Ho</i>,” <i>Renaissance Drama</i>, vol. 41, no. 1/2, pp. 25-55.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Gibbons, Brian. <i>Jacobean
City Comedy</i>. Routledge, 1980.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Horwich, Richard. “<i>Hamlet</i>
and <i>Eastward Ho</i>,” <i>Studies in English Literature, 1500-1900</i>,
vol. 11, no. 2, Elizabethan and Jacobean Drama, 1971: 223-33.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Isaacson, Emily R. “Indulgent Masters and Sleights of Hand:
Servants and Apprentices in City Comedy,” <i>Ben
Jonson Journal</i>, vol. 22, no. 1, 2015: 62-82.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Jankowski, Theodora A. “Class Categorization, Capitalism,
and the Problem of ‘Gentle’ Identity in <i>The
Royall King and the Loyall Subject</i> and <i>Eastward
Ho!</i>” <i>Medieval & Renaissance Drama
in England</i>, vol. 19, JSTOR, 2006, pp. 144–174.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Kay, W. David. “Parodic Wit and Social Satire in Chapman,
Jonson, and Marston’s <i>Eastward Ho!</i>.” <i>English Literary Renaissance</i>, vol. 42,
no. 3, 2012, pp. 391–424.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Kay, David W. and Suzanne Gossett. “Eastward Ho,” <i>The Cambridge Edition of the Works of Ben
Jonson Online</i>, 2012.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Leggatt, Alexander. <i>Citizen
Comedy in the Age of Shakespeare</i>. U of Toronto, 1973.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">McIntosh, Shona. “Space, Place and Transformation in <i>Eastward Ho!</i> and <i>The Alchemist</i>,” <i>The Idea of
the City: Early-Modern, Modern, and Post-Modern Locations and Communities</i>. Cambridge
Scholars, 2009, pp. 65-78.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Schafer, Elizabeth. “Daughters of Ben,” <i>Ben Jonson and Theatre: Performance, Practice, Theory</i>. Eds. Richard
Cave, Elizabeth Schafer, and Brian Woolland. Routledge, 2005, pp. 155-77.<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span lang="EN" style="background: white;">Shakespeare, William. "As
You Like It." <i>The Norton Anthology</i>.
2nd ed. Eds. Greenblatt, Stephen, et al. W.W Norton, 2008, pp. 377-444.</span><span lang="EN"><o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">_____<o:p></o:p></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<b><span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">Notes:</span></b></div>
<div>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">
</span>
<br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div align="left" class="MsoNormalCxSpFirst" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[1]</span></sup><!--[endif]--></span></sup><span lang="EN"> R. W. van Fossen states in his
introduction that, “until quite recently, by far the greatest portion of the
published commentary on <i>Eastward Ho</i>
has been preoccupied with the question of its collaborative authorship,” (1). This
makes Isaacson, Jankowski, and Kay’s work particularly relevant to my own
because it moves beyond that focus.<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn2">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[2]</span></sup><!--[endif]--></span></sup><span lang="EN"> Leggatt
notes that while financial trickery is essential to New Comedy, “comes about
largely through the work of Thomas Middleton...Jonson is often cited as the
prime influence,” (see note on 10).<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn3">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[3]</span></sup><!--[endif]--></span></sup><span lang="EN"> </span><i><span lang="EN">The
Great Chain of Being: The History of an Idea</span></i><span lang="EN"> (1937) argues for a chain of power and intelligence on a
scale of nothingness to God, suggesting humans were able to touch both the
world of the spiritual higher powers because of their ability to examine the
senses, as well as love and reason, but the can also lower themselves through
sin to the level of animals.<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn4">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[4]</span></sup><!--[endif]--></span></sup><span lang="EN"> That being said, she does propose a
rather astute observation that both <i>Eastward
Ho</i> and <i>The Alchemist</i> are set
during plague time in which the playhouses are closed, which might be
considered another level of stagnancy beyond social mobility.<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn5">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[5]</span></sup><!--[endif]--></span></sup><span lang="EN"> </span><span lang="EN">Gibbons chose <i>Eastward Ho</i> the example for Jacobean city comedy in his
introduction because of its “characteristic atmosphere and texture” representative
of the plays of the genre (8). However, in the several pages he dedicates to
the play, Gibbons mentions Touchstone’s daughters once, and does not even
provide their names: “Corresponding to the two apprentices are the goldsmith’s
two daughters; one is humbly earnest and modest, the other vain, empty-headed
and licentious,” (9). That the plot of a play largely about women and marriage
can be described without discussing either shows the need for continued
research in this field.<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn6">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[6]</span></sup><!--[endif]--></span></sup><span lang="EN"> This would make Leggatt’s comment
that “by far the subtlest and most elaborate parody of the standard prodigal
story is to be found in <i>Eastward Ho</i>,”
(47). But, while he analyzes Quicksilver’s behaviour as “copybook
prodigal—spendtrift, drunken, roistering, and scornful of all good advice,” his
analysis of Gertrude is that she “certainly is a fool, and has none of
Quicksilver’s wit.” By noting her character as “more amusing than offensive,”
“a child indulging in pre-Christmas fantasies, and lording it over her less
imaginative playmates,” (49) Leggatt sees Gertrude’s same basis in naivete as
I, but fails to recognize her agency in setting the social moves in motion.<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn7">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[7]</span></sup><!--[endif]--></span></sup><span lang="EN"> In Kay and Gossett’s new edition of
<i>The Cambridge Works of Ben Jonson</i>,
Gossett includes a detailed “Textual History” and analysis of <i>Eastward Ho</i> in which she focuses on “the
play’s creation and political impact.” Gertrude is mentioned three times,
largely in relation to printing mistakes. Kay’s “Stage History,” on the other
hand, pointedly notes changes in characterizations of Gertrude’s character in
productions by Nahum Tate, David Garrick, and Charlotte Lennox.<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn8">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[8]</span></sup><!--[endif]--></span></sup><span lang="EN"> </span><i><span lang="EN">Old
City Manners</span></i><span lang="EN"> (1775) written by Charlotte Lennox,
was adapted from <i>Eastward Ho</i>. Schafer
notes in the prologue, George Coleman suggests the original play had become “by
time perhaps, impair’d too much.” Lennox’s adaptation chose to remove the most
characters like Slitgut, and highlight the romance lacking from the original
play. Of course, highlighting the romance might make Lennox’s adaptation fit in
less with the genre of citizen comedy, which is typically underplayed as per
Leggatt.<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn9">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[9]</span></sup><!--[endif]--></span></sup><span lang="EN"> This may well be true for other
Renaissance Dramas. Certainly female agency has been addressed in plays like
Shakespeare’s <i>Taming of the Shrew </i>(1592)
and Middleton and Dekker’s <i>The Roaring
Girl</i> (1607).<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn10">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[10]</span></sup><!--[endif]--></span></sup><span lang="EN"> The epilogue is unassigned in the
original, but Van Fossen notes all modern editors attribute the epilogue to
Quicksilver (36).<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn11">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[11]</span></sup><!--[endif]--></span></sup><span lang="EN"> Amussen’s study examines gender and
class through examination of five Norfolk parishes in order to emphasize the
importance of analysing both national trends such as wage increases between
1500-1620, population growth, and inflation, as well as local ones (8-9).<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn12">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[12]</span></sup><!--[endif]--></span></sup><span lang="EN"> Amussen defines gender as “the
process by which meaning is given to the perceived biological differences
between women and men, a process which turns biological facts into social
relationships,” (4).<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn13">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[13]</span></sup><!--[endif]--></span></sup><span lang="EN"> </span><span lang="EN">That a male opinion of the female
characters is presented before the introduction of the characters shapes our
understanding of how those women are viewed by their father. This fits with
Touchstone’s many instances of proselytizing particularly at the end of his
speeches.<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn14">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[14]</span></sup><!--[endif]--></span></sup><span lang="EN"> Golding refers to this by saying,
“Pray heaven the elephant carry not his castle on his back,” (I, i, 163-4),
which refers to a common British image, “Elephant and Castle,” derived from the
Hindu tradition of Howdah. For more, see van Fossen’s note to the text and R.
Withington’s “A Note on<i> Eastward Ho</i>,
i, ii, 178” in <i>Modern Language Notes</i>,
1928).<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn15">
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[15]</span></sup><!--[endif]--></span></sup><span lang="EN"> </span><span lang="EN">Van Fossen notes of Golding and
Mildred, “they and their marriage are as much the objects of ridicule in the
play as are Sir Petronel and Gertrude and theirs,” (30). Their lack of passion
aligns with a <i>mariage de raison</i>.<o:p></o:p></span></span></div>
<div align="left" class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
</div>
<div id="edn16">
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[16]</span></sup><!--[endif]--></span></sup><span lang="EN"> I would also argue that gossip in
this sense is gendered as a female mode of communication, and thus, an aspect
of female agency.<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[17]</span></sup><!--[endif]--></span></sup><span lang="EN"> </span><span lang="EN">This assertion that women must be
controlled by men might also be taken back to Poldavy’s sexual reference to his
needle with one eye. Quicksilver’s likening women to chattel that must be
guided by both sexual control and forceful modification (Poldavy through
appearance, Quicksilver through drive).<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[18]</span></sup><!--[endif]--></span></sup><span lang="EN"> Sindefy’s name is equally as
contradictory as her position as both mistress and gentlewoman. Van Fossen
notes that “The name suggests (1) one not only sinful but defiantly so; (2)
ironically, one who defies sin,” comparing her to Win-the-Fight in <i>Bartholomew’s Fair</i>. Sindefy’s social
rank changes from mistress of an alcoholic apprentice attempting to disrupt
society to wife of a reformed man attempting to right his wrongs by improving
the lives of societal outcasts. This change solidifies Sindefy as one both
accepting of her sins, acting to change her station, and achieving social
mobility through female friendship.<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[19]</span></sup><!--[endif]--></span></sup><span lang="EN"> Van Fossen also notes that between
1589 and 1602, Raleigh made five failed attempts to find and ‘relieve’ Roanoke
(17).<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><sup><span lang="EN"><!--[if !supportFootnotes]--><sup><span lang="EN" style="line-height: 115%;">[20]</span></sup><!--[endif]--></span></sup><span lang="EN"> </span><span lang="EN">Shakespeare’s Touchstone also
proselytizes regularly, and like the Touchstone character of <i>Eastward Ho</i>, has the ability to
understand and comment upon others. The Touchstone character of <i>As You Like It</i> acts almost as precursor
to Gertrude’s relationship in that he marries Audrey, whom he finds to have
sought the match because she wishes, like Gertrude, to become a courtly lady.<o:p></o:p></span></span></div>
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<span lang="EN" style="font-family: "times" , "times new roman" , serif; font-size: large;">_____<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>Jennifer van Alstyne </b>is a Peruvian-American poet and
scholar. Her work has been published in numerous journals, including<i> The
Citron Review</i>, <i>COG, Crack the Spine, ELKE</i>,<i> The Foundling Review</i>,<i>
Paper Nautilus</i>, <i>Stonecoast Review</i>, <i>Sweet Tree Review</i>, and <i>Whiskey
Traveler</i>. She holds an M.F.A. from Naropa University where she was the Jack
Kerouac Fellow, and is currently a graduate fellow in English Literature and
Cultural Studies at the University of Louisiana at Lafayette.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">_____<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>APPOSITIONS:</i></b><o:p></o:p></span></div>
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<b><i><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Studies in Renaissance / Early
Modern<o:p></o:p></span></i></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>Literature and Culture</i></b><b>,</b><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,<o:p></o:p></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>ISSN: 1946-1992,</b><o:p></o:p></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Volume Ten (2017): <i>Artefacts<o:p></o:p></i></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">_____</span></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-5451289329135696832017-08-16T18:01:00.002-07:002017-09-07T15:33:25.893-07:00* * * REVIEWS * * *<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Literature & Culture</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/" style="color: #cc6633;">http://appositions.blogspot.com/</a></span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">ISSN: 1946-1992</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">VOLUME TEN (2017):</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">ARTEFACTS</span></i></b></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><br /></span></b>
<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">REVIEWS:<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Diana Galarreta-Aima,</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> James Madison University, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/diana-galarreta-aima-women-playwrights.html" style="color: #cc6633;" target="_blank">Feliciana Enríquez de Guzmán, Ana Caro Mallén, and Sor Marcela de San Félix, <i>Women Playwrights of Early Modern Spain</i>.</a> Edited by Nieves Romero-Díaz and Lisa Vollendorf. Translated and annotated by Harley Erdman. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Lyn Bennett, Dalhousie University, review of<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/lyn-bennett-anna-trapnels-report-and.html" style="color: #cc6633;" target="_blank">Anna Trapnel, <i>Anna Trapnel’s Report and Plea; or, A Narrative of Her Journey from London into Cornwall</i>.</a></span><span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12pt;">Edited by Hilary Hinds.</span><span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Susan Broomhall, University of Western Australia, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/susan-broomhall-misfortunes-of-love.html" style="color: #cc6633;" target="_blank">Claudine-Alexandrine Guérin de Tencin, <i>Memoirs of the Count of Comminge</i> and <i>The Misfortunes of Love</i>.</a><i> </i>Edited and translated by Jonathan D. Walsh. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Elisabeth C. Davis, University at Buffalo, review of</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="https://acmrs.org/publications/catalog/mother-juana-de-la-cruz-1481-1534-visionary-sermons" style="color: #cc6633;" target="_blank">Mother Juana de la Cruz, <i>Visionary Sermons (1481-1534)</i></a>. Edited by Jessica A. Boon and Ronald E. Surtz. Translated by Ronald E. Surtz and Nora Weinerth. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Jeanette M. Fregulia, Carroll College, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/jeanette-fregulia-letters-to-her-sons.html" style="color: #cc6633;" target="_blank">Alessandra Macinghi Strozzi, <i>Letters to Her Sons (1447-1470)</i>.</a> Edited and translated by Judith Bryce. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Kelly D. Peebles, Clemson University, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/kelly-peebles-letters-from-queen-of.html" style="color: #cc6633;" target="_blank">Jeanned’Albret, <i>Letters from the Queen of Navarre with an Ample Declaration</i>.</a> Edited and translated by Kathleen M. Llewellyn, Emily E. Thompson, and Colette H. Winn. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Carole Slade, Columbia University, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/carole-slade-letters-of-spanish-nun.html" style="color: #cc6633;" target="_blank">María Vela y Cueto, <i>Autobiography and Letters of a Spanish Nun</i>.</a> Edited by Susan Diane Laningham. Translated by Jane Tar. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span><br />
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Literature & Culture</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/" style="color: #cc6633;">http://appositions.blogspot.com/</a></span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">ISSN: 1946-1992</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">VOLUME TEN (2017):</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">ARTEFACTS</span></i></b></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-32073734043695515492017-08-16T17:59:00.001-07:002017-08-20T14:20:48.503-07:00Diana Galarreta-Aima: "Women Playwrights"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Diana Galarreta-Aima</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://www.jmu.edu/" target="_blank">James Madison University</a><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Book
Review<o:p></o:p></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Feliciana
Enríquez de Guzmán, Ana Caro Mallén, and Sor Marcela de San Félix,<i> Women Playwrights of Early Modern Spain.</i>
<span style="background: white;">Edited by Nieves Romero-Díaz and
Lisa Vollendorf. Translated and annotated by Harley Erdman. The Other Voice in Early Modern Europe: The
Toronto Series, Vol. 49, </span></span></b><b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">ITER Academic Press & Arizona Center for
Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016), </span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span style="background: white;">272 + xii pp. ISBN: <a href="https://acmrs.org/publications/catalog/women-playrights-early-modern-spain" target="_blank">9780866985567</a></span></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">1> <span style="background: white;">By providing an English translation of the works of three
female playwrights of Golden Age Spain who lived and wrote between 1569 and
1687, <em>Women Playwrights of Early Modern Spain </em>seeks to revise the
canon of Spanish drama, bringing to light the importance of female writers in
seventeenth-century Spain’s changing society and theater. This book is part of
a larger project, the “Other Voice” in Early Modern Europe, which has brought
to light texts otherwise forgotten or overlooked. This first-ever English translation will be
of great interest to scholars and students of theater, gender, and conventual
life in Golden Age Spain.</span><i><o:p></o:p></i></span></div>
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<span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">2>
This collection is divided into a succinct introduction to early modern Spanish
theater (including a table of known women playwrights in Iberia and
Ibero-America from 1500 to 1750); a note on the translations that explains the
unique features of the Golden Age Spanish dramatic verse, and the reasons for
some translation liberties in word-selection and rhyme scheme; biographical
notes, select bibliography, plot summary and short analysis before each play;
and a final bibliography that includes editions of the works translated in the
volume.<o:p></o:p></span></div>
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<span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">3>
Nieves Romero-Diaz and Lisa Vollendorf explain that the playwrights featured in
their volume were chosen “for diversity of audience, genre and style they
represent” (1). Notably, the plays in this collection have never been
translated into English or any other language, which is an important goal of
this text. The first work are the four interludes of the best-known two-part
play of</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">
Feliciana Enríquez de Guzmán<span style="background: white;">, <i>Tragicomedy of the Sheban Gardens and Fields</i>.
The decision of selecting a minor genre, the Spanish <i>comedia</i>’s interlude, by the first female playwright to write for
the Spanish public stage, is not a coincidence: it introduces readers to a
minor but important genre of Spanish theater, and also gives a glimpse into a
female writer’s incursion into the more playful side of theater. The second
work is</span> Ana Caro Mallén<span style="background: white;">’s <i>Count Partinupl</i></span><i>é<span style="background: white;">s</span></i><span style="background: white;"> that features a strong female character,
Rosaura, who challenges gender norms, devising a complex scheme to choose her
own husband. The last works were written by one of Lope de Vega’s daughter (the
most important playwright of Golden Age Spanish theater), </span>Sor Marcela de
San Félix<span style="background: white;">. Her work represents the
female literary talent found within the convent walls in early modern Spain.<o:p></o:p></span></span></div>
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<span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">4>
One common element of the plays in this collection is their deviation from the
traditional <i>comedia</i> as outlined by
Lope in <i>El arte nuevo de hacer comedias
en este tiempo</i> (The New Art of Writing <i>Comedias</i>
in These Times). </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Enríquez
de Guzmán<span style="background: white;">’s bawdy comic interludes
mirror the main play’s plot and characters in a parodic way. Contemporary
audiences often only read and/or see the <i>comedia</i>’s
main text, but in the seventeenth century, going to the theater was considered
a full-day activity that included loud music, dances, and <i>entremeses</i> (short interludes). The interludes from this collection,
therefore, offer readers a glimpse into a more accurate experience of the most
popular form of entertainment in early modern Spain. Ana Caro is a well-known
female writer, but <i>Count Partinupl</i></span><i>é<span style="background: white;">s</span></i><span style="background: white;"> is not her most popular work. However,
this <i>comedia</i> represents the
improvements in stagecraft that European theater experienced during this time. Finally,
the four <i>loas</i> and the <i>coloquio</i> by Sor Marcela gives readers
insight into this nun’s great literary skills, and, because of the many
specific references to its original context, they shed light into conventual life
and drama.<o:p></o:p></span></span></div>
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<span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">5>
This collection’s introduction emphasizes the changing role of women in Spanish
theater and society. Despite the uniqueness in styles and themes, all of the
female playwrights’ works had to deal with issues of gender and decorum in a
Catholic society concerned by the concept of masculinity and sex. The
introduction places writing by early modern Spanish women within the broader
context of cultural and economic changes in the society. Since the expected
audience for this collection is a reader familiar with English Renaissance
drama, the introduction draws connections between, for instance, the Spanish
public theaters, the <i>corral de comedias</i>,
and English public theaters like London’s Globe. In addition to a panoramic
view of Golden Age Spanish theater, the introduction highlights the role of
women as writers and consumers in a time when Spain was experiencing great
changes in its economy and urbanization. The shifting rules that regulated
theater was a sign of the anxiety provoked by gender and masculinity’s unstable
conventions in the time when the playwrights of this collection lived.<o:p></o:p></span></div>
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<span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">6>
The introduction and the footnotes create a good balanced background for, on
the one hand, readers who are not familiar with early modern Spanish drama and,
on the other hand, readers who are well-versed but might not be familiar with
the female writers of this time. For more advanced readers, the footnotes
provide information for a deeper independent study in topics such as female
friendship, changing roles of women in early modern European societies, gender issues,
Spanish conventual life, and Spanish nation-building processes.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">7> Harley Erdman’s translation
work is outstanding. His translation respects the originality and uniqueness of
the Spanish dramatic verse and forms without making the plays sound antiquated
or domesticated. The footnotes that accompany the plays make important
clarifications about word selection and verse shift, and explanations about jokes
or other allusions that get lost in translation.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">8> <span style="background: white;">In summary, <i>Women
Playwrights of Early Modern Spain </i>enhances substantially our understanding
of women’s role in early modern Spanish history and theater, and, therefore, complicates
the relationship between the canon and non-canonical writers.<span class="apple-converted-space"> The overview of different sites of theater
and </span></span>performance (<span style="background: white;">cape</span> <span style="background: white;">and</span> <span style="background: white;">sword</span> <span style="background: white;">drama<em> </em><em><span style="font-style: normal; mso-bidi-font-style: italic;">at the </span>corrales</em><span class="apple-converted-space">, auto sacramental performances at the palace, and convent
plays) in the introduction contextualize the ten works from this collection
that encompasses distinctive styles and themes. This new monograph, although
directed to English-speaking audiences, can be used in any introductory class
for graduate students interested in broadening the canon to include other
voices of Early Modern European literature. My only criticism is the brevity of
the biographical notes and play analysis. This short length represents, however,
how little we know about these women and their work, and the important work
scholars have to do to unearth their literary voices.<o:p></o:p></span></span></span></div>
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<span class="apple-converted-space"><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">_____</span></span><span class="apple-converted-space"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></span></div>
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<b><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">Diana Galarreta-Aima</span></b><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">, PhD,
is Spanish Assistant Professor Coordinator of the minor in Medical Spanish, and
Faculty advisor of the JMU MEDLIFE chapter at James Madison University.<o:p></o:p></span></div>
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<span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">_____<o:p></o:p></span></div>
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<b><i><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">APPOSITIONS:</span></i></b><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;"><br />
<b><i>Literature and Culture</i>,</b><o:p></o:p></span></div>
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<span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,</b><br />
<b>ISSN: 1946-1992,</b><o:p></o:p></span></div>
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<b><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">Volume Ten (2017): <i>Artefacts</i></span></b><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span class="apple-converted-space"><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">_____<o:p></o:p></span></span></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-10039946392358503152017-08-16T17:58:00.001-07:002017-08-20T14:22:04.983-07:00Lyn Bennett: "Trapnel’s Report and Plea"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Lyn Bennett<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="https://www.dal.ca/" target="_blank">Dalhousie University</a><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Book Review</span></b><b><span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
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<b><span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Anna
Trapnel, <i>Anna Trapnel’s Report and Plea;
or, A Narrative of Her Journey from London into Cornwall. </i>Edited by Hilary Hinds.
</span></b><span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><b><a href="https://acmrs.org/publications/other/other-voice-early-modern-europe-toronto-series" target="_blank">The Other Voice in Early Modern Europe: The Toronto Series</a></b><b>, Vol. 50, </b><b><a href="http://www.itergateway.org/book_series" target="_blank">ITER</a></b><b> (Toronto, 2016) and
</b><b><a href="https://acmrs.org/publications/other/other-voice-early-modern-europe-toronto-series" target="_blank">Arizona Center for Medieval and Renaissance Studies</a></b><b> (Tempe AZ, 2016), 155 +
xvi pp. ISBN: </b><b><a href="https://acmrs.org/publications/catalog/anna-trapnels-report-and-plea-or-narrative-her-journey-london-cornwal" target="_blank">9780866985581</a></b><b><o:p></o:p></b></span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">1> In her introduction
to Anna Trapnel’s <i>Report and Plea</i>,
Hilary Hinds reminds us that Trapnel’s writing lay long dormant “until recent
scholarship rekindled a sense of the fascination and importance of her life and
work.” First published in 1654, Trapnel’s account of her itinerant preaching
through Cornwall and subsequent trial and imprisonment at Bridewell was, Hinds
notes, only one among “six texts authored by her to be published in six years” that,
taken together, suggest something of the extent of “public interest” in the
author and her work (28).<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">2> Perhaps
best known for her very public twelve-day trance at Whitehall and the resulting
prophecies recorded by an unnamed “relator” and published as <i>The Cry of a Stone</i> in 1654, Trapnel was
a Fifth Monarchy Baptist whose voice was enabled by conditions of publication
dramatically altered over the course of two Civil Wars as well as the singular religious
and political context in which she spoke and wrote. In broad and fine strokes,
Hind’s generous introduction sketches a world very much turned upside down, the
King displaced by the oft-despised Oliver Cromwell, the New Army General and
Lord Protector Trapnel challenged in speech and in print, and a once-united
religion split into a dizzying array of factions and sects. Those factions, as
Hinds explains, included those that divided Baptists who may have been united
in common rejection of infant baptism but were split into Calvinist believers
in predestination (those Particular Baptists that included Trapnel) and
Arminian heretics who upheld the possibility of personal redemption. In this
and other ways, Hinds’ admittedly brief but wide-ranging account of “the
turmoil generated by the unprecedented and fast-moving events” (5) gathers a
perfect storm of Interregnum conditions that signalled for the Fifth
Monarchists an imminent Second Coming and afforded Trapnel a prophetic place
near its center.<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">3> Unlike the
mediated <i>The Cry of a Stone</i>, which
was in 2000 <a href="https://acmrs.org/publications/catalog/anna-trapnel-cry-stone-1654" target="_blank">published in a modern edition also by Hinds</a>, the <i>Report
and Plea </i>is a first-person narrative recounted by Trapnel herself; like the
earlier work, however, Trapnel’s account of her journey and trial stands out
also as the product of a prophet whose role transcended that of “religious
polemicist, political commentator, or biblical exegete” (10). In the earlier
prophecies, Trapnel speaks not in slavish imitation of the Scripture on which <i>The Cry of a Stone</i> heavily draws, but in
highly rhetorical and imaginative re-visioning of its most cryptic Book of
Revelations. Hinds likewise notes an equally “striking” use of “linguistic
resources” evident not only in the <i>Report
and Plea</i>’s abundance of biblical imagery but, fittingly enough for the
self-proclaimed daughter of a shipwright hailing from Stepney Parish east of
London, also in the frequent invocation of “nautical metaphor to flesh out a
spiritual point.” Reading the later narrative as more than an historical
artifact of personal biography and “religious life” (12), Hinds does well to
underscore its interest as a literary text.<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">4> It is not only
in Scripture’s “sweet unfoldings” (99) or in Christ’s “bowels of compassion”
(97) that Trapnel’s authorial voice proves lively and inventive. Including accounts
of what she observed as she walked “in a curious garden” (55) and elsewhere
outdoors, what she experienced in her arrest and transportation back to London,
and what she suffered from the dreadful sickness that befell her during her imprisonment
at Bridewell, Trapnel’s narrative does much to convey the richness of lived
experience. That she sometimes recounts details as small as what she ate, from
the fasting “draught of small beer or cider” and the occasional “little piece
of toast” (100) that appear also in <i>The
Cry of a Stone</i>, to the “piece of pie” (105) she brought from Plymouth and
consumed on the way to Portsmouth, further attests to her attentiveness as a
storyteller. Transforming the literal into the figurative in describing, for
example, the fragility of “partridge eggs of the largest kind” transported by
an accompanying Lieutenant and bound as a gift to Cromwell (105), and later
invoking those “eggs that are subject to rot or to break before they come to be
large partridges” as antithetical to the grace conferred upon the elect by the
“great Jehovah” and “his son Christ” (108), she also reveals more than a
modicum of poetic sensibility and argumentative sense. Finding and using the
available mean of persuasion in fashioning a script uniquely her own, Trapnel
recognizes possibility in the tool she uses; like every cognizant rhetor, however,
she is also aware of its “dangerous ambiguity” and the corollary necessity
that, as Hinds puts it, language – like those fragile eggs – is “always to be
handled with care” (26-27).<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">5> Suggesting
something of the knowledge yet to be gleaned from an already-fascinating text, Hinds’
introduction is complemented by extensive explanatory notes offering scriptural
cross-references and detailed explanations of legal proceedings as well as
information about the people Trapnel encountered and the places she traveled. Including
some relevant contemporary texts, the appended bibliography also provides
references to secondary works whose number is necessarily limited by a body of scholarship
that, Hinds explains, is of “such quantity now that it is no longer possible to
do full justice to all who have contributed to it” (31). Indeed, Hinds’ edition
of <i>The Cry of a Stone </i>has surely done
much to encourage interest in Trapnel’s long-overlooked corpus, and her work on
the <i>Report and Plea</i> will likely prove
even more timely and relevant to an audience of diverse interests. The volume
would serve well as an assigned text for upper-level undergraduate and graduate
students of literature, history, gender, politics, religion, and women’s studies,
and will be a welcome addition to the libraries of established scholars. As
with the other titles so far included in <i>The
Toronto Series</i>, Anna Trapnel’s <i>Report
and Plea</i> is a high-quality volume certain to endure intellectually,
academically, and materially.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Associate
Professor at Dalhousie University, <b>Lyn
Bennett</b> teaches classes in rhetoric, writing, and early modern literature.
She has recently published in the <i>Journal of Medical Humanities</i>,
and her monograph, <i>Rhetoric, Medicine, and the Woman Writer, 1600-1700</i>,
is forthcoming with Cambridge University Press. She is currently working on a
grant-funded collaborative project titled Early Modern Maritime Recipes.<o:p></o:p></span></div>
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<div align="center" class="MsoNormalCxSpFirst" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />
<b><i>Literature and Culture</i>,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<a href="http://appositions.blogspot.com/"><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://appositions.blogspot.com/</span></b></a><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">,</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />
<b>ISSN: 1946-1992,</b></span><br />
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Volume
Ten (2017): <i>Artefacts</i></span></b></div>
</div>
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<span lang="EN-CA" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-18388594067369466582017-08-16T17:57:00.001-07:002017-08-22T10:24:12.178-07:00Susan Broomhall: "The Misfortunes of Love"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: "times new roman" , "serif"; font-size: medium; mso-ansi-language: EN-US; mso-bidi-font-style: italic;">Susan Broomhall<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium; mso-ansi-language: EN-US; mso-bidi-font-style: italic;"><a href="https://www.uwa.edu.au/" target="_blank">The University of Western Australia</a><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: medium; mso-ansi-language: EN-US; mso-bidi-font-style: italic;">Book Review<o:p></o:p></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: medium; mso-ansi-language: EN-US; mso-bidi-font-style: italic;">Claudine-Alexandrine Guérin de Tencin,<i> Memoirs
of the Count of Comminge </i>and<i> The Misfortunes of Love</i>.<i> </i>Edited
and translated by Jonathan D. Walsh. The Other Voice in Early Modern Europe: The
Toronto Series, Vol. 48, ITER Academic Press & Arizona Center for Medieval
and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016), 147 + xiv
pp. ISBN: <a href="https://acmrs.org/publications/catalog/claudine-alexandrine-guerin-de-tencin-memoirs-count-comminge-and-misfortunes" target="_blank">9780866985543</a><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium; mso-ansi-language: EN-US;">1> This volume brings together two of Claudine-Alexandrine de Tencin’s prose
works, the <i>Memoirs of the Count of Comminge</i> (1735) and her last novel, <i>The
Misfortunes of Love </i>(1747). Both were published anonymously during the
lifetime of their author, a remarkable interlocutor within the social and
political scene in Paris whose tumultuous and passionate life surely inspired
some of the reflections on particularly female feeling forms, modes of
affective expression, and opportunities for emotional experience with which
these two works are fundamentally engaged.<o:p></o:p></span></div>
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<span style="font-size: medium;"><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US; mso-bidi-font-style: italic;">2> </span><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US;">Strong
passions underpin the <i>Memoirs,</i> which
narrate the ill-fated love of cousins, Adélaïde de Lussan and the Comte, whose
father has sworn eternal hatred for his brother, and whose perspective and
feelings the reader follows through various unlikely scenarios of the <i>roman d’aventure</i>. The love that binds
these protagonists is felt and expressed primarily as suffering. Its experience
is not found in the joy of marriage but in commitment to a particular form of torment
and grief that drives decisions to choose other partners and retreat to remote environments
such as the monastery. It is an agony for and of love, for example, that sees
Adélaïde chose to watch in silence (while disguised as a fellow monk) over the
anguished Comte rather than reveal herself as the lover that he believes he has
lost to the grave.<o:p></o:p></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium; mso-ansi-language: EN-US;">3> <i>The
Misfortunes of Love</i>, as the title indicates, works over a similar theme but
through the viewpoints of three women, in a sophisticated framework of
interwoven voices and connected experiences. Although distinguished by their
class, the wealthy heiress Pauline, the nun Eugénie and the jailer’s daughter,
Hippolyte, nonetheless share stories of the betrayal, loss, forgiveness and
friendships forged by destructive love and acceptance of marital duty. Forceful
passion can be disastrous, Tencin’s work suggests, but love can also be
indulged, perhaps even enjoyed, as suffering, and directed into binding commitments
in the form of deep and fulfilling companionship.<o:p></o:p></span></div>
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<span style="font-size: medium;"><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US; mso-bidi-font-style: italic;">4> </span><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US;">Tencin published
at least one other novel, <i>Le Siège de
Calais</i>, and is considered the possible author of several other contemporary
works (although Walsh does not explore these suggestions in his Introduction). Read
together, the particular two novels that he has chosen to translate in this
edition form logical counterparts and offer valuable counterpoints. Neither are
set in the contemporary world of Tencin, yet both explore challenges for, and
cults of, emotional expression of both men and women very much of her time.<o:p></o:p></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium; mso-ansi-language: EN-US;">5> One might, therefore, expect pointed commentary
on contemporary social and moral strictures of love for men and women from this
leading <i>salonnière</i>. However, neither
historical nor socio-political contexts matter much to these texts, in which
focus and action is thoroughly contained to the experience of a feeling self.
Its narrative is not the implausible plot but the trajectory of how love can be
experienced within a particular feeling self, as an evolving intellectual and
bodily practice of pleasure and pain, even pleasure in pain, and in relation to
decisions and actions that love, in its various forms, motivates. Where Tencin
does offer innovation, certainly, is in depicting an emotional and affective
journey that is accessible to any feeling self, male or female, and of any
class: these are indeed ‘other voices’ in the literature of her time.<o:p></o:p></span></div>
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<span style="font-size: medium;"><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US; mso-bidi-font-style: italic;">6> </span><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US;">These are
texts that draw readers into an imagined and felt community of empathy—readers,
much like the friends and allies within the stories, are people who are
uniquely sensible to feel with the protagonists. Both this readerly pact of
sensibility and the works’ exploration of sentiment evidently captured the mood
of the reading public through the Ancien Regime and into the early nineteenth
century. Abbé Prevost claimed that the <i>Memoirs</i>
would be read by ‘everyone with taste’ in his review in <i>Le Pour et contre</i> (vol. 7, 1735, p. 292), even if he was less
convinced by the ‘bizarre conclusion’ and strength of feeling (or ‘passion’)
between the lovers. Popular with the fashionable set, the works were widely
translated and even adapted into theatre pieces at the end of the eighteenth
century.<o:p></o:p></span></span></div>
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<span style="font-size: medium;"><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US; mso-bidi-font-style: italic;">7> </span><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US;">Walsh
highlights the generic conventions in which Tencin’s works can be located, the ‘cult of
suffering’ in which they participate, and her protagonists’ spaces for feeling,
including the monastery and wilderness, which anticipate the gothic. He
situates Tencin’s work primarily within contemporary emotional practices of
literary men, most notably Prevost (about whose <i>Cleveland</i> Walsh is currently preparing a study for publication). In
doing so, he perhaps misses an opportunity to articulate thoroughly what the
female author working within a tradition of the historical novel that was then
dominated by women, might bring to that conversation. The Introduction offers
most to those who are already aware of the conventions and contributions of
that literature. In that sense, readers who come to the works for the first
time here may struggle with the scholarly apparatus that surrounds the
translations. The preface that precedes Walsh’s Introduction, by leading Tencin
editor and scholar Michel Delon (translated here by Walsh), proceeds even more
so than the Introduction from assumptions of readers’ deep familiarity with the
works.<o:p></o:p></span></span></div>
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<span style="font-size: medium;"><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US; mso-bidi-font-style: italic;">8> </span><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US;">At a
first reading, then, one might be persuaded of Prevost’s opinion, that these
works are well written, albeit somewhat ‘sterile’, pieces in the French
classical style (he intended the <i>Memoirs</i>).
However, a deep appreciation of Tencin’s complex exploration of the misfortunes
of love, misfortunes capable of both pleasure and pain, is the reward of repeated,
careful engagement with these works. Walsh’s translations and commentary enable
Tencin’s voice to be heard in a growing scholarly conversation about gender,
genre and emotions in literary culture and reader experience.<o:p></o:p></span></span></div>
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<span style="font-size: medium;"><b><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US;">Professor
Susan Broomhall</span></b><span style="font-family: "times new roman" , "serif"; mso-ansi-language: EN-US;"> is an Australian Research Council Future Fellow at
The University of Western Australia and was a Foundation Chief Investigator in
the Australian Research Council Centre of Excellence for the History of
Emotions. She is author of various studies of women’s writings, emotions and
experiences in early modern Europe, particularly France. She is currently
working on a monograph on emotions and power in the correspondence of Catherine
de Medici.<o:p></o:p></span></span></div>
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<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />
<b><i>Literature and Culture</i>,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,</b><br />
<b>ISSN: 1946-1992,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Volume
Ten (2017): <i>Artefacts</i></span></b></div>
</div>
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<span lang="EN-AU" style="font-family: "times new roman" , "serif"; font-size: medium;">_____<o:p></o:p></span></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-91786734142445117882017-08-16T17:55:00.001-07:002017-08-21T17:14:32.803-07:00Elisabeth C. Davis: "Mother Juana de la Cruz"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Elisabeth C. Davis</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://www.buffalo.edu/" target="_blank">University at Buffalo</a><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Book Review<o:p></o:p></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Mother Juana de la Cruz, <i>Visionary Sermons (1481-1534)</i>. Edited by
Jessica A. Boon and Ronald E. Surtz. Translated by Ronald E. Surtz and
Nora Weinerth. The Other Voice in Early Modern Europe: The Toronto Series, Vol.
47, ITER Academic Press & Arizona Center for Medieval and Renaissance
Studies (Toronto, Canada & Tempe, Arizona, 2016), 243 pp. ISBN:
<a href="https://acmrs.org/publications/catalog/mother-juana-de-la-cruz-1481-1534-visionary-sermons" target="_blank">9780866985499</a><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">1> In the past thirty or so years,
the historiography on women’s religiosity in the medieval and early modern periods
has come into its own. Beginning with Caroline Walker Bynum’s landmark texts on
women, their bodies, and religion, historians have teased out the various ways
religious women interpreted their beliefs and acted within Catholic society. These
texts not only include intriguing historical theses by the monoliths of
history, including Natalie Davis and Barbara Diefendorf, but also exquisite
primary source collections. It is into the latter group that Jessica Boon’s and
Ronald E. Surtz’s <i>Mother Juana de la
Cruz, 1481-1534, Visionary Sermons </i>enters.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">2> I will not deny that when I pick
up a collection of primary sources, I long to read to the sources first, rather
than the introduction. While I value the time it has taken the editors to
compile a collection, I want the cake, as it were, rather than just the icing. Yet,
Jessica Boon’s introduction to de la Cruz’s sermons justifies the wait. Her
introduction is beautifully written and diligently researched by someone who
obviously has a passion for the topic.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">3> Part of my deep admiration for
this collection comes from the Boon’s emphasis on expanding the timeline of
medieval visionary literature. While Boon admirably describes the literature of
“Spanish Renaissance,” she explicitly writes that her and Surtz’s goal is to
“expand the canon of medieval vision literature…to include these Renaissance
Castillian visionary sermons” (8). This elongated timeline of visionary literature
challenges the more traditional timelines in the historiography of medieval and
Renaissance Europe that have strict cut off dates, with the Renaissance
beginning in 1450. Boon’s and Surtz’s desire to place de la Cruz’s work in
conversation with medieval literature forces scholars to look beyond the
arbitrary dates that divide the different periods in history, literature, and
religion to the longer trends that unite them.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">4> Boon and Surtz also challenge
historians to focus on larger geographical connections within these two periods.
Spanish history tends to be isolated within the larger fields of medieval and
early modern studies. Students of history, literature, and religion are more
likely to take a general course on the medieval or early modern periods that
focuses on France, Italy, and England, rather than including Spain within these
narratives. By placing de la Cruzs’s work within the interlocking circles of
the Spanish Renaissance and medieval and Renaissance literature, the editors of
this collection call upon professional scholars to widen their horizons to
include Spain within a broader European mindset, rather than leaving it to its
own devices.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">5> Historiographical implications
aside, one of the most profound aspects of Boon’s introduction is her analysis
of the sermons themselves. Boon’s introduction rightly situates de la Cruz’s
sermons as straddling Bernard McGinnis’s <i>Foundations
of Mysticism</i> and Bynum’s classic works. By using McGinnis to analyze de la
Cruz, Boon reminders the reader of how the public would have responded to the sermons.
As she notes, these sermons would have been spoken aloud, intended for a larger
audience rather than only the literate. Indeed, she suggests that de la Cruz
meant her sermons to inspire visionary or mystic experiences within each of her
audience members. Despite this stimulating suggestion, Boon does not continue with
her line of thought, placing it at the end of her introduction, rather than
centering her introduction on it. She leaves her readers wondering how de la
Cruz intended the performance of the sermons and whether the performance aspect
of the visionary sermons was a part of a larger trend in Renaissance Spain.</span><br />
<span style="font-family: "times new roman" , serif; font-size: 12pt;"><br /></span>
<span style="font-family: "times new roman" , serif; font-size: 12pt;">6> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">The meat of Boon’s introduction
emphasizes what we might call the gender bending of de la Cruz’s sermons. Like
Bynum’s older works, Boon analyzes how de la Cruz played with the gender
binary, drawing from both feminine and masculine imagery in her attempts not
only to connect her readers with the divine but also to understand it herself. Given
that it has been nearly thirty years since Bynum first proposed these ideas, it
is rather unsurprising for a scholar to illustrate medieval mystics defying
traditional gender pairings. Boon’s analysis may be uninspiring but it is well
done, with Boon fleshing out specific details within her larger arguments. Moreover,
given her desire to bring de la Cruz into a medieval visionary dialogue, it is
justifiable that she would draw upon the Bynum for inspiration.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">7> Apart from Boon’s thoughtful
introduction, I was struck by the beauty and sophistication of Ronald E. Surtz’s
and Nora Weinerth’s translation work. It is difficult to do a basic
translation, let alone one in a historical dialect. Yet Surtz and Weinerth have
managed to maintain the lyrical, poetic quality of de la Cruz’s sermons. When
putting these sermons in the context of Boon’s emphasis on their performance
quality, the reader gains a sense of why they appealed to early modern
audiences. Not only is Surtz’s and Weinerth’s translation remarkable, but the
annotations within the sermons are commendable. These comments, which provide
Biblical verses and explain imagery, are particular time savers for students,
or even professionals, studying the sermons within a limited amount of time.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">8> Despite my continuing praise for
this collection, I would have liked more on the structure of the collection,
particularly why the editors organized the sermons the way they did. Boon and
Surtz outline each individual sermon in its introduction, giving readers, an
overview of the upcoming text. Yet, they do not explain the collected order of
the sermons themselves. Does this order reflect the original publication? Is it
different? If so, why? There is always some symbolism behind the structure of a
collected edition. In this case, that symbolism is a secret that the editors hold
close.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">9> In all, <i>Mother Juana de la Cruz, 1481-1534, Visionary Sermons </i>is an excellent
addition to the library of any scholar of the medieval or early modern
historian period. It is also a valuable edition for those who wish to teach an
introductory course on these two periods; women in the pre-modern world; or
medieval/early modern Christianity. Like de la Cruz’s work, it is has enough
layers of meanings to appeal not only to upper division undergraduates but also
to professional scholars.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Elisabeth C. Davis</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> is a doctoral
candidate in the history department at the University at Buffalo. Her work
focuses on the role of the nuns in society. Her research ranges from
Merovingian queen saints in medieval France, to nuns in the seventeenth century
Europe, to the Ursulines in colonial Quebec. She is currently working on her
dissertation, which analyzes nuns in nineteenth century America.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____</span><br />
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<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />
<b><i>Literature and Culture</i>,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,</b><br />
<b>ISSN: 1946-1992,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Volume
Ten (2017): <i>Artefacts</i></span></b><span style="font-family: "times new roman" , serif; font-size: 12pt; text-align: left;"> </span></div>
</div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____</span></div>
</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-10803573192666980242017-08-16T17:54:00.000-07:002017-08-20T15:48:07.985-07:00Jeanette Fregulia: "Letters to Her Sons"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Jeanette
M. Fregulia<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="https://www.carroll.edu/" target="_blank">Carroll College</a><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Book
Review<o:p></o:p></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Alessandra Macinghi Strozzi,<i> Letters to Her Sons
(1447-1470)</i></span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">.
Edited by Judith Bryce. The Other Voice in Early Modern Europe: The Toronto
Series, Vol. 46, ITER Academic Press & Arizona Center for Medieval and
Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016), 294 + xvi pp.
ISBN: <a href="https://acmrs.org/publications/catalog/alessandra-macinghi-strozzi-letters-her-sons-1447-1470" target="_blank">9780866985482</a><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">1>
With this first complete English translation of the seventy-three letters
penned by Alessandra Strozzi (c. 1406-1471), editor and translator Judith Bryce
provides more than just a much-anticipated contribution to the study of women’s
writing in the early modern era. With this collection, Bryce also opens a
window into the daily lives of women. Alessandra Strozzi, a widow from the
city’s mercantile patriciate, may be considered exceptional. To be sure, she
grew up in a prosperous family. More importantly, she received an education
that made possible her membership in a small but diverse group of female
writers in early modernity that included Margherita Datini (1360-1423), who
left behind over two hundred letters to her husband, the famed merchant
Francesco Datini, as well as a contemporary of Alessandra, Lucrezia Tournabuoni
(1427-1482). That she was literate also meant that Alessandra could write for
herself all that she wished to convey about her life in Florence to her sons,
living far away in cities such as Barcelona, Bruges, and Naples. A careful
reading of Alessandra’s correspondence, offered with clarity, precision, and
heart, also opens a window into the personal world of women who could not write
for themselves, or whose writings have since been lost to time, making Bryce’s
work not just a contribution to the study of women’s literary practices but
also to the history of women more generally, giving a voice to the shared
fears, joys, and trails that filled their daily lives. Perhaps the best example
of this is Alessandra’s reply to the news that her youngest son, Matteo, had
died while living with his brothers Filippo and Lorenzo in Naples. Writing of
“the sorrow and anguish I felt on the death of my sweet young son,” (85) a
death that would grieve Alessandra for the rest of her life.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">2>
Married while still in her teens to Matteo Strozzi, son of one of Florence’s
leading mercantile families, Alessandra’s time as a wife would prove short,
only thirteen years, ending in sadness. The first challenge came in 1434, when
her husband Matteo was exiled to Pesaro, a town along Italy’s Adriatic coast,
by Cosimo de’ Medici (1389-1464), founder of the Medici political dynasty. A
short time after her husband’s departure from Florence, Alessandra took the couple’s
seven children and joined him in exile. Less than a year after their arrival, a
bout of plague struck Pesaro, taking the lives of her husband and three of
their children, leaving Alessandra, who was again pregnant, a widow. Following
this loss of her husband, Alessandra and her surviving children returned to
Florence. Without a father, Alessandra looked to her late husband’s cousins to
help her two surviving oldest sons, Filippo and Lorenzo, make their fortunes.
The brothers would be joined later, much to Alessandra’s dismay, by their
youngest brother, Matteo, the child with who Alessandra was pregnant at the
time of her husband’s death (11).<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">3>
Making an important contribution to the series, The Other Voice in Early Modern
Europe, this translation of Alessandra Strozzi’s personal correspondence
invites a broad readership of students and scholars, from those seeking a
deeper understanding of the epistolary practices of women in fifteenth century
Italy, to anyone curious about familial relations, particularly between mother
and sons, as there is no surviving evidence of Alessandra ever having written
to her daughters. This does not necessarily mean that Alessandra was not close
to her daughters Caterina and Alessandra, as indeed it is likely that she was. Not
only did both girls live in Florence after their marriages, but it was their
mother who played an important role in ensuring that her daughters married
within their family’s social network. News of the marriage of eldest is the
very first letter of Alessandra’s letters, dated 24 August 1447, in which she
writes to her son Filippo, then living in Naples that “our Caterina” was wed to
Marco Parenti, a “well-to-do” silk merchant (29). This is not the only mention
of the daughters, and suggests not only Alessandra’s presence in their lives
but also her wish that her sons be kept informed about the lives of their
sisters. Throughout the letters, readers will also find evidence of the trials
of widowhood and the sadness of a mother whose sons live far away, information
about the social, economic, and political world of fifteenth century Italy,
including the relaying of important news, such as the death of Cosimo de’
Medici, a part of Letter 36 in September 1464, and the arrival of yet another
recurrence of the plague in March 1463, (see letter 28).<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">4>
Far more than just a series of letters, Judith Bryce embraces the challenges of
translation, and while her own work is based primarily on the original 1877
Italian publication of the letters edited by Cesare Guasti (still available
both online and in print), Bryce brings her own fresh new translation of a
woman speaking for herself, as the majority of the letters she wrote herself.
The best examples of Alessandra’s voice include notes on illness, in which she
despairs also of “really getting old,” (letter 2, 34), to her ongoing quest to
find a suitable wife for her eldest son Filippo, who seems in no hurry to
leaved bachelorhood behind, as evidenced in Letter 52. In this letter,
Alessandra extols merits, and perhaps for the sake of honesty also hints at the
less desirable qualities, of Caterina Tanagli, described by Alessandra as
“attractive and has a good figure” While Alessandra continues that Caterina’s
“face is not one of those very beautiful ones (it) isn’t out of keeping with
the rest of her; and she’ll turn out beautiful” (177). This same letter reveals
more than just Alessandra’s desire to see her son married, it also suggests
that there was more to consider in a match than dowry, although Caterina’s
reported one-thousand florin dowry hardly made her a pauper. Alessandra seems
to be equally concerned with the prospective bride’s appearance, illustrating
that during the Renaissance marriage was not, necessarily, exclusively about
economic, political, and/or social gain.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">5>
In addition to arranging marriages, mourning death, and passing along
information about the happenings in the city of Florence, Alessandra’s letters
reveal that she managed some her own financial matters, including contemplating
selling some land she owned to afford the tax on it (80). In this same letter,
number 16, we find in Alessandra more than just a doting mother, but also one
capable of chastising. Indeed, she begins this letter of 27 July 1459 to
Filippo in Naples with her dismay that he had not replied to her previous
letter “as quickly as I would have liked” (80).<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">6>
For all that Alessandra Strozzi was out of the ordinary in terms of her
abilities to read, write, and likely to complete simple math, she was also very
much a woman of fifteenth century Florence who looked mostly to her sons, and
at times her son-in-law, Marco Parenti, married to her daughter Caterina for
assistance with financial and family matters. Tempting as it might be to
dismiss Alessandra’s important for feminist scholarship, specifically because
she wrote exclusively to her sons, this would unfortunate. When thinking about
Alessandra’s place in history, it is important to keep in mind that neither
women nor men can be understood outside of the historic context in which they lived.
Despite some legal rights, including most importantly remittance of their dowry
upon widowhood, women did not have the same standing as men under the law. This
does not mean, however, that women such as Alessandra were powerless. As the
letters reveal, she arranged marriages for her daughters, and eventually her
two surviving sons, and she assisted some of the business transactions of
Filippo and Lorenzo as they were not in Florence. Thus, readers of her
correspondence should be mindful of the need to keep in mind the limitations
that Alessandra’s fifteenth century world placed upon her, and the gendered
perspectives that would have informed her writing.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">7>
On one final note, I would call attention to the extensive notes that Bryce
provides with each letter. These can be helpful in understanding the larger
context, or gaining additional information, without interfering with the
letters themselves. Students and scholars will find within the letters great
insights into the lives of women, familial relations, and complexities of life
in fifteenth century Florence. Bryce must be commended for making Alessandra
and her world accessible to those who do not read Italian, allowing Alessandra
Strozzi to be heard on her own terms.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<b><o:p></o:p></b></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Jeanette M. Fregulia</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> is Associate Professor of History at Carroll College in Helena,
Montana. She holds an MA in Middle East Studies from the University of London
and a PhD in Renaissance History from the University of Nevada, Reno. Her
research interests center on women, commerce, and trade in early modern Italy
and the Mediterranean.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____</span><br />
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<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
<b><i>Literature and Culture</i>,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,</b><br />
<b>ISSN: 1946-1992,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Volume
Ten (2017): <i>Artefacts</i></span></b></div>
</div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
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</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-43059467313719178792017-08-16T17:51:00.001-07:002017-08-22T10:12:39.069-07:00Kelly Peebles: "From the Queen of Navarre"<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Kelly D. Peebles<o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><a href="http://www.clemson.edu/" target="_blank">Clemson University</a><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Book Review<o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b>Jeanne d’Albret<i>, Letters from the Queen of Navarre with an
Ample Declaration.</i> Edited and
translated by Kathleen M. Llewellyn, Emily E. Thompson, and Colette H. Winn.
</b><b>The Other Voice in Early Modern Europe: The Toronto Series,
Vol. 43, ITER Academic Press & Arizona Center for Medieval and Renaissance
Studies (Toronto, Canada & Tempe, Arizona, 2016), 116 pp. ISBN: <a href="https://acmrs.org/publications/catalog/jeanne-dalbret-letters-queen-navarre-ample-declaration" target="_blank">9780866985451</a></b><b><o:p></o:p></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">“Among
an infinite number of examples of suffering, humiliation, and dishonor that
they inflicted on [my husband], I will recount one here, which, if it were
fiction would need a poet to depict it well, and if it were of little
consequence, would need an orator to color it. But the naked truth of this
tragicomedy provides its own ornament.”<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">—Jeanne d’Albret, <i>Ample
Declaration </i>(53)<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">1>
Writing six years after the death of her husband, Antoine de Bourbon, Jeanne
d’Albret seeks to rehabilitate his memory and her reputation by exposing the
pernicious machinations of her chief nemeses at the French court, François de
Guise and his brother, the Cardinal de Lorraine.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[1]</span><!--[endif]--></span> In
her <i>Ample Declaration, </i>a collection
of letters followed by an explanation of their content first printed in 1569,
the author sets up a premise of truthfulness. In addition to the declaration
above, Jeanne frequently peppers her text with affirmations of its veracity: “I
truly know,” “you have witnessed,” “I [...] explain in my letters,” “you can
see from this,” “everyone knows,” “there I pointed out,” “as God is my
witness,” (43, 50, 51, 53, 57, 69). There are many such examples.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">2>
A decade earlier, Jeanne had been instrumental in the posthumous printing of a book
written by her mother, Marguerite de Navarre (20). In the prologue to the <i>Heptaméron</i>, Marguerite’s collection of
tales first printed in 1558, the author sets up a specific set of rules that
each of ten storytellers will follow: the tales will be truthful, based solely
on eyewitness testimony or heard from a trustworthy source, and they will be
devoid of “rhetorical ornament,” so as to avoid bending the truth. By telling
“the unadulterated truth,” each storyteller illustrates a life lesson, many of
which focus on religious, political, and familial devotion, often critiquing social
practices or exposing corruption in the church.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[2]</span><!--[endif]--></span> While
Jeanne publicly declared her Calvinist faith in December of 1560, Marguerite
never formally broke with the Catholic church. However, she played an essential
role in promoting early church reform in France and in protecting those fleeing
religious persecution, including John Calvin.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[3]</span><!--[endif]--></span><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">3>
Although the <i>Ample Declaration </i>is a
very different type of work from her mother’s writings, Jeanne also sets out to
demonstrate her devotion to God, to the French king, and to her family lineage,
three preoccupations of which she reminds the reader nearly as often as her
truthfulness. To that end, Jeanne exposes corruption at the French court, plots
that rendered difficult her devotion and harmed (or threatened to harm) the
objects thereof. Thus, the works of mother and daughter have much in common
despite their differences. As Kathleen Llewellyn, Emily Thompson, and Colette
Winn convincingly point out in their introduction, Jeanne relies both on
epistolary diplomacy to pacify and to make requests of her interlocutors (the
king, the queen mother, the king’s brother, her brother-in-law, and the queen
of England), and on literary conventions associated with the still-popular
genre of the novella. While she eschews all poetic and rhetorical ornament, her
manner of narrating intercalated stories and reproducing the atmosphere of oral
storytelling is an effective strategy for “dramatizing events and structuring
them into narrative modules.” What this does is provide a “mnemonic evocation
of specific historical moments” (21). In other words, Jeanne manipulates the familiar
story-telling and organizational practices of the novella (practices used in
her mother’s <i>Heptaméron</i>) in order to
ease her readers into understanding the events leading up to 1568 and persuade
them to accept her decision to leave Navarre for the Protestant stronghold of
La Rochelle.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">4>
This was a complicated situation. But just as Jeanne guides her reader through
events in her <i>Ample Declaration</i>, so
do the editors guide us through the historical context in their highly
approachable, ample introduction of 35 pages. Approximately half of that space is
devoted to situating Jeanne's work within of the years leading up to the Third
War of Religion (1568-1570). At the time, the heads of the most prominent noble
families were pitted one against another as they jockeyed for power and sought
to realize their religious and political ambitions. Charles IX of the reigning Valois
family sought to stabilize his reign and pacify factions. Jeanne’s husband Antoine
sought to regain lost territory and ensure the place of his son (the future
Henri IV) at court. Because of this, his religious faith turned in the
direction of the political winds, or as Jeanne puts it, “he embrac[ed] the
ephemeral at the expense of the everlasting” (51). The staunch Catholic François
de Guise, whose niece, Mary, Queen of Scots, was the widow of the recently
deceased François II, fiercely protected his favored position and influence at
the French court and, according to Jeanne, plotted to assassinate her husband
and his Bourbon brothers. But the wives, mothers, and daughters of these men
also played central roles in the religious, political, and literary life at
court: Catherine de’ Medici (mother of Charles IX and regent), Anne d’Este
(wife of François de Guise and daughter of the Protestant-leaning Renée de
France), and Catherine de Bourbon (daughter of Antoine and Jeanne), to name but
a few.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">5>
The great interest of Jeanne’s <i>Ample
Declaration</i>, which the editors carefully highlight, is the insight that it
gives us into just what types of roles these women played. Indeed, as is the
goal of this series, this volume highlights an “other voice,” one that has not
yet received the same scholarly attention as her male counterparts. However, Winn,
Llewellyn, and Thompson show us the relevance of Jeanne’s work for students and
scholars of a variety of disciplines. In addition to their discussion of how
Jeanne constructed her image via epistolary correspondence and organized and
presented that information using practices associated with the novella, which
will interest literary students and scholars, the editors also discuss the
influence of religious polemic and memoirs in the second half of their
introduction (14-35), which may pique the interest of historians. We learn, for
example, that just as Protestant polemic, the <i>Ample Declaration </i>“was designed to sway the emerging public opinion
and vilify Catholics while rehabilitating the image of Protestants” (27).
Memoirs serve a similar function, for at the time, “the memoirist aimed either
to bring to light certain truths by relating events personally witnessed or to
inform posterity of an injustice committed against the author.” As the editors
point out, “Jeanne writes with both objectives in mind” (31). And indeed, they
do an admirable job of discussing the polyvalent nature of Jeanne’s work and
suggesting ways to mine the text that are pertinent to various areas of
specialization.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">6>
The critical apparatus of this volume benefits greatly from each editor’s area
of scholarly expertise. My only quibble concerns treatment of both primary and
secondary sources in the bibliography. While the list of secondary sources is comprehensive,
spanning religious history and literature, additional references to French Calvinism
and the Wars of Religion would have been useful to the reader, such as, for
example, the work of historians Hugues Daussy and Raymond Mentzer. The editors
identify which edition of the letters and <i>Ample
Declaration</i> on which they base their translation (a 1570 compilation titled
<i>Histoire de nostre temps, contenant un
recueil des choses mémorables passées & publiées pour le faict de la
religion & estat de France depuis l’edict de la pacification du 23 Jour de
mars, jusqu’au present)</i>, but they do not identify which sixteenth-century
copies they were able to consult, nor do they indicate where to find other
sixteenth-century primary sources listed in the bibliography. As they note in
the introduction, one may find sixteenth-century primary sources on the USTC
(Universal Short Title Catalog), and while this is an extremely useful resource,
USTC entries do not always account for digitized source texts. This quibble is
admittedly minor, and it is important to point out that the critical apparatus of
this volume is far superior to that of the 2007 French-language edition.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[4]</span><!--[endif]--></span> In
this 2016 English-language edition, generous footnotes gloss important figures
and place names, explain complex political and administrative practices,
untangle family relationships, clarify chronological ambiguities, and point the
reader to relevant background reading. The translation itself is artfully done.
It reads fluidly and manages to capture the “feel” of the original French while
at the same time rearranging syntax or modernizing the vocabulary when
necessary to transfer the message effectively. Within the translation, the
editors indicate the pagination of their source text with square brackets, which
greatly facilitates comparison with the original French for those who are able
to access a copy of the 1570 edition. Following the translation are a brief
chronology of events spanning the period of 1559-1572, several genealogical
tables (Valois, Bourbon, and Guise families), and maps indicating Jeanne’s
territories at the time of her <i>Ample Declaration</i>.
Students, instructors, and scholars of sixteenth-century French history,
literature, culture, and gender studies will want to have a copy of this book on
their shelf.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Notes:</span></b></div>
<div>
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[1]</span><!--[endif]--></span> For a detailed study of their ambitions and machinations,
see Stuart Carroll, <i>Martyrs &
Murderers: The Guise Family and the Making of Europe</i> (Oxford: Oxford
University Press, 2009).<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn2">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[2]</span><!--[endif]--></span> Marguerite de Navarre, <i>The Heptameron</i>, trans. Paul Chilton
(London: Penguin, 2004), 68-70.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn3">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[3]</span><!--[endif]--></span> For further contextual information on Marguerite de Navarre
and her network, Jonathan Reid’s two-volume biography is an important resource.
<i>King’s Sister – Queen of Dissent:
Marguerite of Navarre (1492-1549) and her Evangelical Network</i> (Leiden:
Brill, 2009). Those considering adopting this volume in a course may also find inspiration
in <i>Approaches to Teaching Marguerite de
Navarre’s <u>Heptaméron</u></i>, ed. Colette Winn (New York: MLA, 2007).<o:p></o:p></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn4">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[4]</span><!--[endif]--></span> Bernard Berdou d’Aas, ed. <i>Jeanne d’Albret reine de Navarre et vicomtesse de Béarn. Lettres
suivies d’une </i>Ample Déclaration (Biarritz: Atlantica, 2007).<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">_____<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<div class="MsoEndnoteText">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b>Kelly
D. Peebles </b>is
Associate Professor of French at Clemson University. She is the editor and
translator of Jeanne Flore’s <i>Tales and Trials of Love</i>, vol. 33 of The
Other Voice in Early Modern Europe (CRRS / Iter, 2014), and has articles
forthcoming in the <i>Journal of Medical Humanities </i>and <i>Women
in French</i>.</span><o:p></o:p></div>
</div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpFirst" style="margin-bottom: 10.0pt; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b><i>APPOSITIONS:</i></b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b><i>Studies
in Renaissance / Early Modern</i></b><br />
<b><i>Literature and Culture</i>,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,</b><br />
<b>ISSN: 1946-1992,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="line-height: normal; text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b>Volume
Ten (2017): <i>Artefacts</i></b><o:p></o:p></span></div>
<div class="MsoNormalCxSpFirst" style="margin-bottom: 10.0pt; mso-add-space: auto;">
</div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">_____</span></div>
</div>
</div>
</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-32127383476580285292017-08-16T17:49:00.001-07:002017-08-22T12:45:31.783-07:00Carole Slade: "Letters of a Spanish Nun"<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Carole Slade<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://www.columbia.edu/" target="_blank">Columbia University</a><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Book Review<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">María Vela y Cueto,<i> Autobiography
and Letters of a Spanish Nun</i>. Edited by Susan Diane Laningham. Translated by
Jane Tar. The Other Voice in Early
Modern Europe: The Toronto Series, Vol. 51, ITER Academic Press & Arizona
Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe,
Arizona, 2016), </span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">192 + xiv pp. ISBN: <a href="https://acmrs.org/publications/catalog/mar%C3%ADa-vela-y-cueto-autobiography-and-letters-spanish-nun" target="_blank">9780866985598</a><o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">1> The selected writings of María
Vela y Cueto (1561-1617) presented in <i>Autobiography
and Letters of a Spanish Nun</i> make a valuable addition to the growing chorus
of women visionaries and mystics from sixteenth-century Spain: Mother Juana de
la Cruz (1481-1534), Mother Ana of San Bartolomé (1549-1626), and Cecilia del
Nacimiento (1570-1647), all recently published in The Other Voice in Early
Modern Europe series, as well as the already widely translated St. Teresa of
Avila (1515-82). Although their texts have many conventions and topoi in
common, the opportunity to read them in concert allows appreciation of the commonalities
as well as important distinctions among them.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">2> Susan Diane Laningham, editor
of this volume, provides a substantive introduction that includes a brief
biography of Vela and a survey of the historical moment and religious culture
that fostered women’s writing of spiritual autobiographies and other genres drawn from their spiritual experiences. Laningham’s copious footnotes plunge
deeply and judiciously into secondary literature. Auxiliary materials include a
chronology, two brief excerpts from an early hagiography of Vela, and eleven letters,
most of them written by Vela to the older of her brothers, a friar in a Cistercian
monastery. An index that comprehends primary and secondary materials helps the
reader to follow her complicated spiritual journey. </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">To readers who
want additional detail or analysis of Vela’s life and writings I recommend two
excellent articles by Laningham, listed in the bibliography.</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">3> This volume includes the full
text of Vela’s autobiography, clearly and meticulously translated by Jane Tar, and
amply annotated. The only previous English translation of Vela’s autobiography,
published as <i>The Third Mystic of Avila</i>
by Frances Parkinson Keyes in 1960 (out-of-print), does not include the
complete text. Tar worked from the 1961 edition by Olegario González Hernández,
who drew together the three extant versions: the autograph manuscript and two
copies, one probably made soon after her death and the other certified by the
bishop of Avila in 1744. Laningham’s and Tar’s version includes the chapter
divisions and summaries added in 1744. A look at Vela’s Spanish confirms their
assertion that her prose is more coherent and correct than St. Teresa’s. I
would add that Teresa’s prose is generally more metaphorical and emotional.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">4> In 1576, aged fifteen, Vela
entered the Cistercian convent of Santa Ana in Avila, which had had close connections
with royalty and aristocracy since its foundation in 1320. Vela’s family ranked
just below the high nobility: many of her family members held important offices
in the church, court, and colonies. By comparison with most women of the time,
Vela was highly cultivated, though not formally educated. She played the organ,
knew Latin relatively well, and read widely in Spanish devotional literature. Vela
initially wanted to remain in the world, as her mother did, even after the
death of husband and despite her notable piety. Vela remained undecided until her
mother received a sign that Christ did not want her, but rather her daughter, for
His own. Both of Vela’s sisters and her paternal aunt also joined the convent. When
they moved into Santa Ana, they would have expected to retain some privileges
of nobility, including the title of Doña.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">5> In the introduction Laningham suggests
some contexts for understanding Vela’s notoriously bizarre reactions to spiritual
experience and her troublesome resistance to convent rule. Those women who entered
convents for lack of alternatives or with familial pressure often could not
adjust easily to an ascetic, communal life and permanent separation from their
families. The pressure for evidence of piety caused some, women in particular, to
adopt diets and to self-administer bodily mortifications that weakened their physical
and mental health. </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">In
a deeply misogynistic age, the Church </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">considered
women particularly susceptible to deception and seduction by the devil; as a
result they often suspected demonic instigation of the very mystical favors
they encouraged and rewarded.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">6> Vela represents an instance of Caroline Walker
Bynum’s finding in <i>Holy Feast, Holy Fast:
T</i></span><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">he Religious Significance of Food to Medieval
Women</span></i><span style="font-family: "times new roman" , serif; font-size: 12pt;"> (1982) that religious women’s food practices,
whether eating or fasting, referred to the Eucharist. When Vela could not take
communion as often as she wished, her jaws would lock closed, preventing her
from eating, drinking, or speaking. The convent engaged a dentist to pry Vela’s
jaw apart, but when he could not make an opening except by pulling teeth, he declined
to inflict such pain. In addition to lockjaw, somatic manifestations of her spiritual
conflicts included fevers, seizures, fainting spells, levitations, and falls. For
more than twenty years such maladies defied the attempts of abbesses, confessors,
physicians, and an exorcist to relieve her suffering or control her conduct.</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">7> Like many of the women mystics
of her time, Vela came under scrutiny of the Inquisition. In 1603, twenty-seven
years after Vela had entered Santa Ana, several of her sister nuns made
complaints about her behavior to the Inquisition, which then designated Father
Juan de Alarcón, prior of a Cistercian monastery in Avila, to question her. Deeply
affected by Vela’s suffering and finally convinced of her sincerity, Alarcón certified
her sanity and piety. He later wrote her a consolatory letter, included in this
volume. Few if any disruptive nuns would have received a written personal response
from an investigator for the Inquisition: it seems likely that Vela’s
aristocratic background and family connections contributed to his sympathy.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">8> Vela began seeing her final
confessor, Father Miguel González Vaquero, secretly, not because he had questionable
credentials but because she had already run through so many confessors. One confessor gave up on her after two months,
another after two weeks, and another took just fifteen minutes to decide
against directing her. Vaquero ordered her to write a general confession
(this spiritual autobiography) in 1607. In 1608 she completed the first part,
chapters 1 through about two-thirds of chapter 9, the point identified in a
footnote. In 1610, Vela added material that seems motivated by a fresh
determination to portray herself as a saint. Near the end of Chapter 9, she interpolates
a new section, a dialogue between God and Vaquero interspersed with divine
locutions addressed to her. Including Vaquero in her conversations with God
elevates him also into the mystical arena. In Chapter 10 Vela tells of
receiving the kind of privileged knowledge that often served to provide
evidence of sainthood: mysteries such as the Trinity, the Incarnation, the
Crucifixion, and divine grace. In an epilogue added three years before her
death, Vela quotes a divine avowal of her eternal destiny as a Bride of Christ.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">9> When Vela died, in 1617, Vaquero
placed the manuscript of her spiritual autobiography in her coffin, thus effectively
silencing her voice until her body was exhumed in 1623 and the Santa Ana nuns
rescued her text. In 1618, drawing on her autobiography as well as earlier
pieces called the <i>Mercies</i> [<i>Mercedes</i>] Vaquero published a 500-page
hagiography, <i>The Strong Woman</i> [<i>La muger fuerte</i>]. In 1619 the bishop of
Avila initiated beatification proceedings for Vela, but her case was never
considered in Rome. According to Laningham, nuns currently at Santa Ana believe
that the paperwork was lost en route and they remain hopeful that eventually she
will be canonized.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">10> Laningham and Tar have done
English-speaking readers the favor of opening linguistic doors to Vela’s
fascinating, important texts and enlarging the station of women in the religious
culture of Golden Age Spain.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<h1>
<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">Carole Slade</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"> <span style="font-weight: normal;">has taught in the Department of English and
Comparative Literature and directed several academic programs at Columbia
University. She has written numerous articles on St. Teresa of Avila as well as
<i>St. Teresa of Avila: Author of a Heroic Life</i> (California,
1995).</span><o:p></o:p></span></h1>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />
<b><i>Literature and Culture</i>,</b><o:p></o:p></span></div>
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<a href="http://appositions.blogspot.com/"><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://appositions.blogspot.com/</span></b></a><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">,</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />
<b>ISSN: 1946-1992,</b><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Volume
Ten (2017): <i>Artefacts</i></span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-89162566423505257662017-08-16T17:46:00.000-07:002017-09-07T15:33:52.325-07:00VOLUME TEN (2017): ARTEFACTS<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Literature & Culture</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/" style="color: #cc6633;">http://appositions.blogspot.com/</a></span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">ISSN: 1946-1992</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">VOLUME TEN (2017):</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">ARTEFACTS</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><br /></span></b>
<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">ARTICLES:<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Jason Gleckman, </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">The Chinese University of Hong Kong<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/jason-gleckman-puritan-assurance.html" style="color: #cc6633;" target="_blank">Malvolio and Puritan Assurance</a></span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Sara Morrison, </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">William Jewell College</span><br />
<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/sara-morrison-relic-making.html" style="color: #cc6633;" target="_blank">A “pleasing sacrifice”: Relic-Making in John Donne’s Lyric Poetry</a></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Jennifer van Alstyne,<b> </b>University of Louisiana at Lafayette</span><br />
<span style="color: #cc6633; font-family: "times" , "times new roman" , serif; font-size: medium;"><a href="http://appositions.blogspot.com/2017/08/jennifer-van-alstyne-wives-and-daughters.html" style="color: #cc6633; font-family: times, "times new roman", serif;" target="_blank">Wives and Daughters: Social Acceptance and Agency in Chapman, Jonson, and Marston’s <i>Eastward Ho</i></a></span><br />
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><br /></span></b></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">REVIEWS:<o:p></o:p></span></b></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Diana Galarreta-Aima,</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> James Madison University, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/diana-galarreta-aima-women-playwrights.html" style="color: #cc6633;" target="_blank">Feliciana Enríquez de Guzmán, Ana Caro Mallén, and Sor Marcela de San Félix, <i>Women Playwrights of Early Modern Spain</i>.</a> Edited by Nieves Romero-Díaz and Lisa Vollendorf. Translated and annotated by Harley Erdman. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Lyn Bennett, Dalhousie University, review of<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/lyn-bennett-anna-trapnels-report-and.html" style="color: #cc6633;" target="_blank">Anna Trapnel, <i>Anna Trapnel’s Report and Plea; or, A Narrative of Her Journey from London into Cornwall</i>.</a></span><span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12pt;">Edited by Hilary Hinds.</span><span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Susan Broomhall, University of Western Australia, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/susan-broomhall-misfortunes-of-love.html" style="color: #cc6633;" target="_blank">Claudine-Alexandrine Guérin de Tencin, <i>Memoirs of the Count of Comminge</i> and <i>The Misfortunes of Love</i>.</a><i> </i>Edited and translated by Jonathan D. Walsh. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Elisabeth C. Davis, University at Buffalo, review of</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="https://acmrs.org/publications/catalog/mother-juana-de-la-cruz-1481-1534-visionary-sermons" style="color: #cc6633;" target="_blank">Mother Juana de la Cruz, <i>Visionary Sermons (1481-1534)</i></a>. Edited by Jessica A. Boon and Ronald E. Surtz. Translated by Ronald E. Surtz and Nora Weinerth. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Jeanette M. Fregulia, Carroll College, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/jeanette-fregulia-letters-to-her-sons.html" style="color: #cc6633;" target="_blank">Alessandra Macinghi Strozzi, <i>Letters to Her Sons (1447-1470)</i>.</a> Edited and translated by Judith Bryce. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Kelly D. Peebles, Clemson University, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/kelly-peebles-letters-from-queen-of.html" style="color: #cc6633;" target="_blank">Jeanned’Albret, <i>Letters from the Queen of Navarre with an Ample Declaration</i>.</a> Edited and translated by Kathleen M. Llewellyn, Emily E. Thompson, and Colette H. Winn. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Carole Slade, Columbia University, review of<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/2017/08/carole-slade-letters-of-spanish-nun.html" style="color: #cc6633;" target="_blank">María Vela y Cueto, <i>Autobiography and Letters of a Spanish Nun</i>.</a> Edited by Susan Diane Laningham. Translated by Jane Tar. ITER Academic Press & Arizona Center for Medieval and Renaissance Studies (Toronto, Canada & Tempe, Arizona, 2016).<o:p></o:p></span><br />
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">Literature & Culture</span></i></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><a href="http://appositions.blogspot.com/" style="color: #cc6633;">http://appositions.blogspot.com/</a></span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">ISSN: 1946-1992</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12pt;">VOLUME TEN (2017):</span></b><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 12pt;">ARTEFACTS</span></i></b></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-45992347864646322232016-08-16T17:25:00.000-07:002016-08-19T12:21:58.522-07:00VOLUME NINE (2016): TEXTS & CONTEXTS<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Literature
& Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">ISSN:
1946-1992</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">VOLUME NINE (2016):<o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">TEXTS
& CONTEXTS<o:p></o:p></span></i></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">ARTICLES:<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">James J. Balakier, University of
South Dakota,<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2016/08/james-j-balakier-traherne-personality.html" target="_blank">Thomas Traherne and the Postrepresentational Personality:<o:p></o:p></a></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2016/08/james-j-balakier-traherne-personality.html" target="_blank">A New Theoretical Model</a><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Rebecca M. Quoss-Moore</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">, </span><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">University of Arkansas,</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2016/08/rebecca-m-quoss-moore-domestic-security.html" target="_blank">Domestic Economy and Domestic Security:<o:p></o:p></a></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2016/08/rebecca-m-quoss-moore-domestic-security.html" target="_blank">The English Housewife and her Nation</a><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Andie Silva, York College (CUNY),<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2016/08/andie-silva-mores-utopia-as-cultural.html" target="_blank">Counterfeit Letters and Fictional Trials:<o:p></o:p></a></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/2016/08/andie-silva-mores-utopia-as-cultural.html" target="_blank">Thomas More’s <i>Utopia </i>as Cultural Brand</a><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">REVIEWS:<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Joshua Brazee, University of
Wisconsin-Madison, review of <a href="http://appositions.blogspot.com/2016/08/joshua-brazee-other-renaissance.html" target="_blank">Rocco Rubini, <i>The Other Renaissance: Italian Humanism between Hegel and Heidegger</i></a>. The
University of Chicago Press (Chicago, 2014).<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Philip Gavitt, Saint Louis
University, review of <a href="http://appositions.blogspot.com/2016/08/philip-gavitt-roman-inquisition-on-stage.html" target="_blank">Thomas F. Mayer, <i>The Roman Inquisition on the Stage of Italy c. 1590-1640</i></a>. University of
Pennsylvania Press (Philadelphia, 2014).<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Elizabeth Mazzola, The City
College of New York, review of <a href="http://appositions.blogspot.com/2016/08/elizabeth-mazzola-educating-english.html" target="_blank">Frances Teague and Margaret J. M. Ezell, eds.; associate ed., Jessica Walker, <i>Educating English Daughters: Late Seventeenth-Century Debates. Bathsua Makin and Mary More with a reply to More by Robert Whitehall</i></a>. Volume 44 in The Other Voice
in Early Modern Europe: The Toronto Series. Volume 491 in the Medieval and
Renaissance Texts and Studies Series. Iter Academic Press (Toronto, 2016).<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Amy D. Stackhouse, Iona College, review
of <a href="http://appositions.blogspot.com/2016/08/amy-stackhouse-women-poetry-politics.html" target="_blank">Sarah C. E. Ross, <i>Women, Poetry, & Politics in Seventeenth-Century Britain</i></a>. Oxford University Press (Oxford,
2015).<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Sara van den Berg</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">, Saint Louis University, review of <a href="http://appositions.blogspot.com/2016/08/sara-j-van-den-berg-disknowledge.html" target="_blank">Katherine Eggert, <i>Disknowledge:</i>
</a><i><a href="http://appositions.blogspot.com/2016/08/sara-j-van-den-berg-disknowledge.html" target="_blank">Literature, Alchemy, and the End of Humanism in Renaissance England</a>. </i>University
of Pennsylvania Press (Philadelphia, 2015).<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Studies
in Renaissance / Early Modern</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Literature
& Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">ISSN:
1946-1992<o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">VOLUME
NINE (2016):<o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">TEXTS & CONTEXTS<o:p></o:p></span></i></b></div>
<br /></div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-28408904405927771952016-08-16T17:24:00.002-07:002016-08-19T12:23:52.157-07:00* * * ARTICLES * * *<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormalCxSpFirst">
<br />
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Literature & Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">ISSN: 1946-1992</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">VOLUME NINE (2016):<o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">TEXTS & CONTEXTS<o:p></o:p></span></i></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">ARTICLES:<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">James J. Balakier, University of South Dakota,<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/2016/08/james-j-balakier-traherne-personality.html" target="_blank">Thomas Traherne and the Postrepresentational Personality:<o:p></o:p></a></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/2016/08/james-j-balakier-traherne-personality.html" target="_blank">A New Theoretical Model</a><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12pt;">Rebecca M. Quoss-Moore</span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">, </span><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12pt;">University of Arkansas,</span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/2016/08/rebecca-m-quoss-moore-domestic-security.html" target="_blank">Domestic Economy and Domestic Security:<o:p></o:p></a></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/2016/08/rebecca-m-quoss-moore-domestic-security.html" target="_blank">The English Housewife and her Nation</a><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Andie Silva, York College (CUNY),<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/2016/08/andie-silva-mores-utopia-as-cultural.html" target="_blank">Counterfeit Letters and Fictional Trials:<o:p></o:p></a></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/2016/08/andie-silva-mores-utopia-as-cultural.html" target="_blank">Thomas More’s <i>Utopia </i>as Cultural Brand</a><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Literature & Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">ISSN: 1946-1992<o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">VOLUME NINE (2016):<o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">TEXTS & CONTEXTS<o:p></o:p></span></i></b><br />
<div>
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><br /></span></i></b></div>
</div>
</div>
</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-44831089422090363882016-08-16T17:22:00.001-07:002016-08-19T12:08:50.161-07:00James J. Balakier: "Traherne & Personality"<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b>James J.
Balakier</b><o:p></o:p></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><a href="http://www.usd.edu/" target="_blank">University of South Dakota</a><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Thomas Traherne
and the Postrepresentational Personality:<o:p></o:p></span></b></div>
<div class="MsoNoSpacingCxSpMiddle">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">A New
Theoretical Model</span></b></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">1> Since the discovery of his texts
beginning at the turn of the twentieth century, the seventeenth century
Anglican clergyman Thomas Traherne has been the subject of considerable interest.
His poetry and prose--in particular his “Dobell Poems,” named after Bertram Dobell
who first published them, and his </span><i style="font-size: large;">Centuries
of Meditations</i><span style="font-size: medium;">, also first published by Dobell--have been studied from a
variety of critical perspectives that have brought out salient religious,
philosophical, and artistic features of his writing. A book-length annotated
bibliography and a collection of essays on new directions in Traherne studies have
come out in recent years, and an eight volume edition of his complete works is
underway.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[1]</span></span><!--[endif]--></span><span style="font-size: medium;"> The
essential Traherne, however, has eluded readers. John R. Richards has described
him as an</span><i style="font-size: large;"> </i><span style="font-size: medium;">"enigmatic"
figure about whom there is no consensus.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[2]</span></span><!--[endif]--></span><span style="font-size: medium;">
Jonathan Sawday, moreover, has noted his " unreadability.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[3]</span></span><!--[endif]--></span><span style="font-size: medium;"> All
in all, while Carol Marks memorably found Traherne to be “radically
positive"</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[4]</span></span><!--[endif]--></span><span style="font-size: medium;">
(Marks and Guffey xxxviii), the grounds of that elation have tended to baffle
scholars.<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">2> Insight into the origins of Traherne’s extraordinary
optimism may be found in the picture of optimal adult growth painted by postconventional
personality theory, a fairly recent area of study “coming out of positive,
developmental, and humanistic psychology.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[5]</span></span><!--[endif]--></span><span style="font-size: medium;"> Interest
in advanced adult maturation was spurred by Abraham Maslow’s conception of
self-actualization in the 1950s, and by the work of the leading developmental
theorists Jean Piaget, Laurence Kohlberg, and Ken Wilbur. Empirical research on
“personal evolution,” as it is often called by researchers, has arisen only since
the 1990s as “postconventional personality development.”</span><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[6]</span></span><!--[endif]--></span><span style="font-size: medium;"> The
“postrepresentational” paradigm is an outgrowth of this field of inquiry. The
expanding body of theory and research associated with it has identified an
enhanced cognitive state, characterized by the experience of transcendence, as
the basis for maximum inner growth. This phenomenon parallels, it will be shown,
Traherne’s conception of Felicity, a fully awake state of consciousness that is
profoundly nourishing to the body and mind. Traherne endeavors to communicate this
state of blissful wholeness, arising from the experience of transcendence, from many angles and in a variety of genres. This
essay will first give an overview of key developments in postconventional/postrepresentational
psychology theory and then explore connections with Traherne’s writings on
Felicity.<o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">3> Central to contemporary development
theory is Loevinger’s nine stage model of ego development, dating to the 1970s.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[7]</span></span><!--[endif]--></span><span style="font-size: medium;"> It
was quantified by Loevinger’s Sentence Completion Test (SCT) which “translated
qualitative observations about personality into quantitative data.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[8]</span></span><!--[endif]--></span><span style="font-size: medium;"> Pfaffenberger
and Marko divide these stages into three tiers: </span><i style="font-size: large;">preconventional</i><span style="font-size: medium;">, </span><i style="font-size: large;">conventional</i><span style="font-size: medium;">, and </span><i style="font-size: large;">postconventional</i><span style="font-size: medium;">.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[9]</span></span><!--[endif]--></span><span style="font-size: medium;">
They caution that these stages have been renamed and renumbered over time by
researchers since they were first formulated by Loevinger.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[10]</span></span><!--[endif]--></span><span style="font-size: medium;"> These
stages, in their original form, are as follows:<o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b style="font-size: large;">Table 1.</b></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><b style="font-size: large;">Correspondence of Ego Development Models</b><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[11]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div align="center" class="MsoNoSpacingCxSpMiddle" style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<table border="1" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 0in 5.4pt 0in 5.4pt; mso-yfti-tbllook: 1184;">
<tbody>
<tr>
<td style="border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Tier<o:p></o:p></span></div>
</td>
<td style="border-left: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Stage<o:p></o:p></span></div>
</td>
<td style="border-left: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Hy and Loevinger<o:p></o:p></span></div>
<div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">1996<o:p></o:p></span></div>
</td>
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<tr style="height: 18.85pt; mso-yfti-irow: 1;">
<td style="border-top: none; border: solid windowtext 1.0pt; height: 18.85pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Preconventional<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 18.85pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">1<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; height: 18.85pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Symbiotic<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Preconventional<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">2<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Impulsive<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Preconventional<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">3<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Self-protective<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Conventional<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">4<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Conformist<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Conventional<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">5<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Self-aware<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Conventional<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">6<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Conscientious<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Postconventional<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">7<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Individualist<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Postconventional<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">8<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Autonomous<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Postconventional<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 54.9pt;" valign="top" width="73"><div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">9<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 104.7pt;" valign="top" width="140"><div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Integrated<o:p></o:p></span></div>
</td>
</tr>
</tbody></table>
<div class="MsoNoSpacingCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">4> The first three or preconventional stages--the
Symbiotic, Impulsive, and Self-protective--are normal in children, but abnormal
in adulthood. They are characterized by self-centered interests and an
inability to adopt another’s viewpoint. Stages four through six, the
conventional stages--Conformist, Self-aware, Conscientious--are typical of the great
majority of adults who adopt the norms/values of their social group, are outer-
directed, and see relationships and issues in black and white terms. The
postconventional stages--Individualist, Autonomous, Integrated--share a “more
inner-directed and more tolerant view of themselves and others.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[12]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">5> Cook-Greuter lists eight stages that
repeat those in the Loevinger model but adds a ninth “Construct Aware” stage,
in which the individual perceives how language conditions cultural reality, and
a tenth </span><i style="font-size: large;">Unitive</i><span style="font-size: medium;"> stage in which an
openness to so-called peak or transpersonal experiences is naturally sustained.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[13]</span></span><!--[endif]--></span><span style="font-size: medium;"> As
Pfaffenberger and Marko clarify, individuals at this unitive level of evolution
in Cook-Greuter’s model “are now able to make use of transpersonal experiences
free from ego clinging.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[14]</span></span><!--[endif]--></span><span style="font-size: medium;"> Yet
measuring the stage to which a subject belongs has proved challenging. Pfaffenberger
in fact notes “that currently no accurate, well-validated instrument for
assessment of higher development is available, nor does it appear likely that
such an instrument can be found any time soon.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[15]</span></span><!--[endif]--></span><span style="font-size: medium;"> She
still sees the SCT as the best choice for ascertaining an individual’s
development for now, “despite its limitations.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[16]</span></span><!--[endif]--></span><span style="font-size: medium;"> However,
Cook-Greuter suggests that “A combination of personality tests, self-assessment [...] as well as physiological and other measures are needed to ascertain
whether an individual operates from a stage of consciousness beyond the
personal realm.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[17]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">6> Such an integrated approach has been used
by Travis and Brown to profile a “postrepresentational stage”--an advanced
stage of development that differs from all the previous ones, including Cook-Greuter’s
unitive stage. These previously identified stages all share a sense of selfhood
that begins when a child first speaks, giving rise to “the representational,
discursive, personal, or mental self [which] is born out of the sense-dominated
body-self.”</span><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[18]</span></span><!--[endif]--></span><span style="color: red; font-size: medium;"> </span><span style="font-size: medium;">The postrepresentational stage subsequently engenders experiences
that are the ground for a transformed identity that is independent of
socio-psychological representation as well as the “body-self.” In “My
Brian Made Me Do It: Brain Maturation and Levels of Self-Development,” Travis
and Brown report on two studies that combine analysis of brain patterns
along with psychological tests, the SCT, and interviews to identify a
postrepresentational state. These studies add to the extensive body of research
on practitioners of an easily learned, widely researched meditation technique that
naturally opens the mind to the continuum of self awareness that underlies the
waking, dreaming and sleep states.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[19]</span></span><!--[endif]--></span><span style="font-size: medium;">
This fourth “pure” state of “self-referral” or “transcendental” awareness is, Travis
and Brown argue, the silent basis of “postrepresentational” experiences.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[20]</span></span><!--[endif]--></span><span style="font-size: medium;"> Their
work adds to research by Travis,
Trecce, Arenander and Wallace published in 2002</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black; font-size: x-small; line-height: 200%;">[21]</span></span><!--[endif]--></span><span style="font-size: medium;">
on individuals reporting stabilized nighttime experiences of this fourth
state. Travis and Brown compared electroencephalographic (EEG), muscle tone,
and eye movement readings for nine subjects experiencing pure awareness while
in sleep with nine other short term meditating and 13 non-meditating control
subjects.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[22]</span></span><!--[endif]--></span><span style="font-size: medium;">
Notably these subjects, though sleeping soundly, exhibited brainwave patterns
indicative of a state of restful alertness. The following account of such an
experience of inner wakefulness while asleep is typical:<o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">“When I fall asleep, there are first
layers of the body settling down and then I notice when the body is asleep and
then I would just watch lots of dreams come and go or just fatigue leaving the
body, and then afterward, 5-6 hours, the body wakes up again in gradual layers
and being aware of the other side. I feel the covers. I hear the birds […].”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black; font-size: x-small; line-height: 200%;">[23]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">7> The subject describes silently witnessing</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[24]</span></span><!--[endif]--></span><span style="font-size: medium;">
the process of falling to sleep and waking up in “layers,” along with watching
the rise and fall of dreams. This unique type of experience has been designated
as a fifth state of consciousness in which experiences of a higher Self (in
contrast to a lower self which is outer oriented) have become a permanent
backdrop upon which waking, dreaming and deep sleep occur.<o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">8> Travis and Brown’s findings confirm a model proposed by Alexander,
Heaton and Chandler in 1994 which assigned developmental stages to preverbal/pre-representational,
representational (“including ego stages up to Loevinger’s Integrated, Stage 9”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black; font-size: x-small; line-height: 200%;">[25]</span></span><!--[endif]--></span><span style="font-size: medium;">)
and post-representational tiers. As Dennis
Heaton notes, the final stage of this model “comprises higher states of
consciousness in which self identity is not mediated by symbolic thought but
grounded in awareness of transcendental Being.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black; font-size: x-small; line-height: 200%;">[26]</span></span><!--[endif]--></span><span style="font-size: medium;">
Heaton elaborates on “the role of transcendence in cultivating
development”</span><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[27]</span></span><!--[endif]--></span><span style="font-size: medium;">
of advanced states, as brought out by Travis and Brown and others:<o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">“These
higher states of consciousness have been identified as a postrepresentational
range of development, in which the Self knows itself as pure consciousness,
rather than a conceptually created identity. Systematic cultivation of
experiences that transcend thought promote development to the
postrepresentational range.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[28]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">9> Heaton in fact notes that in “a
longitudinal study of TM pracitioners, an unprecedented 38% of the 34
experiment subjects scored at or beyond Loevinger’s Autonomous level, Stage 8.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[29]</span></span><!--[endif]--></span><span style="font-size: medium;"> Maslow’s
description of self-actualization can thus be seen now in relation to “a stable
stage in which the transcendental Self is awake to its own nature, which is
distinct from the contents and </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">activities of the mind.”</span><span style="font-size: x-small;"><span class="MsoEndnoteReference" style="font-family: "times" , "times new roman" , serif;"><span class="MsoEndnoteReference"><span style="line-height: 200%;">[30]</span></span></span><span style="font-family: "times" , "times new roman" , serif;">
</span></span><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Heaton also identifies as a spontaneous condition of this transcendental Self a
universally applicable empathy. A feeling of intimacy with everyone and
everything is identifiable as “an end point” of this development.</span><span class="MsoEndnoteReference" style="font-family: "times" , "times new roman" , serif;"><span style="color: black; mso-themecolor: text1;"><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[31]</span></span></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">10> A number of important points emerge from
this research. The process of transcending, firstly, is linked to the
development of the advanced states of consciousness that define the postrepresentational
personality. Secondly, as Travis and Brown conclude,<o:p></o:p></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">“Higher
states may not be in a hierarchical sequence that requires the last stage of
ego development before higher states can emerge. Rather, experiences of and
transformation to higher states could begin even when one is at conventional
stages.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[32]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">11> In short, “ego development and growth of
higher states may be parallel processes rather than part of single hierarchical
sequence” as assumed by Cook-</span><span style="color: #00b0f0; font-size: medium;"> </span><span style="font-size: medium;">Greuter. Thirdly,
research confirms that the postrepresentational Self is not bounded by roles,
values, or ideas. This advanced stage of personality development, which is
characterized by a deep sense of wellbeing, further exhibits a great openness to
and appreciation of life as a whole resulting in sense of unity with all
things.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[33]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">12> These postrepresentational psychological
traits are relevant to the Traherne “enigma.” Relating to the first point, in his poetry, prose meditations, ethical
handbook (<i>Christian Ethicks</i>), commentaries
(<i>Commentaries of Heaven</i>), and other
works, Traherne consistently and brilliantly maintains that the mind has the
natural ability, if not blocked, to transcend and experience Felicity, a
blissful state of inner wholeness. Moreover he contends that the highest states
of human existence may be glimpsed by children, contrary to the view that they
only emerge with ego development. Rather they can occur independently of any
developmental hierarchy. Lastly, love is portrayed throughout his canon as a nourishing,
transcendent force that engenders the ultimate sense of connectedness.<o:p></o:p></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacingCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">13> To highlight the vital role of the first
of the above points that define the postrepresentational model, Traherne’s conception
of personal development is grounded in the experience of transcendence. It is
crucial, in his view, to the whole process of self-unfoldment.<a href="https://www.blogger.com/null" name="here"></a>
He describes, for example, a recurrent experience of transcendence in </span><i style="font-size: large;">Select Meditations</i><span style="font-size: medium;">, a manuscript
discovered in 1964 but not published until 1997,</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[34]</span></span><!--[endif]--></span><i style="font-size: large;"> </i><span style="font-size: medium;">where he writes "When I retire first
I seem to Com in my selfe to a Centre, in that Centre I find Eternitie and all
its Riches" (</span><i style="font-size: large;">Select Meditations</i><span style="font-size: medium;"> 1.
81).</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[35]</span></span><!--[endif]--></span><span style="font-size: medium;"> Naturally
withdrawing into himself, free from the binding power of the senses, he
experiences the deepest level of consciousness, which transcends time and is
the source of all true non-material wealth. He declares, moreover, in the </span><i style="font-size: large;">Centuries</i><span style="font-size: medium;">, that "[...] Infinity we
know and feel by our Souls: and feel it so Naturaly, as if it were the very
Essence and Being of the Soul" (</span><i style="font-size: large;">Centuries</i><span style="font-size: medium;">
2.81). Once again he refers to transcending limits and directly feeling infinity,
stressing that it is a natural phenomenon. Similarly in another passage from </span><i style="font-size: large;">Select Meditations</i><span style="font-size: medium;"> he states that the
mind, reduced to its most essential or “naked” condition, would see<o:p></o:p></span></span></div>
<div class="MsoNoSpacingCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpFirst" style="margin-left: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">“Infinite space […] within it. And being all sight it would
Feel it selfe as it were running Parrallel with it. And that truly in an
Endless Manner, becaus it could not be conscious of any Limits: nor feel it
Selfe Present in one Centre more then another.” (3.27)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">14> The self in its
pure nature, he relates, is as vast as infinite space and not restricted to any
one finite point. In another passage in <i>Select
Meditations</i> he uses a mathematical image to convey his sense of the fully opened
mind’s greatness: “Infinity being present in the Soul of man Causeth the
Extreame[s] of an Infinit Line to be there togeather. both to Lye hid in the Same
centre. And at once to be Seen in the Inward mind” (4.5). Reading like a Zen
paradox, Traherne’s assertion that the mind holds the potential to encompass
the full extent of a line stretching infinitely in both directions is engaging.
Elsewhere in <i>Select Meditations</i> he
likens the mind to a "Rasa Tabula" or blank tablet that is actually
"a concealed Centre of [God's] Eternal Being" (4.2).<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">15> His favorite
image for transcendence, however, is the unbounded sphere whose center is
everywhere. In the penultimate stanza of “My Spirit,” his most comprehensive
poem, he describes at length such an "Extended Orb of Joy" which he discovered
within himself:<span style="color: red;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;">
“A Strange Extended Orb of Joy,
<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Proceeding from within, <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;">
Which did on evry side convey <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;">
It self, and being nigh of Kin <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> To God did ever Way<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Dilate it self even in an Instant, and <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Like
an Indivisible Center Stand <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> At
once Surrounding all Eternitie. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Twas not a Sphere <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Yet did appear <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> One
infinit. Twas somwhat evry where. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> And tho it had a Power to see <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Far more, yet still it shind <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> And was a Mind <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Exerted, for it saw Infinitie <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Twas not a Sphere, but twas a Power <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Invisible, and yet a Bower.” (91‑108)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">16> This expansive
orb with an “Indivisible Center” represents the full power of "a Mind/
Exerted." It is transcendent dynamism, invisibly dilating everywhere and
surrounding everything, and yet a “Bower” or place of retirement. The unifying
power of this “spirit” or deep consciousness is delineated in the following
stanza:<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> “It Acts not from a Centre to <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Its Object as remote,<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> But present is, when it doth view, <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Being with the Being it doth note. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Whatever it doth do, <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> It
doth not by another Engine work, <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> But
by it self; which in the Act doth lurk. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Its
Essence is Transformed into a true <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> And perfect Act. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> And so Exact <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Hath
God appeared in this Mysterious Fact, <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> That tis all Ey, all Act, all Sight, <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> And what it pleas can be, <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Not only see, <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;">
Or do; for tis more Voluble then Light: <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Which can put on ten thousand Forms, <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; letter-spacing: -0.15pt;"> Being clothd with what it self adorns.” (20‑36)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">17> The state of
transcendence as depicted here is totally self-referral, independent of
anything external to itself; it is as “Voluble” or rapidly moving and fluent as
light, and present everywhere in an instant; and it is, in its essential
nature, pure “act” or potentiality and not at all flat and static.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">18> His </span><i style="font-size: large;">Inducements to Retiredness</i><span style="font-size: medium;">,</span><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="line-height: 200%;"><span style="font-size: x-small;">[36]</span><span style="font-size: medium;"> </span></span></span><a href="file:///C:/Users/scott.howard/Desktop/Writing/Edited%20Collections/Appositions/Volume%20Nine/WIP/YES/Articles/Balakier/JB%20Proof.docx#_edn36" name="_ednref36" style="font-size: large;" title=""><!--[endif]--></a></span><span style="font-size: medium;">discovered
in 1997 by Jeremy Maul at the Lambeth Palace Library in a manuscript containing
in all four new Traherne texts,</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[37]</span></span><!--[endif]--></span><span style="font-size: medium;"> indeed
makes the case for a retired life on the basis of transcending space and time: "Retirement
is [...] Necessary to him, that Studieth Happiness [because] Infinity and
Eternity are only to bee seen by the Inward Ey" (1: 5). It is "the
field of Mens true Enlargement," and the way in which a man achieves the
state "[wherin he may] never be bounded" (1: 19). This view is summed
up in the sublime paradox that "We then are Doing the Greatest things when
we seem Doing Nothing" (1: 12).<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">19> One of the most
telling transcendental references in Traherne’s poetry and prose</span><span style="font-size: x-small;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[38]</span></span><!--[endif]--></span> </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">appears
in an autobiographical passage in Century III in which he describes a
transformative vision of the source of goodness and beauty:<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">“This Spectacle once seen, will never be forgotten. It is a
Great Part of the Beatifick Vision. A Sight of Happiness is Happiness. It
transforms the Soul and makes it Heavenly, it powerfully calls us to Communion
with God, and weans us from the Customs of this World. It puts a Lustre upon
GOD and all his Creatures and makes us to see them in a Divine and Eternal
Light. I no sooner discerned this but I was (as Plato saith, In summâ Rationis
Arce Quies habitat) seated in a Throne of Repose and Perfect Rest. All Things
were well in their Proper Places, I alone was out of frame and had need to be
Mended.” (3.60)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">20> This
transcendent vision, which is grounded in “Perfect Rest” and
psycho-physiological orderliness, produces super-abundant happiness.</span><span class="MsoCommentReference" style="font-size: medium;"> </span><span style="font-size: medium;">Traherne thus identifies
the process of transcending as the means to "A Temple more Heavenly then
Heaven is [...]" (</span><i style="font-size: large;">Select Meditations</i><span style="font-size: medium;">
4.6). As he makes clear here and in the </span><i style="font-size: large;">Commentaries</i><span style="font-size: medium;">,</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[39]</span></span><!--[endif]--></span><span style="font-size: medium;"> “Heaven
surely is a State and not a Place" ("[All Things]" 2: 414). His
works abound with references to this heavenly happiness. In the prefatory poem “The
Author to the Critical Peruser” he announces:<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"> </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">“At that we aim; to th' end thy
Soul might see<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> With open Eys thy Great <i>Felicity</i>,
<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Its Objects view, and trace the
glorious Way <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Wherby thou may'st thy Highest Bliss
enjoy.” (7‑10)<span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">21> This
poem introduces Felicity, his preferred word for this unfathomable experience. Speaking
again as one who has discovered this deeply hidden happiness, he begins the <i>Centuries </i>by telling his reader, the
person who presented him with the blank book as pure and clean as an “Infant[’]s
Soul,” that he will fill it with "Things that have been Kept Secret from
the foundation of the World," echoing Matthew 13.35. In a series of poems
he then inventories the amazing power of thoughts as “Engines of Felicitie” (“Thoughts
I” 7).<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"> </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">“O ye <i>Conceptions </i>of Delight!<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Ye that <i>inform </i>my Soul with Life and Sight!<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Ye Representatives, and Springs<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Of inward Pleasure!<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Ye Joys!
Ye Ends of Outward Treasure!<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Ye Inward, and ye Living things!<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> The Thought, or Joy Conceived is<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> The inward Fabrick of my Standing
Bliss.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> It
is the Substance of my Mind<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Transformd, and with its Objects lind.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> The Quintessence, Elixar, Spirit,
Cream.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Tis Strange that Things unseen
should be Supreme.” (54-65)<span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">22> The cognitive
experience poetically documented in this irregular stanza poem is Traherne’s
discovery of the essentially blissful nature of his mind at its deepest level. It
is, as he brings out elsewhere in “My Spirit,” a "Strange Mysterious Sphere"; a "Deep Abyss" of
silence; and “The only Proper Place of Heavenly Bliss" (81, 82, 84). This
poem superbly shows Traherne attempting to express the ultimately inexpressible
reality of Felicity. It knows no limits, paradoxically like a sphere without a circumference.
It is the source of unfathomable silence; but at the same time, within that seeming
emptiness, it is bubbling with happiness.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">23> That Traherne
was familiar with the experience of witnessing sleep, an advanced stage of the
growth of consciousness, is hinted at by the Dobell poem “Innocence.” Traherne
tells the reader that all he can remember of his blessed childhood is the "Joyfull
Sence and Puritie" (10) that filled his soul with the light of Felicity
which "No Darkness then did overshade" (6). This benign spiritual
light was present even during sleep, for the poet reports that "the very
Night to me was Bright" (12). That his mind was thrilled with blissful
awareness even in dreaming or deep sleep is given plausibility by a similar experience
common among the members of Travis and Brown’s test group.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[40]</span></span><!--[endif]--></span><span style="font-size: medium;"> The
experience of silent wakefulness within sleep was also apparently known to
literary figures as diverse as Homer, Nathaniel Hawthorne, Henry Vaughan</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[41]</span></span><!--[endif]--></span><span style="font-size: medium;">
Robert Louis Stevenson and Jame Joyce.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[42]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">24> Traherne’s
celebrated vision of childhood perception parallels Travis and Brown’s view
that higher states may not be hierarchical. In a poem interpolated in Century
3.4 he lauds childhood as “My Tutor Teacher Guid" (51), empowering him to
see "with New and Open Eys / […] as if I were abov the Skies" (33-34).
That his exalted conception of childhood is not sentimental but profoundly
experiential is suggested by his emphasizing in 3.5 that this childlike “Purity
of all our Soul […] is a Deeper Thing then is commonly apprehended” (3.5). To
experience it fully, "all our Thoughts must be Infant-like and Clear: the Powers of our Soul free from the Leven of
this World, and disentangled from mens conceits and customs" (3.5). The
opening poems in the Dobell sequence also connect childhood with the primal
state of blissful awareness. In "Wonder," for example, he writes<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-right: 0.2in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="color: red;"><span style="font-size: medium;"> </span> </span>“A Native Health and Innocence<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-right: 0.2in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Within my Bones did grow,<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-right: 0.2in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> And while my GOD did all his <i>Glories</i> shew,<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-right: 0.2in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> I felt a Vigour in my Sence<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-right: 0.2in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> That was all SPIRIT. I within did flow<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-right: 0.2in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> With Seas of Life, like Wine;<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-right: 0.2in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> I nothing in the World did know,<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-right: 0.2in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> But 'twas Divine.” (20-27)<span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">25>
As idealized as they sound, these lines depict childhood first and foremost as
a state of holistic consciousness that enlivened both his mind, which "did
flow / With Seas of Life," and his senses, which perceived the outer world
with joyful clarity.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">26>
His position that childhood is an edenic state corresponds to contemporary
Anglican theology,</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[43]</span></span><!--[endif]--></span><span style="font-size: medium;"> which
contrasted with “the Puritan emphasis on original sin and the transformation of
individual children into agents of moral and social reform.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[44]</span></span><!--[endif]--></span><span style="font-size: medium;"> As
Leah Sinangolou Marcus points out, conservative Anglicanism affirmed the “original
innocence and idealization of childhood as a symbolic link with a past
untroubled by Puritan agitation,”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[45]</span></span><!--[endif]--></span><span style="font-size: medium;">
referring here to the religio-political tensions between these two groups that
broke out in to civil war while Traherne himself was a child. But while
ideologically Traherne is an Anglican, his emphasis on the possibility of
infinite happiness is radical and rooted in his belief, as expressed definitively
in “Innocence,” that the basis of childhood Felicity is a cognitive state:<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"> </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">“Tis not the Object, but the Light <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> That maketh Heaven; Tis a purer
Sight. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Felicitie <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Appears to none but them that purely
see.”</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> (“The Preparative” 63-66)<span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">27>
It is the light of consciousness that is the ground of heaven and not objects
themselves, whatever their inherent qualities or attractions. Traherne
subordinates an object referral state in favor of a self intrinsically in touch
with itself through transcending. Marcus notes in particular Traherne’s “remarkable
insight into the undifferentiated wholeness of the infant’s perception--an
insight which had to wait until the twentieth century to be validated by the
research of Piaget.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[46]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">28>
Such an “undifferentiated wholeness” characterizes the postrepresentational
personality in general. As noted above, a central outcome of this wholeness and
a defining quality of this personality type is spontaneous empathy for the
world at large. Traherne’s many inspiring passages on love point to the
holistic development and a “greatly enriched appreciation and intimacy,” highlighted
by Heaton.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[47]</span></span><!--[endif]--></span><span style="color: #984806; font-size: medium;"> </span><span style="font-size: medium;">As
Traherne states in “Fragment on ‘Lov’,”</span><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[48]</span></span><!--[endif]--></span><span style="font-size: medium;">
“It [Love] delights in magnifying the felicity of its object, and endeavors
after an infinit Nearness and Communcion with it” (1: 561). He unquestionably places the highest
value on love, but one that arises as the result of growth in transcendental
consciousness. Among his many compelling descriptions of love is this passage
from Century I:<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.25in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">“Lov is Deeper then
at first it can be thought. It never ceaseth but in Endless Things. It ever
Multiplies. Its Benefits and its Designes are always Infinit. Were you not Holy
Divine and Blessed in Enjoying the World, I should not care so much to Bestow
it. But now in this you accomplish the End of your Creation, and serv God best,
and Pleas Him most: I rejoyce in Giving it. For to Enable you to Pleas GOD, is
the Highest Service a Man can do you. It is to make you Pleasing to the King of
Heaven, that you may be the Darling of His Bosom.” (1.11)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">29>
Love is deep and endless because it originates and takes its force from the
fully awake and enlivened consciousness. It is “the End of your Creation” as such,
representing the totality </span><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">of
what it means to be human. In religious terms, it transforms the soul or self
into a mirror of the wholeness that is greater than all the separate aspects of
life. An episode in his spiritual history that stands out in this regard is reported
in the following passage from </span><i style="font-family: times, "times new roman", serif; font-size: large;">Select
Meditations</i><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">:</span></div>
<div class="MsoBodyTextIndentCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoBodyTextIndentCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">“when I First
saw it, [it] so wholy Ravished and Transported my spirit, that for a Fortnight
after I could Scarsly Think or speak or write of any other Thing. But Like a
man Doteing with Delight and Extasie, Talk of it Night and Day as if all the
Joy of Heaven and Earth were Shut up in it. For in very Deed there I saw the
Divine Image Relucent and shining, There I saw the foundation of mans
Excellency, and that which made Him a Son of God. Nor ever shall I be able to
forget its Glory.” (4.3)<o:p></o:p></span></div>
<div class="MsoBodyTextIndentCxSpMiddle" style="margin-left: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoBodyTextIndentCxSpLast" style="margin-left: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">30> This record of a personal experience of the
soul’s powers verifies for Traherne that excellency is within everyone’s reach
and resides in discovering the “Relucent and shining” self hidden within. In
line with Heaton’s account of this advanced stage of development, Traherne’s
crystal clear experiences of the “transpersonal self” are the mainspring of his
comprehension of love. Of interest is the supposition that the <i>Centuries of Meditations</i> were written
for someone dear to the poet, as apparently revealed by the presentation
quatrain:<o:p></o:p></span></div>
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"> </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"> “This book unto the friend of my
best friend<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> As of the Wisest Love a Mark I send<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> That she may write my Makers prais
therin<o:p></o:p></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> And make her self therby a Cherubin.”<span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoBodyTextIndentCxSpFirst" style="margin-left: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoBodyTextIndentCxSpMiddle" style="margin-left: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">31> He cleverly, tenderly offers the book, which
ends seemingly incomplete with the heading for an unwritten Century 5.11,</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[49]</span></span><!--[endif]--></span><span style="font-size: medium;">
back to the woman who gave it to him to express and glorify herself. Though the
identity of Traherne’s muse is not certain,</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[50]</span></span><!--[endif]--></span><span style="font-size: medium;">
the work from its inception is dedicated to a love shared by means of a
creative endeavor. That this love was a compelling one is perhaps suggested by
the fact that he crossed out the meditation containing the passionate rhetorical question "Cannot we see and
Lov and Enjoy each other at 100 Miles Distance"? (1.80)--about the distance
from London to Traherne’s home in Hereford.</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[51]</span></span><!--[endif]--></span><span style="font-size: medium;">
Century II in particular, at any rate, focuses for some meditations on the
subject of love as a unifying force in relationships, as expressed in the following passage:<o:p></o:p></span></span></div>
<div class="MsoBodyTextIndentCxSpMiddle" style="margin-left: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoBodyTextIndentCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">“By Lov our
souls are married and Sodderd to the Creatures: and it is our Duty like GOD to
be united to them all. We must lov them infinitly but in God, and for God: and
God in them: namely all His Excellencies Manifested in them.” (2.66)<o:p></o:p></span></div>
<div class="MsoBodyTextIndentCxSpMiddle" style="margin-left: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoBodyTextIndentCxSpLast" style="margin-left: 0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">32> As the poet drives home here and elsewhere, it
is an open-hearted or “Naked Lov” like the Creator’s that “is more Delightfull
to us then all Worlds”</span><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[52]</span></span><!--[endif]--></span><span style="font-size: medium;">
and that connects us to others (2.60). This
theme is picked up in several meditations, such as the following one:<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpFirst" style="margin-left: 0.25in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.25in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">“Lov is the true
Means by which the World is Enjoyed. Our Love to others, and Others Lov to us. We
ought therfore abov all Things to get acquainted with the Nature of Lov. for
Lov is the Root and Foundation of Nature: Lov is the Soul of Life, and Crown of
Rewards.” (2.62)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">33>
Love is the agency by which the world and all it entails is enjoyed. Thomas Hobbes famously
dismissed the heart in </span><i style="font-size: large;">Leviathan </i><span style="font-size: medium;">as
"but a </span><i style="font-size: large;">Spring</i><span style="font-size: medium;">"</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[53]</span></span><!--[endif]--></span><span style="font-size: medium;"> or
a metal mechanism. For Traherne, who actively rejects Hobbism,</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[54]</span></span><!--[endif]--></span><span style="font-size: medium;"> the
heart is the seat of a love that is a most advanced expression of Felicity.<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">34>
Moreover, his </span><i style="font-size: large;">Christian Ethicks</i><span style="font-size: medium;">,
published posthumously in 1675, forcefully argues, atypically for ethical
handbooks of the time, that one must feel as much as know the virtues, for “without
Loving it is impossible to Delight in its Goodness" (30).</span><span style="font-size: x-small;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[55]</span></span><!--[endif]--></span> </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">He
eulogizes the vastness of love in the following passage:<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">“The Capacity of Love Being so exceeding vast, multiplies
and heightens in the Soul of man, that is apt to overflow of its own Accord.
For nothing is so prone to communicate it self as that Active Principle of
Love; that Soul which is Generous and Divine, being disposed to the exercise of
Love, because therin it findeth its Proper Element. The very sun is not more
inclined to communicate its Beams, then the Soul to love. For the Soul being
made in the Image of GOD, who is Love by his Essence, must needs be like him in
Power and Inclination, and is made for nothing else but the Attainment of its
perfection, so that it can never rest, till it actually love after his
similitude.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[56]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">35>
The soul’s infinity is the foundation for the vastness of love which is
inclined like the sun to spread its light. This infinite capacity is described further
below:<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">“The Spiritual Room of the Mind is Transcendent to Time and
Place, because all Time and Place are contained therein: There is a Room in the
Knowledge for all Intelligible Objects: A Room in our Esteem for all that is worthy
of our Care and Desire. I confess this Room is strange and Mysterious. It is
the Greatest Miracle perhaps in Nature. For it is an infinite Sphere in a
Point, an Immensity in a Centre, and Eternity in a Moment. We feel it, tho we
cannot understand it.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[57]</span></span><!--[endif]--></span><span style="font-size: medium;"> (73)<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">36> The essence of Traherne’s
psychology of love is that experiencing the mind’s natural ability to transcend
empowers it to rightly esteem and care for all worthy things. In short,
experiencing the joys of the mind must come first, then love and the other
virtues will automatically follow.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">37> To conclude, the
transformative psychology or “Transforming Vision” (</span><i style="font-size: large;">Kingdom of God</i><span style="font-size: medium;">,</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[58]</span></span><!--[endif]--></span><span style="font-size: medium;"> 479)
embedded in Traherne’s writings resonates with the possibilities of the postrepresentational
self. The phenomenon of transcending, which we have seen is an essential
feature of advanced personal development, is abundantly present in his texts. Traherne
believed, based upon his own experience, that through transcending it was
"Easy, safe, or cheap [for any] Intelligent Soul" (1: 9) to enrich
him or her self internally. Traherne also insists that this experience, the foundation
of a fully evolved life, may sprout in childhood, thus preceding adult
ego-development--another parallel between Traherne’s writing and the research on
the postrepresentational Self reported in this essay. When the Felicity of the
mind is thusly cultivated, he assures his ostensible reader in the </span><i style="font-size: large;">Centuries, </i><span style="font-size: medium;">then<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-size: medium;">“we are so full, that we know not what to do with it, we
are in danger of bursting, till we communicate all to some fit and amiable
Recipient, and more delight in the Communication than we did the Reception.”</span><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: x-small; line-height: 200%;">[59]</span></span><!--[endif]--></span><span style="font-size: medium;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">38> This exuberant
testament to the power of Felicity aligns with the third feature of the
postrepresentational Self highlighted above: openness of heart extending,
ultimately, to all living beings. The strength of Traherne’s conviction that
Felicity is open to all, and the radiance with which he manifests it in his poetry
and prose, are perhaps the best testimony to the existence and efficacy of such a simple and amazing
state, and sufficient grounds for his radical optimism.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Notes</span></b></div>
<div>
<span style="font-size: medium;">
</span>
<br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[1]</span></span><!--[endif]--></span><span style="font-size: medium;"> Jacob
Blevins, </span><i style="font-size: large;">An Annotated Bibliography of
Thomas Traherne Criticism, 1900-2003</i><span style="font-size: medium;"> (Lewiston, NY: Edwin Mellen Press, 2005); </span><i style="font-size: large;">The Works of Thomas Traherne.</i><span style="font-size: medium;"> Vols. 1-6,
ed. Jan Ross (Cambridge, UK: D.S.
Brewer, 2005).<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn2">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[2]</span></span><!--[endif]--></span></span><span style="font-size: 12pt;"> <i>An Annotated
Bibliography of Thomas Traherne Criticism, 1900-2003</i>,<i> </i>ii.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn3">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[3]</span></span><!--[endif]--></span></span><i style="font-size: large;"><span style="font-size: 12.0pt;"> The Body
Emblazoned: Dissection and the Human
Body in Renaissance Culture</span></i><span style="font-size: 12pt;">,<i> </i>(New York: Routledge, 1995), 265.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn4">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[4]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Carol Marks and George Robert Guffey,eds., <i>Christian Ethicks: or Divine Morality, Opening the Way to Blessedness</i>,
<i>by the Rules of Vertue and Reason </i>(Ithaca,
NY: Cornell University Press, 1968), xxxviii.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn5">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[5]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Angela H. Pfaffenberger and Paul W. Marko,
“Exceptional Maturity of Personality,” <i>The
Postconventional Personality: Assessing,
Researching, and Theorizing Higher Development</i> (Albany: State University of New York Press, 2011), 1.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn6">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[6]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Pfaffenberger and Marko 2.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn7">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[7]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> See Loevinger and Wessler, <i>Measuring Ego Development</i>: Vol. 1. <i>Construction and Use of a
Sentence Completion Test</i>. San Francisco: Jossey-Bass, 1970; Measuring Ego Development: Vol. 2. Scoring Manual for Women and Girls.
San Francisco: Jossey-Bass, 1976.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn8">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[8]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Pfaffenberger and Marko 3.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn9">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[9]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Pfaffenberger and Marko 3-4.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn10">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[10]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Pfaffenberger and Marko 3.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn11">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[11]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Adapted from Pfaffenberger and Marko 3.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn12">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[12]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Pfaffenberger and Marko 4.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn13">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[13]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Cook-Greuter, S. “Postautonomous Ego Development: A Study of Its Nature and Measurement.” Dissertation Abstracts International, 60(6), 300B. Retrieved from Proquest Dissertations and Theses
database. (AAT 9933122). <o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn14">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[14]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Pfaffenberger and Marko 5.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn15">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[15]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Pfaffenberger, “Assessing Postconventional
Personality: How Valid and Reliable is
the Sentence Completion Test,” <i>The
Postconventional Personality: Assessing,
Researching, and Theorizing Higher Development</i> (Albany: State University of New York Press, 2011),
22.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn16">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[16]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Pfaffenberger 22.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn17">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[17]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Quoted in Fred Travis and Sue Brown’s<i> </i>“My Brian Made Me Do It: Brian Maturation and Levels of
Self-Development,” <i>The Postconventional
Personality: Assessing, Researching, and
Theorizing Higher Development</i> (Albany: State University of New York Press, 2011), 38.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn18">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[18]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Cook-Greuter, “Mature ego Development: A Gateway to Ego Transcendence?” <i>Journal of Adult Development,</i> 7(4),
227-240.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn19">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[19]</span></span><!--[endif]--></span> This
technique, which is of the Vedic tradition of India, is known as Transcendental
Meditation or TM. Its inner and outer
benefits have been the subject of several hundred peer-reviewed studies. See <i>Scientific Research on the [Maharishi’s]Transcendental
Meditation [and TM Siddhi Programme]: Collected Papers.</i> Volumes 1-7. Various editors (Fairfield,
Iowa: Maharishi University of
Management, 1976-2015). <o:p></o:p></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><sup><span style="font-size: small;">[20]</span></sup><span style="font-size: medium;"> See also the following two sources: Fred Travis,
“States of Consciousness Beyond Waking, Dreaming and Sleeping: Perspectives from Research on Meditation
Experiences,” </span><i style="font-size: large;">States of
Consciousness: Experimental Insights
into Meditation, Waking, Sleep, and Dreams</i><span style="font-size: medium;">, edited by Cvetkovic, Dean and
Irena Cosic, 223-234. New York: Springer, 2011; and Norman E. Rosenthal, </span><i style="font-size: large;">Transcendence: Healing and
Transformation Through Transcendental Meditation</i><span style="font-size: medium;">. NY: Jeremy P. Tarcher/Penguin, 2011.<o:p></o:p></span></span></div>
</div>
<div id="edn20">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn21">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[21]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> “Patterns of EEG coherence, power, and contingent
negative variation characterize the integration of transcendental and waking
states,” <i>Biological Psychology</i>, 61,
293-319.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn22">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[22]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Travis and Brown 25.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn23">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[23]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Travis and Brown 35.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn24">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[24]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Witnessing is a term used by Maslow for “peak
experiences.” See Dennis Heaton, “<i>The Postconventional Personality: Assessing, Researching, and Theorizing Higher
Development</i> (Albany: State
University of New York Press, 2011), 185.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn25">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[25]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Dennis Heaton 179.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn26">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[26]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Heaton178-79.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn27">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[27]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Heaton 178.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn28">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[28]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Dennis Heaton 175-76.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn29">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[29]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Heaton 175.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn30">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[30]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Heaton 178. Heaton correlates Maslow’s conception of peak experiences with
transcending as the basis of Self-Actualization in “<i>The Postconventional Personality: Assessing, Researching, and Theorizing Higher Development</i>, 177,
185-86.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn31">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[31]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Heaton 180.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn32">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[32]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Travis and Brown 37.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn33">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[33]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Heaton 180-81.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn34">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[34]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> See <i>Thomas
Traherne: </i><i>Select Meditations</i>, ed. Julia Smith (Manchester: Carcanet Press 1997), vii-viii. I have used
the new edition published in 2013 as volume 5 of <i>The Works of Thomas Traherne</i>, edited by Jan Ross.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn35">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[35]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> I have retained Traherne’s original spelling and
punctuation throughout this essay.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn36">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[36]</span></span><!--[endif]--></span> <i>The Works of Thomas Traherne:</i> <i>Inducements
to Retiredness, A Sober View of Dr Twisses his Considerations, Seeds of
Eternity or the Nature of the Soul, The Kingdom of God.</i> Vol. 1. Ed. Jan Ross. Cambridge, UK: D.S. Brewer, 2005.<o:p></o:p></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn37">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[37]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Known as the Lambeth Manuscript.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn38">
<div class="MsoCommentText">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[38]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Upon mentioning to the distinguished Shakespearean
Harry Berger that I was writing a book on Thomas Traherne, he brightly
said: “Transcendence!”<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn39">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[39]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> The abecedarian <i>Commentaries
of Heaven</i> is yet another rediscovered Traherne text, rescued from a burning
garbage heap in 1967, but not identified until 1981. See Jan Ross’s
introduction to her two volume edition (1: x-xl).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn40">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[40]</span></span><!--[endif]--></span> Additionally
Thomas Wehr in “Effect of Seasonal Changes in Day Length on Human
Neuroendocrine Function” analyzes the sleep patterns in subjects experiencing a
silent wakefulness during an intermediate phase of sleep known as the “Watch”
and occurring between midnight and 2 a.m. See Norman Rosenthal’s overview in <i>Transcendence: Healing and Transformation Through
Transcendental Meditation</i> (New York: Jeremy P. Tarcher/Penguin, 2011), 32-37. See also A. Roger Ekirch, <i>At Day’s
Close: Night in Times Past</i> (New
York: W.W. Norton, 2005.)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn41">
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[41]</span></span><!--[endif]--></span>
See Silvine Marbury Farnell’s "Henry Vaughan's 'The Morning-Watch': An Experience of a Higher State of
Consciousness.” <i>Studia Mystica</i>,
15, 4 (Winter 1992): 44-64.<o:p></o:p></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn42">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[42]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> See James J. Balakier’s “An Unnoted Textual Gap in
the Bird-Woman Epiphany of James Joyce's <i>A
Portrait of the Artist as a Young Man," Canadian Journal of Irish Studies</i>
25. 2 (1999): 483-496.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn43">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[43]</span></span><!--[endif]--></span> See
Leah Sinangolou Marcus’s <i>Childhood and Cultural
Despair: A Theme and Variations in
Seventeenth-Century Literature</i>. Pittsburgh: University of Pittsburg Press, 1978.<o:p></o:p></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn44">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[44]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Marcus 243.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn45">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[45]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Marcus 243.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn46">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[46]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Marcus 181.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn47">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[47]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Heaton 180.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn48">
<div class="MsoNormal" style="margin-bottom: 12pt;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[48]</span></span><!--[endif]--></span>
Included as an appendix in <i>The Works of
Thomas Traherne:</i> <i>Inducements to Retiredness, A Sober View of
Dr Twisses his Considerations, Seeds of Eternity or the Nature of the Soul, The
Kingdom of God.</i> Vol. 1. Ed. Jan Ross. (Cambridge, UK: D.S. Brewer, 2005),
561-64. <o:p></o:p></span></div>
</div>
<div id="edn49">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[49]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> H.M. Margoliouth in his edition of the <i>Centuries</i> notes that a “numerical
heading for another section” follows 5.10 (I. 297).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn50">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[50]</span></span><!--[endif]--></span> Possibly
Susanna Hopton of Gattertop, which is outside Hereford. See Richard D. Jordan, "Thomas
Traherne: Notes on His Biography," <i>Notes and Queries</i> 225 (1980): 341-345 and Julia Smith, "Susanna
Hopton: A Biographical Account." <i>Notes and Queries</i> 236 (1991): 165-172.<o:p></o:p></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn51">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[51]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> See Ross’s note for 80.1 (V. 207).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn52">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[52]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> From a deleted section included by Margoliouth in his
edition of the <i>Centuries</i>. See Ross’s note (V. 219).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn53">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[53]</span></span><!--[endif]--></span> Thomas
Hobbes, <i>Leviathan</i>. Ed. Richard Tuck (New York: Cambridge
University Press, 1991), 9.<o:p></o:p></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn54">
<div class="MsoEndnoteTextCxSpFirst" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[54]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> See James J. Balakier, "The Competing Early
Modern Epistemologies of Thomas Traherne and Thomas Hobbes: The Grounds of Felicity," <i>The McNeese Review</i> 47 (2009):
17-42. In this essay, I reference Nabil
I. Matar’s “Thomas Traherne and St Bernard of Clairvaux,” <span style="color: windowtext;"><i>Notes and Queries</i> </span>230 (June 1985): 182-184, which explains how
Traherne discredits Hobbes’s ego-bound conception of the self by means of St.
Bernard’s theology of self-love as inspired by the Creator’s love. See also
Balakier, <i>Thomas Traherne and the
Felicities of the Mind, </i>1-4.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast" style="text-align: justify;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn55">
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[55] </span></span><!--[endif]--></span><i>Christian Ethicks: or Divine Morality,
Opening the Way to Blessedness, by the Rules of Vertue and Reason</i>
(1675). Eds. Carol L.Marks and George
Robert Guffey (Ithaca: Cornell University Press, 1968), 30.<o:p></o:p></span></div>
<div class="MsoNormalCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn56">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[56]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> <i>Christian Ethicks</i>
48.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn57">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[57]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> <i>Christian
Ethicks</i> 73.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn58">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[58]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> Another rediscovered Traherne text, published as
Volume 1 in Jan Ross’s <i>The Works of
Thomas Traherne</i>.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn59">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 200%;">[59]</span></span><!--[endif]--></span></span><span style="font-size: 12.0pt;"> <i>Christian
Ethicks</i> 258.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">_____<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Bibliography<o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Alexander,
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Balakier,
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Blevins, Jacob.
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">-------, ed. <i>Re-reading Thomas Traherne: A Collection of New Critical Essays</i>.
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">------. “Postautonomous Ego Development: A Study of Its Nature and Measurement.” Dissertation Abstracts International, 60(6),
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">------. “Postautonomous Ego Development: A Study of its Nature and Measurement.” <i>Dissertation
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Cvetkovic,
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Ekirch, A.
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Farnell,
Silvine Marbury. Henry Vaughan's 'The
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Heaton,
Dennis. “Transcendent Experience and Development of the Postrepresentational
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Hobbes,
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Hy, L., and
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Jordan, Richard
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"> Loevinger, Jane and Richard L. Wessler. <i>Measuring
Ego Development</i>: Vol. 1. </span><i style="font-family: times, "times new roman", serif; font-size: large;">Construction
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><i><span style="font-size: 12.0pt;">-------. Measuring Ego Development</span></i><span style="font-size: 12.0pt;">: Vol. 2. <i>Scoring
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Marcus, Leah
Sinangolou <i>Childhood and Cultural
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Marks, Carol
and George Robert Guffey, eds., <i>Christian Ethicks: or Divine Morality,
Opening the Way to Blessedness, by the Rules of Vertue and Reason</i>.
1675. Ithaca: Cornell University Press,
1968.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Pfaffenberger,
Angela H. “Assessing Postconventional Personality: How Valid and Reliable is the Sentence
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Pfaffenberger,
Angela H. and Paul W. Marko, “Exceptional Maturity of Personality: An Emerging Field.” In <i>The Postconventional Personality: Assessing, Researching, and Theorizing Higher Development</i>, edited by
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Rosenthal, Norman
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Sawday,
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><i><span style="font-size: 12.0pt;">Scientific Research on the [Marharish’s]Transcendental
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Smith, Julia. "Susanna
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Traherne,
Thomas. <i>Centuries of Meditations and
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<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">-------. <i>Centuries, Poems, and Thanksgivings</i>. Vols. 1-2. Ed. H. M. Margoliouth. Oxford,
UK: Clarendon Press, 1958.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><i><span style="font-size: 12.0pt;">------.
Christian Ethicks: or Divine Morality, Opening the Way to Blessedness, by the Rules
of Vertue and Reason</span></i><span style="font-size: 12.0pt;">. 1675. Eds.
Carol L. Marks and George Robert Guffey. Ithaca: Cornell University Press, 1968.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">-------. <i>Commentaries of Heaven 1</i>: <i>Abhorrence
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<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">-------. <i>Commentaries of Heaven 2</i>: <i>Al-Sufficient
to Bastard. </i>Vol. 3 of<i> The Works of
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<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">-------. <i>Inducements to Retiredness, A Sober View of
Dr Twisses his Considerations, Seeds of Eternity or the Nature of the Soul, The
Kingdom of God. </i>Vol 1of <i>The Works of
Thomas Traherne, </i>ed. Jan Ross. Cambridge,
UK: D.S. Brewer, 2005.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">-------. <i>Poems from the Dobell Folio, Poems of
Felicity, The Ceremonial Law, Poems from the Earl Notebook.</i> Vol 6 of <i>The Works of Thomas Traherne, </i>ed.<i> </i>Jan Ross. Cambridge, UK: D.S. Brewer, 2005.<o:p></o:p></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">-------. <i>Select Meditations</i>. Ed. Julia
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<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Travis, Fred.
“States of Consciousness Beyond Waking, Dreaming and Sleeping: Perspectives from Research on Meditation
Experiences,” <i>States of Consciousness: Experimental Insights into Meditation, Waking, Sleep, and Dreams</i>,
edited by Cvetkovic, Dean and Irena Cosic, 223-234. New York: Springer, 2011.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Travis, Fred
and Sue Brown, “My Brain Made Me Do It: Brian Maturation and Levels of Self-Development,” <i>The Postconventional Personality: Assessing, Researching, and Theorizing Higher Development</i>, edited by
Angela H. Pfaffenberger, Paul W. Marko, and Allan Combs, 23-38. Albany: State University of New York Press, 2011.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Travis, Fred,
J. Trecce, Aleric Arenander, and Robert Keith Wallace. “Patterns of EEG Coherence,
Power, and Contingent Negative Variation Characterize the Integration of Transcendental
and Waking States.” <i>Biological Psychology</i>,
61 (2002): 293-319.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Wehr, Thomas.
“Effect of Seasonal Changes in Day Length on Human Neuroendocrine Function,” <i>Hormone Research</i>, 49 (1998): 118-24.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">_____<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b><span style="font-size: 12.0pt;">James J. Balakier</span></b><span style="font-size: 12.0pt;"> is Professor Emeritus of English from the University of South Dakota. He
is an English Renaissance specialist and has published widely on Thomas
Traherne, including “Traherne, Husserl, and a Unitary Act of Consciousness,” published
in<i> Re-Reading
Thomas Traherne: A Collection of New Critical Essays</i>;<i> </i>and the book, <i>T</i><i>homas Traherne and the Felicities of the
Mind</i>.<o:p></o:p></span></span></div>
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<b><i><span style="font-family: "times new roman" , serif; font-size: 10pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , serif; font-size: 10pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="background-color: white; font-family: "Trebuchet MS", Verdana, Arial, sans-serif; font-size: 12.61px; line-height: 18.915px; text-align: center;">
<b><i><span style="font-family: "times new roman" , serif; font-size: 10pt;">Studies in Renaissance / Early Modern Literature and Culture</span></i></b><b><span style="font-family: "times new roman" , serif; font-size: 10pt;">,</span></b><b><span style="font-family: "times new roman" , serif; font-size: 10pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="background-color: white; font-family: "Trebuchet MS", Verdana, Arial, sans-serif; font-size: 12.61px; line-height: 18.915px; text-align: center;">
<b><span style="font-family: "times new roman" , serif; font-size: 10pt;"><a href="http://appositions.blogspot.com/" style="color: #cc6633;">http://appositions.blogspot.com/</a>, ISSN: 1946-1992,</span></b></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 10pt;">Volume Nine (2016): <i>Texts & Contexts</i></span></b></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-9948070207537625132016-08-16T17:17:00.003-07:002016-08-18T17:17:35.432-07:00Rebecca M. Quoss-Moore: "Domestic Security"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: Calibri;">Rebecca M. Quoss-Moore</span></b><b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: Calibri;"><o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: Calibri;"><a href="http://www.uark.edu/" target="_blank">University of Arkansas</a><b><o:p></o:p></b></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">Domestic Economy and Domestic Security:<o:p></o:p></span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">The English Housewife and her Nation<o:p></o:p></span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">ABSTRACT<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">As
the changing economy of the sixteenth and seventeenth centuries led to
increased social and physical mobility, the housewife, as a central figure of
English domesticity, became an increasingly important figure in Renaissance
England. “Her” domestic centrality was made possible by the anxieties and
complications accessed through increased travel, mobility, and change. At the
same time, these complications led English men and women to create ever
stricter definitions to control the role and depiction of the English
housewife, in whose image the entire country now had a vested interest. As the
English translation of </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Juan
Luis Vives’s <i>Instruction of a Christian
Woman</i>, Gervase Markham’s <i>The English
Housewife</i>, and Elizabeth Jocelin’s posthumous <i>The Mother’s Legacie to her Unborne Childe </i></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">reflect, English society invested enormous amounts of energy in
attempting to create a stable, safe identity for itself by crafting a stable,
safe identity for the housewife. This figure necessarily influenced the way
that Englishwomen and men thought and wrote about a definition of the foreign
and a particular, domestic, English national identity. <o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">FULL TEXT<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">1>
As the changing economy of the sixteenth and seventeenth centuries led to
increased social and physical mobility, and vice versa, the ideals of English
national identity were increasingly shaped in response to the perceived threats
or difference of the foreign. England itself became increasingly conceptualized
as a domestic space; the English housewife became a symbol for discussions of
the problems and virtues of England historically, politically, and socially.
This focus on the idealization of the housewife had uses ranging from the
domestication of history to expressions of a need for class control and hierarchy.
What all such narratives reflect, though, regardless of intent, is a newly
centralized facet of the English national identity, a new definition created in
response to the increase of travel and the changes involved therein. As such,
it was perhaps natural that the housewife, as a central figure of English
domesticity, became an increasingly important figure in Renaissance England; “her”
domestic centrality was made possible by the anxieties and complications
accessed through increased travel, mobility, and change. At the same time,
these complications led English men and women to create ever stricter
definitions to control the role and depiction of the English housewife, in
whose image the entire country now had a vested interest. This figure, also,
then influenced the way that Englishwomen and men thought and wrote about their
own culture and history. By juxtaposing the values created through these sorts
of domestic exercises, the English people could articulate a definition of the
foreign and claim a particular, domestic, English national identity.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">2> The formation of this
English national identity is here examined through the relationships between
three different sorts of texts about housewives: Juan Luis Vives’s <i>Instruction of a Christian Woman</i> as
translated by Richard Hyrde, Gervase Markham’s <i>The English Housewife</i>, and Elizabeth Jocelin’s posthumous <i>The Mother’s Legacie to her Unborne Childe</i>.
Vives’s text, of course, does not deal specifically with the idea of the
English housewife, but both the original Latin text of the 1520s and the
English translation in 1585 mark relatively early examples of the emerging
interest in literature explicitly about women’s roles. In the 1585 translation,
Hyrde preserves Vives’s prefatory dedication to then-queen Katherine, heading
the preface only to identify the author and the dedicatee. No additional
English preface is created, and Hyrde’s title page is similarly restrained;
there is relatively little to resituate the text as explicitly English, but the
project of translation itself, particularly after the Reformation represents
complicated intersections of reclamation of certain identities, as will be
examined, here. If Vives’s text can only be considered in terms of English
identity specifically insofar as its patronage and translation make it “English,”
Gervase Markham’s <i>The English Housewife</i>
is more clearly and consciously a product of nationalism. “English” is, indeed,
the largest word on the title page, emphasizing the particular nationality considered
within the pages of Markham’s text. Further, the title page promises that this
text is “[a] worke very profitable and necessarie, gathered for the generall
good of this kingdome” (Markham 1). From the earliest introduction to the text,
Markham privileges the instruction of the English housewife as integral to the
good of the kingdom at large. Though less explicitly invested in national
identity, Elizabeth Jocelin’s text reveals an interest in a different sort of
instruction, one which may be targeted, like Vives’s treatise and Markham’s
huswifery book, at education, but which also ensures a place for the housewife
herself in history as author rather than subject. Thus, the three texts together trace an
evolution of discussions of the housewife, as her role in, and contributions to,
society become ever more centralized and acknowledged.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">3> Further, these three texts
mark an increasing individualization of the housewife, from Vives’s Christian
woman, who could be maid, wife, or widow of any European nation, to Markham’s
more specific English housewife, to Jocelin’s own personal voice. By very
virtue of the publication of her text, though, Jocelin becomes simultaneously
an individual in history and a representative of a larger group. As Vives
speaks to women, Jocelin is cast as speaking for women, though the Approbation
both justifies the publication of the text by implying that she is exceptional
and, in preserving her voice, makes her exceptional. Nonetheless, the very fact
that her advice is considered sound and worthy of national consideration
reflects the increasing investment of English identity in the nation’s
housewives. This investment was partly influenced by the gender politics of
Elizabethan England; as Louis Adrian Montrose’s seminal essay outlines, the
inviolable body of the queen was inextricably bound to the inviolable space of
England (“Subject” 315), and Elizabeth used her gender to build upon the
established political imagery of body and country. On the one hand, Elizabeth’s
use of gender shores personal political power; as Montrose outlines in that essay,
“Elizabeth perpetuates her maidenhood in a cult of virginity; transfers her
wifely duties from the household to the state; and invests her maternity in her
political rather than in her natural body” (Montrose “Subject” 310). However,
the terms which Elizabeth used were both determined by and available to the
subjects she governed, and “her subjects might rework those terms to serve their
turns.” (Montrose “Subject” 310). Thus, the terms which Elizabeth uses to
secure her space can also become a way of securing English housewives within
their domestic spaces; as Jocelin’s use indicates, though, those terms may also
be a way to codify identity and to preserve one’s voice. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">4> Markham’s text, an example
of both impositions and preservations, is distinctive partly as an example of
the particularly English genre of the cookbook.
By Markam’s 1615 publication, the genre was well-established; Wendy Wall
traces some of the history of the cookbook as a distinct genre, noting that
“[h]ousewifery, first published as a subset of knowledge in sixteenth-century
husbandry books, broke off as a separate discourse in the 1570s when English
cookbooks appeared in bookstalls” (333). This genre, she notes, was distinct
from its European counterpart in terms of the intended audience; cookbooks,
elsewhere, were designed for professional men–chefs. Cookbooks, in England,
were designed instead for domestic women–huswifes. Not least significant for
the discussion here is the planned journey of the book. The cookbook elsewhere
was a product of men for men, which moved from the workplace of the printers’
shop to the workplace of the kitchen. The cookbook in England was instead a
product for an audience of consumer-producers, a product brought into the home
to govern production in the home. The cookbook was then a kind of foreign
invader of the domestic space at the same time that it shored up ideas about
that space. Wall addresses the product of this generic difference when she
argues that “[a]s the earliest published domestic advice manuals and cookbooks
in England shaped conceptions of domesticity, they made readers self-conscious
about the meaning of daily life” (333). <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">5> There were, of course,
other invaders of the home making the English particularly self-conscious of domestic
meaning and its making in the 16<sup>th</sup> century. Though the argument of
this essay focuses particularly on the economic formation of nationalism in
response to the foreign, the political and religious shifts of the time were
equally important contributors. When Kim F. Hall, for example, argues that
“[t]he cookbook played a relatively unheralded role in the formation of
European nationalism,” her argument is not only economic, but also political
and even specifically geographic (170). Hall herself outlines the intersection
thus:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“in
making ‘preserves and conserves,’ seventeenth-century women participated in a
growing movement from a Mediterranean to an Atlantic economy, and made the
English home an important part of [...] the modern world system. While it may look
odd to read both nationalism and a developing world system in the same cultural
enterprise, in this case it seems precisely the tension between a changing
world economy and attempts to define the boundaries of individual national
identities that produces such ambivalent (and often contradictory) notions of
the foreign and the domestic in English texts.” (Hall 169)<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">6> The identity of the English
household was formed by the English housewife at its center, and this household
formed in new patterns, with new importance, as the major concerns of the
country itself shifted, in some ways, from domestic concerns to international–or
as international concerns began to necessarily impact the domestic. As England
became an increasingly colonial player in terms of trade, politics, and
territory, her people also become more invested in identifying what set them
apart. Nationalism simultaneously became and resulted from the drive to define
Englishness, both in opposition to, and as something that could be taken,
“abroad.” Hall notes, to this point, that “the shaping of the English woman’s
role in the household was necessary, not only for maintaining domestic order,
but for the absorption of the foreign necessitated by colonialism” (170).
England and her housewives defined each other in acts of mutual and
self-protection.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">7> The use of the feminine
pronoun for the state, above, is intentional and intentionally reflects a
significant proportion of the discourse of the day. Speaking about the later
period of the Civil War, Christopher Orchard outlines the common use of the
figure of the female body as the disordered body politic, by both the opposing
factions, as “a subtle consensual agreement that inscribed the female body as a
passive subject that followed prescriptive gender codes of behavior” (Orchard
10). The agreement is significant as a reflection that “the ideological
bifurcation that had divided citizens along religious, political, and class
lines did not preclude both Royalist and Parliamentarian writers from employing
the same analogy, that of the female body, to describe political crisis.”
(Orchard 10) I would extend the argument backwards to acknowledge that this
image is available to the Englishmen of the Civil War because it has already
been established in the preceding decades as the dominant figure of English
national identity. In the face of imminent civil war, the well-ordered housewife
instead becomes an unordered hussy as the civil order breaks down, emphasizing
the connection between the English domestic order and the English people’s
self-definition. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">8> The preeminence of the
housewife and her domain–as well as her later, implicit culpability in the
civil disorder of the mid-century–resulted from her place at the center of the
home and the home’s place at the center of the state. Wall summarizes that
“[a]s the ‘first society” and ‘seminary,’ the early modern family bore the
tremendous burden of inculcating citizenship in a patriarchal and hierarchical
world by structuring the proper dependencies that founded church, state, and
body politic.” (331). Colonialism and protocapitalism then go hand in hand in
defining many of the major changes to these structures of the state and her
people; Wall observes the impact of these changes in the figure of the
housewife as represented in huswifery guides, as well, noting that as they
“[r]espond [...] to widespread economic changes ushered in by the emergence of
protocapitalism, these guides interpret housewifery in different ways: its
destructive potential is circumscribed as a game, its economic value becomes
the sign of national character” (335). The “proto” element of this particular
capitalism is also essential to the huswife’s place, because the economic
nature of the period meant that “[t]he household was, after all, the primary
unit of production as well as consumption in the period” (Wall 333). The
household produced goods and citizens; it was also the site of use of the
colonial products that were made possible by the export of citizens and of
“Englishness.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">9> Part of the relationship
between England and her housewives was the domestication of the space within
which they both existed, particularly as idealized by the English themselves.
This space was contained, defined, and protected. Mary Thomas Crane points out
that the term “huswife” is used mostly by male writers (212). She associates use of the term with “anxiety,
first over working-class women’s wage-earning potential within the home (with
fears of a concomitant sexual independence) and, later, anxiety over
upper-class women’s increasing idleness (with fears of concomitant sexual
freedom) as they were confined to a domestic sphere where servants did most of
the work” (Crane 212). The anxiety of sexual freedom as connected to proscribed
social roles mirrors the elision of “huswife” and “hussy;” the terms used to
describe women are unstable because the roles ascribed to them are too bound to
the anxieties that destabilize those roles, leading to “attempt[s] to separate
huswives from hussies by confining women within the space of the home” (Crane
216). In Markham’s text, especially,
there is a decided emphasis on the physical limitations of the space controlled
by the housewife. Whereas “the perfect husbandman[‘s] [...] office and employments
are ever for the most part abroad, or removed from the house [...] our English
housewife [...] hath her most general employments within the house” (Markham 5).
Vives similarly limits the movements of women, though he clarifies that “I say
not this becau[se] I would have women continually sh[ut] up and kept in, but
because I wold ha[ve] them go seldome abroad, and be little [a]mong men” (280).
The limitations placed on the movements of women are not about movement itself
but instead about the risk of contamination for the domestic space. Movement “abroad,” for both Vives and Markham,
implies a scope which necessitates encounters with the foreign and the
unfamiliar. The space of the domestic, in contrast, does not necessarily have
to be completely isolated, but ought to be restricted to interactions with
familiar–that is, the housewife ought to operate within a particular,
demarcated sphere of influence. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">10> However, the relationship
between the housewife and her space was much more complex than one of simple confinement;
woman and space, like woman and nation, defined one another. When Markham later
discusses the making of malt, he clarifies that “[t]his office or place
belongeth particularly to the housewife [...] it is properly the work and care of the
woman, for it is a house work, and done altogether within doors, where
generally lieth her charge” (180). Even as the domestic space limits the
housewife, it is also through that space that the housewife exerts control;
this space is her responsibility and within her power. Within the household,
the housewife is assigned a space and influence that are definably hers. In
this particular instance, that control may seem to extend over only a relatively
minor element of English life. In fact, though, these minor features added up
to include almost the sum of English domestic product; malt, bread, herbs,
physics, and cloth are all among the several products which Markham expects the
English housewife either to produce or to have produced with assistance from
other women within her local markets. Lena Cowen Orlin’s list of likely reasons
for men’s much more rapid rate of remarriage in the period reflects the
emphasis on women’s productivity in the period; she links men’s quick
remarriages to “how dependent they were upon their partners for running their
households, rearing children, supervising servants, and contributing to family
incomes” (Orlin 164) In a very real sense, the economy of England depended on
the domestic spaces of housewives. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">11> Further, in addition to
the influence that might spread from the products of these physical spaces, the
social space affected by the English housewife was quite wide. Just as many
products took root in the home economies of English housewives, so, too, did
English citizens. Though on the face of it, such a claim may seem so obvious as
to be of little value, the increasing literature about the role of the English
housewife reflects a clear concern with the influence the housewife exerted
beyond her sphere. Surely her influence on her children was “natural” in
contemporary thought, but that influence then meant that, insofar as she shaped
its citizens, the housewife shaped England as a whole. Thus, the housewife
became conceptualized not only as a symbol of national identity, but as a maker,
an idea which could cause more anxiety in the deeply patriarchal English social
structure; Crane describes the conflict as centered on “anxiety about the role
of women [...] around the unstable boundaries between their potential as
‘producers’ [...] and a literally ‘conservative’ sense [...] of their role as
caretakers and preservers [...]” (212). Markham’s work makes this especially
clear, as each section of his text begins with a discussion of the wider
implications and consequences of the housewife’s knowledge and practices. The proper education of the English housewife
is important, Markham claims, because “from the general example of her virtues,
and the most approved skill of her knowledges, those of her family may both
learn to serve God, and sustain man in that godly and profitable sort which is
required of every true Christian” (5). Though Markham does not ever cast the
role of the housewife as one of explicit instruction or education, her example
and her creation of a sound domestic space are central to the proper formation
of those in her charge. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">12> Vives engages with this
influence of the wife by first discussing her ability to shape the very
specific space of her own household, a space where the propriety of her
influence was accepted and, largely, uncontested. Discussing concord within the
house, Vives tells the wife that “a great part of this matter resteth in thy
hand [...] to have thy husband pleasaunt and loving to thee, and to lead thy life
wealthfully: or else [...] to have him froward and crabbed, and to ordain for thy
self grievous torment” (183). Though Vives largely casts the surest path to
marital contentment as one of submission of the wife’s part, he nonetheless
casts this as her choice – she can control the space within which she lives.
This is more explicit in Vives’s promise that “if thou by vertuous living and
buxumnes, gyve him cause to love thee, thou shalt be mystres in a merry house”
(182). Just as Markham allows that which is in the house to be a part of the
housewife’s “charge,” so Vives emphasizes the housewife’s leading role in the
domestic space. If she correctly forms her household, she can naturally rule
over that successful space as its appropriate mistress. Vives then begins to
connect this household space more explicitly with the larger social order. For
example, Vives’s list of rules from “Pithagoras’ discipline” ends that
“sedition [should be put] out of the Citie, and discord out of the house” (231).
The housewife’s successful performance of her domestic duty is a fulfillment of
the natural order, and each level of that order relates to the next. As Valerie
Traub, M. Lindsey Kaplan, and Dympna Callaghan point out, this is the natural
result of the image of the ruler as parent, which meant “the parent was also
given the rights and responsibilities of a ruler. In order for the subject to
enact the monarch’s will, he or she required a measure of authority in his or her
own right” (3). The natural result was that “the political status of the
family, while reinforcing the subordination of the wife, nevertheless offers
women a public role and a proximity to power” (Traub, Kaplan, and Callaghan 3).
The housewife has power over her family as an image of the parent-ruler. As
such, harmony does not just result from the elimination of discord and
sedition, but depends on the elimination of discord at the domestic level which
will naturally result in the elimination of sedition on the civic level. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">13> This sentiment is echoed
when Jocelin explains the effect she hopes to achieve through her text, though
she claims to write to an audience of only one. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Againe,
I may perhaps be wondred at for writing in this kinde, considering there are so
many excellent books, whose least note is worth all my meditations. I confesse
it, and thus excuse my selfe. I write not to the world, but to mine own childe,
who it may be, will more profit by a few weake instructions comming from a dead
mother (who cannot every day praise or reprove it as it deserves) then by farre
better from much more learned.” (Jocelin 10-11)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">14> Though Jocelin’s focus is
only her own offspring, she nonetheless feels compelled to enter her voice into
record in order to control her particular contribution to the social order. Further,
Jocelin’s text here affirms the unique nature of the voice of the housewife;
she asserts that, in the role of mother, the housewife’s words have a
particular power to shape those within her household. In this shaping, then,
the housewife necessarily contributes to the kingdom at large, shaping the
space of England through the shape of her own domestic space. The role of the
good housewife, Jocelin’s text implies, is amending the country’s ills from
within the domestic space. This interest in the wider world is more explicitly echoed
when Jocelin casts her concerns for her child in terms of the larger issues of
England, as when she warns that “our Kingdome hath of late afforded more
examples of those who have been slain by their friends in a drunken quarrell,
than of those that have fallen by the enemies sword” (Jocelin 72). Through
proper instruction of her own child, though, Jocelin hopes to contribute to the
solution to this discord. The housewife, herself a domestic figure, becomes an
agent in keeping England free of violence and vice within its borders,
preserving the national domestic space through the proper ordering of her
private domestic space. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">15>
The acknowledgement of these influences of the housewife was intimately bound
up with anxieties about her role and about her security. Because the idea of
the housewife belonged so completely to the domestic, anxieties about her role
often took the form of discussions about travel and foreignness. Foreignness
here needs special attention, as the word, when considered in juxtaposition
with the ideal of the English housewife, could include not only ideas of
foreign countries and practices, but also ideas of practices foreign to nature,
or of social settings, such as the court or the city market, which were foreign
to the specific domestic space envisioned by many Englishwomen and men as the
proper provenance of this housewife</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">. Even as rules governing movement were
created and encoded through huswifery texts and conduct texts, the facts of the
changing economy meant that women’s roles were shifting and involved both more
travel and an increased level of consumerism. More, and more diverse, goods
were being brought into the home–Hall’s sugar and Wall’s cookbooks are two
immediate examples–and the English household was, thus, increasingly less
self-sufficient, mirroring changes in the national economy. This then inspired
fears about foreign influences, both as “unnatural” and as potentially damaging
to the English economy and English national identity. While such anxiety
partially limited the scope of the housewife, both Elizabeth’s use in her
iconography and Jocelin’s use in her text indicate the ways that opposition and
othering could be used to shore up ideas of particularly English feminine
identities. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">16> The anxiety about new
products, new movements, and new economies was particularly connected to the
English housewife because any concern with consumption and economy necessarily
created concerns about the domestic space of England. Though Michelle M. Dowd
focuses her discussion of these concerns on a consideration of the Dekker and
Webster play <i>Westward Ho!</i>, she makes
several important points about the connection between “consumer power and
illicit sexuality” (230). As Dowd argues, “[t]he same economic changes that
made London the ‘national lodestone’ also had a dramatic impact on urban
housewives and their connections to the market” (225). Where these housewives
might previously have largely taken their own domestically produced goods to
market and collaborated with other housewives to produce or barter for other
domestically produced goods, many products were now moved across counties or
even countries, and, though Dowd focuses on urban housewives, these changes
were occurring across the country. As Dowd points out, the shifting market then
naturally led to a greater reliance on “goods produced outside the home” (225).</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">This,
then, necessitated a certain amount of movement on the part of the good English
housewife, as well as an addition to her roles: part of the primary role of
these housewives was now consuming, rather than producing.</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;"> This consumption not only changed the established economy, then, but
also changed the definitions and delineations of the housewife. Travel,
particularly as it altered economy, </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">threatened the domestic; even within the
accepted spaces of England, the housewife’s travel threatened her family’s
domestic space by necessitating an introduction of the foreign and the
unfamiliar. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">17> Vives warns his reader
quite explicitly against the evils of consumerism at several places throughout
his text, as when he admonishes that wives must “beware thou fall not into such
a wicked minde, to will him for lucre of monye to occup anye unhonest craftes,
or to do any unhappy deeds, that though mayest live more delicatelye, or more
wealthy, or go more gayly and gorgiouslly arrayed, or dwell in more goodly
housing” (211). Though here the specific warning is against allowing
consumptive desires to lead to sinful acts, the very connection between the two
implies a very particular view of consumerism. The desire for better goods is
an evil which is “wicked” and unnatural, and thus leads to wicked and unnatural
deeds. Further, these consumer desires are here essentially domestic. Though a
desire for a “wealthier” lifestyle might imply class movement, the basic focus
is on improvements to house or person – to those areas which lie with the
wife’s sphere of influence. A desire to change the quality of these domestic
goods implies a discontent which disorders the familiar domestic space. In
contrast, a properly ordered domestic space is one where the wife is satisfied
with her social space and so contents herself with those goods most precisely
appropriate to her “place.”<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">18> Markham quite explicitly
endorses this idea of domestic space suiting social place when he discusses the
necessity of the housewife conforming to the estate of her husband. Markham argues that “it is meet that our
English housewife be a woman of great modesty and temperance as well inwardly
as outwardly” (Markham 7). Modesty speaks to a lack of ambition, while
temperance implies a balance of resources and expenditures, which Markham explicates
when he explains that: <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“her
apparel and diet [...] she shall proportion according to the competency of her
husband’s estate and calling, making her circle rather strait than large, for
it is a rule if we extend to the uttermost we take away increase, if we go
beyond we enter into consumption, but if we preserve any part, we build strong
forts against the adversities of fortune, provided that such preservation be
honest and conscionable; for as lavish prodigality is brutish, so miserable
covetousness is hellish.” (Markham 7)<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">19> Building on Markham’s
earlier claims about the space of the housewife, these prescriptions more
clearly relate that space to a particular social sphere. These prescriptions
are not limited to warning the wife simply against overeager consumerism;
Markham also points to a need for a particular kind of consumption as
appropriate to the housewife’s class and resources. She must not consume over
eagerly or too widely, but neither should she limit herself in any way
inappropriate to her station. The boundaries of her desires should be enlarged
or shrunk exactly according to her social status. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">20> Markham continues his
discussion of the appropriate consumption of the English housewife through his
discussion of her apparel and diet in more specific terms, and these terms tend
to be more specifically limiting than liberating. He claims that her diet
should “be rather to satisfy nature than [...] revive new appetites” (Markham 8),
focusing on the need for the housewife to act according to natural orders and
desires. More precisely, he says that the diet of the house ought to “be
esteemed rather for the familiar acquaintance she has with it, than for the
strangeness and rarity it bringeth from other countries” (Markham 8). Not only, then, should the diet of, and
provided by, the English housewife accord to nature, it ought specifically to
accord to English nature. In much the same way that Markham or Vives would
limit the wife’s travel to those areas with which she is already familiar, so they
would limit her experiences to the same, thus, again, preserve the domestic
space from the contamination of the foreign. “Strangeness” is, in Markham’s
text, suspect by nature, and so the housewife should most naturally avoid its
influence.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">21> One other distinct space
of anxiety that stemmed from these fears of consumerism, consumption, and
foreign influence was fashion, where concerns about both nature and nation
guided much of the dialogue. Just as Markham would have the English housewife’s
dress “as far from the vanity of new and fantastic fashions, as near to the
comely imitations of modest matrons” (Markham 7-8), Jocelin warns her child and
her reader about the foolishness of those who “deforme and transforme
themselves by these new fangled fashions” (Jocelin 32). The emphasis on “new”
here reflects the ways in which the threatening foreign might be cast as any
sort of unfamiliar, whether because the object was not English, not natural, or
not traditional. Jocelin, though, also links this idea of the “new” to the
“unnatural,” saying that it is “a monstrous thing to see a man, whom God hath
created of an excellent forme, each part answering the due proportion of
another [...] by a fantasticall habit [...] make himselfe so ugly, that one cannot finde
amongst all Gods creatures any thing like him” (Jocelin 31). This concern with attire
reflects England’s aversion to foreign influence, which could creep in
sinisterly through foreign fashions and product, but the concern with fashion
was not just that it could corrupt a person’s English identity, but that it
could also corrupt one’s natural and Christian identity. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">22> Though these prescriptions
regarding fashion, diet, and ordering of the house all reveal a very particular
preoccupation with the established order, the English housewife was also
subject to the more traditional paranoia of the Renaissance man. The most
serious transgressions against nature are addressed when the concerns about
consumerism give way to more explicit fears about sexual misbehavior. Unnatural
consumer behavior may result from an exposure to the foreign and a break from
natural Englishness, but sexual transgression necessitates a break into
unnatural behavior which is more explicitly damaging to country and society. Vives,
in particular, draws again and again on the idea of nature as a base for his
arguments, and this language is strongest in his condemnation of adultery. Vives
does not only condemn adultery in women, though the focus of his text
necessitates a certain imbalance in his discussion of this “unnatural”
practice. Though Vives counsels the good wife to remain calm in her
remonstrations of husband made ill through relations with a concubine (Vives
[226]), his discussion of the event still clearly casts concubines as foreign
invaders bringing disease, through the husband, into the domestic space.
However, in the instance of male adultery, the housewife had the power, through
careful handling, to maintain the domestic order of things, by gently exhorting
her husband to better action and then by submitting to his will. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">23> The consequences of female
adultery imply that this act is more severely unnatural and so more essentially
foreign to the proper housewife. Not incidentally, the sections where Vives
discusses adultery by a wife are also where the strongest identification
amongst housewife, household, and country occur. In discussing the unnatural
behavior of the female adulterer, Vives asks, “What greater offence can they
do: or what greater wickedness can they infect them selves withal, that destroy
their countrey, and perish al lawes and justice, and murther their fathers and
mothers, and finally defile and marre all thinges both spirituall and
temporal?” (Vives 187). The destruction of the domestic space is quite
explicitly the destruction of all larger social orders as well, spreading out
of the family to encompass entire nations. In return, according to Vives’s
depiction of the natural order, all of those social spheres will revenge
themselves upon the wife who commits adultery. Closely mirroring his list of
the offended orders, Vives describes that “thy countrey folkes, all rightes and
lawes, thy countrey it selfe, thy parentes, all thy kinfolke, and thine husband
him selfe shall condemne and punish thee” (187-188). While concord in the house
is implicitly connected to the end of sedition in the city earlier in Vives’s
text, here Vives clearly shows the deeply unnatural behavior of adultery as
leading to ever greater and more unnatural disruptions–which then must turn on
the adulterer to restore any semblance of balance. The destruction of the
marital bond destroys the domestic space of the housewife. Thus, insofar as
that domestic space creates all others, its destruction must lead to a
reverberation through all social spheres touching the housewife’s own.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">24> Vives, Markham, and Jocelin
all assume the importance of keeping the housewife from transgressions and
reflect the currents of thought that linked transgression to contamination from
“foreign” influences. These concerns were important, though, specifically
because of the ways that the ideal housewife ought to reflect English identity.
Through her proper preservation and proper ordering of the domestic space, the
housewife could become the perfect symbol of England. She was, as an ideal,
paradoxically self-sufficient, self-contained, and also subjugated to her
husband – a perfect locus of control, who was somehow conceived of as both
totally self-controlled and totally controlled by someone else – specifically,
by her husband. As Christopher D. Gabbard surmises, in England, “patriarchalism
manifested itself both on the political and on the household levels. Depending
on the signs and symbols of monarchy for legitimizing the male’s household
rule, domestic patriarchalism became entrenched as England’s governing gender
ideology” (88). However, an important element of this manifestation of
patriarchalism in England was also the extent to which the monarchy depended on
the “signs and symbols” of male household rule to legitimize the ruling ideology.
While Elizabeth I’s rule complicated this structure to some extent, Montrose
emphasizes the ways that the power of the royal cult rested on “virginal,
erotic, and maternal aspects of the Elizabethan feminine [...] appropriate[d] from
the domestic domain [...]” (Montrose “Shaping” 64). Further, more poetic, less
practical texts than those discussed here, often dedicated to Elizabeth, came
back time and again to the idea that “the woman who has the prerogative of a
goddess, who is authorized to be out of place, can best justify her authority
by putting other women in their places” (Montrose “Shaping 76”); through this
logic, “[t]he royal exception could prove the patriarchal rule in society at
large” (Montrose “Shaping” 80). Thus the power of one royal woman emphasized
the importance of other women staying in their place; subordination of women
becomes ever more central to social stability. Whenever England was represented
as a domestic space, the housewife became an important anchor for that space,
and so the stability of her role influenced, conceptually, the stability of the
state. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">25> Vives particularly tends
to speak of the ideal housewife in terms related to the ideal state, a
connection made more significant by the patronage of his text by Henry VIII. Speaking
of the role of the wife, Vives writes that “[n]ature sheweth, that the males
duety is to succour and defend, and the females to followe and to waite uppon
the male, and to creepe under his ayde, and obey him, that shee may live the
better” (Vives 204). The wife is, of course, the subject, who must let herself
be governed by her husband’s reason; this is quite specifically the natural
order of things. This is, then, related to the natural social order, when Vives
directs the wife to “[l]et the aucthoritie and rule bee reserved unto thine
husbande: and bee thou an example to all thine house, what soveraignety they
owe unto him” (Vives 206-207). Through
the proper enactment of her role, the housewife reinforces patriarchalism – an
exact counter to the sort of extensive damage which results in these texts from
any disorder on the part of the housewife. Through her support of her husband,
sovereignty is enforced in the domestic space; her influence then enforces
sovereignty on each ascendant level of the social order. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">26> This stability also
functions symbolically to reinforce the domestic space and the domestic economy
of England. Markham provides the clearest and most explicit example of this in
his discussion of the English housewife’s role in making malt. This practice is
first linked to the space of the housewife, and so reinforces her domesticity,
the definitions of her identity, and her authority within her assigned space.
The making of malt, in Markham, is a locus for the intersection of both the
housewife’s power and for control of her power. Moving from that relationship
to space, then, the making of malt also becomes an action wherein the housewife
proves her ability to order her household, provides for the growth of that
household, and reaches beyond the household to order the world beyond. Markham
dictates that<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: 0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“It
is most requisite and fit that our housewife be experienced and well practiced
in the well making of malt, both for the necessary and continual use therof, as
also for the general profit which accrueth and ariseth to the husband,
housewife, and the whole family: for as from it is made the drink, by which the
household is nourished and sustained, so to the fruitful husband [...] it is an
excellent merchandise, and a commodity of so great trade, that not alone
especial towns and counties are maintained thereby, but also the whole kingdom,
and divers others of our neighboring nations.” (Markham 180) <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">27> The housewife must be
expert and practiced in the areas pertaining to her domestic space. Through her
expert management, she can guarantee the success and stability of her house.
Not only, then, does her influence within her house determine the behavior of
those within the household – children, husband, and servants – but her
influence can also actually affect the economy of the country. Thus, in
stabilizing her local or national economy, the housewife actively encourages
the kind of self-sufficiency of which she is a symbol. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">28> In addition to stabilizing
the English social system, though, the housewife also reflected the ways that
the English wanted to think about themselves and their national identity on a
more individualized level. This involved not only ideals of self-sufficiency,
but also much more exact qualities and virtues. Vives and Jocelin both reflect
the Christian nature of the English national identity, but the complications of
the situation between Vives’s original authorship and Hyrde’s translation, in
addition to the rapidly shifting landscape of English Renaissance religious
thoughts, mark the difficultly of generalizing across decades the various ways
in which the English housewife might be expected to practice religion.
Certainly, though, she was meant to align her beliefs with her husband’s and to
serve as an example to those within her household. Markham helpfully summarizes
that he wishes “English housewife [to] be a godly, constant, and religious
woman, learning from the worthy preacher, and her husband, those good examples
which she shall with all careful diligence see exercised amongst her servants”
(7). Again, her subjection to her husband creates a stability within the house,
the virtue of which is then transferred to those over whom she has control. Though
Markham was writing well after the English Reformation, there would likely be
some stability throughout the English Renaissance at least in the ideal that so
long as the housewife aligned with whatever she was told by her preacher and
her husband, she could effectively govern the beliefs of her household and
ensure that her domestic space was correctly aligned with the larger social
order. That the breakdown of stability and of religious coherence that
characterized the civil war was so often characterized in terms of unruly women
emphasizes the conceptual link between the housewife’s identity and the idea of
English stability and order. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">29> The elements of the
English housewife’s identity involved a promise that the housewife could be and
inspire more than even domestic stability or social hegemony. In protecting the
housewife from foreign influences that might corrupt her nature or her
Englishness, the domestic sphere could then serve as protective space for
English national identity. Through conduct manuals, moral treatises, huswifery
books, and countless other texts, authors sought to express the central nature
of the domestic space and, at the same time, to control that space. Fears of
foreign influence in both national character and national economy were then
acted out in domestic terms, so that the English housewife was encouraged to be
ever more self-sufficient and isolated, ever more dependent on her husband, and
ever more influential in society, simultaneously. As Vives, Markham, and Jocelin’s
texts reflect, English society invested enormous amounts of energy in
attempting to create a stable, safe identity for itself by crafting a stable,
safe identity for the housewife. So long as the housewife was “of chaste
thought, stout courage, patient, untired, watchful, diligent, witty, pleasant,
constant in friendship, full of good neighborhood, wise in discourse, but not
frequent therein, sharp and quick of speech, but not bitter or talkative,
secret in her affairs, comfortable in her counsels, and generally skilful in
all the worthy knowledges which do belong to her vocation” (Markham 8), England
itself could be assured of the preservation of its domestic security.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br /></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">WORKS CITED</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">Crane, Mary Thomas.
“‘Players in your huswifery, and huswives in your beds’: Conflicting Identities
of Early Modern English Women.” <i>Maternal
Measures: Figuring Caregiving in the Early Modern Period</i>. Ed. Naomi J.
Miller and Naomi Yavneh. Burlington: Ashgate, 2000.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">Dowd, Michelle M.
“Leaning Too Hard Upon the Pen: Suburb Wenches and City Wives in <i>Westward Ho</i>.” <i>Medieval and Renaissance Drama in England</i> 15 (2003): 224-242.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">Gabbard, D.
Christopher. "Gender Stereotyping in Early Modern Travel Writing on
Holland.” <i>Studies in English Literature</i>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">Hall, Kim F.
“Culinary Spaces, Colonial Spaces: The Gendering of Sugar in the Seventeenth
Century.” In Traub, Kaplan, and Callaghan. 169-191.<o:p></o:p></span></div>
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London, 1624. <i>Early English Books Online</i>.
Web. 10 August 2015. <o:p></o:p></span></div>
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R. Best. Montreal: McGill-Queen’s UP, 1986. <o:p></o:p></span></div>
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Adrian. “The Elizabethan Subject and the Spenserian Text.” <i>Literary Theory/ Renaissance Texts</i>. Ed. Patricia Parker and David
Quint. Baltimore: Johns Hopkins UP, 1986. 303-340. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">Montrose, Louis
Adrian. “‘Shaping Fantasies’: Figurations of Gender and Power in Elizabethan
Culture.” <i>Representations </i>2 (1983):
61-94.<o:p></o:p></span></div>
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Christopher. “The Rhetoric of Corporeality and the Political Subject:
Containing the Dissenting Female Body in Civil War England.” <i>Women as Sites of Culture: Women’s Roles in
Cultural Formation from the Renaissance to the Twentieth Century</i>. Ed. Susan
Shifrin. Burlington: Ashgate, 2002. 9-24.<o:p></o:p></span></div>
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“Private Life and Domesticity.” <i>A Concise
Companion to English Renaissance Literature</i>. Ed. Donna B. Hamilton. Maiden,
MA: Blackwell, 2006. 160-179.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">Traub, Valerie, M.
Lindsey Kaplan, and Dympna Callaghan. <i>Feminist
Readings of Early Modern Culture: Emerging Subjects</i>. Cambridge: Cambridge
UP, 1996.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">Wall, Wendy. “Blood
in the Kitchen: Violence and Early Modern Domestic Work.” <i>Women and Violence in the Early Modern Period: Essays in Honor of Paul
Jorgensen.</i> Eds. Linda Woodbridge and Sharon Beehler. Tucson: U of Arizona
P, 2002. 329-360. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">Vives, Juan Luis. <i>The Instruction of a Christian Woman</i>.
Trans. Richard Hyrde. London, 1585. <i>Early
English Books Online</i>. Web. 3 Nov 2012.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: Calibri;">Rebecca M. Quoss-Moore</span></b><b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: Calibri;"> </span></b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: Calibri;">received her PhD from the University of Arkansas in
2016. Her dissertation on subversive translation and transcription in the
Henrician Court prioritized examination of women’s strategies in manuscript
production. Her essay “Education and Agency in <i>The Miseries of Mavillia</i>”
is forthcoming in <i>Explorations in Renaissance Culture</i>.<o:p></o:p></span></div>
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<b><i><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-fareast-font-family: Calibri;">APPOSITIONS:</span></i></b><b><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-fareast-font-family: Calibri;"><o:p></o:p></span></b></div>
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<b><i><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-fareast-font-family: Calibri;">Studies in Renaissance / Early Modern Literature and Culture</span></i></b><b><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-fareast-font-family: Calibri;">,</span></b><b><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-fareast-font-family: Calibri;"><o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-fareast-font-family: Calibri;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,
ISSN: 1946-1992,</b><b><o:p></o:p></b></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="margin-left: 0.5in; text-align: center; text-indent: -0.5in;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-fareast-font-family: Calibri;">Volume Nine (2016): <i>Texts & Contexts</i></span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;"><o:p></o:p></span></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-7922149945572490932016-08-16T17:15:00.003-07:002016-08-29T22:01:25.950-07:00Andie Silva: "More’s Utopia as Cultural Brand"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Andie Silva<o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><a href="https://www.york.cuny.edu/" target="_blank">York College (CUNY)</a><o:p></o:p></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Counterfeit Letters and Fictional
Trials:<o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b><span style="font-family: "times new roman" , "serif";">Thomas More’s <i>Utopia</i> as Cultural Brand</span></b><span style="font-family: "times new roman" , "serif";"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">1>
Thomas More’s <i>Utopia</i> (1516) remains a
text that defies straight-forward interpretations. Is it a political tract, a
philosophical reflection, a Humanist satire, or some unique combination of
these styles? As More himself disdainfully acknowledges in his prefatory letter
to Peter Giles, <i>Utopia</i>’s failure or
success relies on “the natures of men [which] be so divers” that, at best, they
are sour and unpleasant and, at worst, “so narrow in the shoulders that he can
bear no tests nor taunts” (<i>A Fruteful,
and Pleasaunt Worke of the Beste State of a Publyque Weale</i>, 1551, A3r).
Alongside the overwhelming number of paratextual materials which accompany each
edition of <i>Utopia</i>, this letter points
to the work’s tantalizing instability. More is at once overzealous about
shaping his work’s reception and self-aware about the impossibility of
authorial control. Regardless of what genre we choose to assign to it, <i>Utopia</i> may be primarily a work about
mediation.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">2>
While there is still controversy about what properly defines “utopia” as a
genre, modern critics acknowledge that the term typically describes a style blending
travel narrative, political ideology, and prose fiction.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[1]</span></span><!--[endif]--></span>
Due to its innovative structure, Paul Saltzman argues that the Utopian genre
can only be understood from a modern perspective, since “More’s <i>Utopia </i>itself seems to have been
interpreted in the early seventeenth century not so much as a particular kind
of prose fiction as a particular kind of concept [...] as a model of argument
rather than a creator of a genre” (29). This article intervenes in the debate
around <i>Utopia’</i>s genre by arguing that
marketing and design practices developed by printers, publishers, and editors
(henceforth “print agents”) contributed to making <i>Utopia</i> not only a recognizable genre but a brand name in its own
right. Print agents took advantage of <i>Utopia</i>’s
malleability by shaping the book’s paratexts to attract their own
pre-established markets. Eventually, each editorial change aided in branding <i>Utopia</i> as part of a recognizable set of protocols
that could be sustained independently of More or his original narrative.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">3>
<i>Utopia</i>’s print agents faced the
challenge of not only marketing a text by a controversial author (and potential
traitor to the crown), but also of instructing their readers on the
peculiarities of this new style. Published in English seven times and
translated twice between 1551–1639 (Ralph Robinson’s translation, which was
printed in 1551, 1553, 1597, 1624, and 1639; and Gilbert Burnet’s anonymous
translation printed in 1684 and 1685), the work addressed conflicts between past,
present, and future England by engaging with socio-political dissatisfactions and
theorizing on the nature of place and nationhood. As a product of the work of
print agents and, later, an iconic signifier for cheap-print pamphlets about
the Civil War, the word “utopia” grew to become an iconic cultural brand for
the early modern reader—one which could represent (and also disrupt) the status
quo and challenge readers to re-interpret not only literary texts but the very
makeup of English politics.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[2]</span></span><!--[endif]--></span>
To understand how print agents’ specific strategies functioned to give <i>Utopia</i> its market and cultural value, we
may turn to marketing theory on iconic brands, as outlined by Douglas B. Holt
in <i>How Brands Become Icons</i> (2004).
Modern marketing theory provides us with a unique vocabulary with which to
identify the deliberate strategies print agents used to define their markets.
Holt’s concept of “cultural branding” is particularly helpful in explaining how
and why print agents managed to make Utopia such a pervasive and long-lasting
influence in early modern culture and politics. A brief overview of what
defines a product as a brand (rather than simply a useful material object) is
thus necessary. <o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">4>
Market theorist F. J. Levy argues that marketing offers foremost a symbolic
value: the work of ad men is less to prove a product’s superiority but rather
to demonstrate how the product impacts the consumer’s own life. So, for
example, a print agent advertising <i>Utopia</i>
cannot simply take advantage of the popularity of travel narratives; in order
to “sell” he must also offer consumers a unique, new value that distinguishes
More’s work from other publications. Building on this, Holt suggests that what
elevates a product to a brand is in part its capacity to engage in social
change, offering idealized solutions for the most current social anxieties.
Holt conceptualizes “iconic brands” as those that are able to transcend
fleeting popularity and become part of the consumer’s everyday cultural
experiences. His case-studies include Coke, Budweiser, and Harley
Davidson—American brands that have established themselves as a memorable part
of mass culture across different generations and historical contexts. These
iconic brands have, following Holt, reached a status of cultural branding that
has made their product and social message instantly recognizable even to
non-consumers (e.g. Coke’s message of cross-cultural diversity as exemplified
by ads like Mean Joe Green’s “Hey Kid, Catch!”). Successful cultural branding must
therefore present a unique story or identity that adapts to the consumer’s
social, ideological, and historical needs. According to Holt, cultural icons
typically feature:<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><b>·</b><span style="font-stretch: normal;">
</span></span><!--[endif]--><span style="font-family: "times new roman" , "serif";">a
reliable story, or “identity myth,” that addresses current social anxieties (39
ff.);<o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><b>·</b><span style="font-stretch: normal;"><b> </b>
</span></span><!--[endif]--><span style="font-family: "times new roman" , "serif";">versatile
historical awareness, wherein the brand becomes “a historical entity whose desirability
comes from myths that address the most important social tensions of the nation”
(38); and<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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</span></span><!--[endif]--><span style="font-family: "times new roman" , "serif";">“cultural
and political authority,” that is the credibility to participate in social and
political conversations (95 ff.)<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">5>
When these elements combine, the brand becomes an active, recognizable part of
popular culture by inviting the consumer to see herself as a trusted investor,
responsible for sustaining the brand’s reliability and longevity. Identity
myths combine the brand’s material elements and its identity values: while each
product will have specific qualities that distinguish it from other
competitors, these elements, or “markers” only mean something to an audience
when they can be used to tell a specific story.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[3]</span></span><!--[endif]--></span>
This is a key factor for understanding how print agents marketed <i>Utopia</i> and the ways the text lent itself
to new kinds of packaging and interpretations.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">6>
According to Holt, the ability to open up spaces for dialogue and dissent is
the mark of a cultural icon. Iconic brands stand out by their populist appeal;
they do not represent the ruling class or prevailing ideologies but instead
“are usually set in populist worlds: places separated not only from everyday
life but from the realms of commerce and elite control” (9). As a result,
brands become cultural icons because of their ability to fabricate an ideal: a
story that is believable enough to attract the consumer, but unlikely enough to
provoke the spark for concrete social change. Within this perspective, <i>Utopia</i>’s fiction can be said to invite readers
to “address cultural anxieties from afar, from imaginary worlds rather than
from the worlds that [they] regularly encounter in their everyday lives” (8).
If <i>Utopia</i> accomplishes this
successfully across multiple and distinct moments in English history, much
credit goes to the enterprising labor of each print agent.<o:p></o:p></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">C<span class="FootnoteSymbol">reating
a National Brand</span><o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="FootnoteSymbol">7> The first Latin
edition of <i>Utopia</i> was printed in 1516
by Dirk Martens and, as indicated by the numerous prefatory letters, emerged
from the collaboration between Thomas More, Peter Giles, and Erasmus. Three
more editions appeared in 1517 and 1518 (in that year Johannes Froben printed
two consecutive editions) overseen by More and Erasmus. No Latin edition
contains the same paratextual materials in quite the same order, and many
editions add or omit paratexts with no apparent organizing logic. In addition
to the two books that compose the body of the text, the first edition includes
letters from More to Giles, from Giles to Jerome Busleiden, from Busleiden to
More, and from Johannes Paludanus to Giles.</span><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif";"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[4]</span></span><!--[endif]--></span></span><span class="FootnoteSymbol"> This first edition additionally contains: a meter in the
“original” Utopian tongue; verses by the supposed poet laureate of Utopia; a
verse from humanist Cornelius Grapheus to the reader; a Utopian alphabet
(presented by Peter Giles); and a map depicting the island. In the second edition, printed in 1517 in
Paris, More adds two more letters: one from Jerome Budé to Thomas Lupset and a
second letter to Peter Giles. He also removes the Utopian poem and alphabet. One
more letter is added to the 1518 edition, where Erasmus addresses their new
printer, Froben. The abundance and variety of prefatory letters in More’s <i>Utopia</i>
no doubt provided an open invitation for future print agents to act as editors,
compilers, and critics. Although scholars have discussed at length the
significance of the original paratexts in particular, and <i>Utopia</i>’s literary contributions in general, a closer analysis reveals
that print agents had a unique role in marketing the text to middle-class
buyers and readers.</span><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif";"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[5]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif";"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="FootnoteSymbol">8> The first two
English editions of <i>Utopia, </i>printed
by Abraham Vele, highlight the work’s appeal to the middle-class book buyer
while simultaneously downplaying More’s own controversial status. As David Weil
Baker rightly claims, the title-pages of the 1551 and 1556 editions respectively
undermine and re-establish translator Ralph Robinson’s social position by
presenting him first as a “citizen and goldsmith of London” and then as
“sometime fellowe of Corpus Christi college in Oxford.” While Baker ascribes
this editorial choice to Robinson, Abraham Vele likely played a significant
role in composing these title-pages. </span><span style="font-family: "times new roman" , "serif";">A
profitable and savvy printer, Vele knew to re-package the work to make it
appeal to a broader variety of tastes, presuming perhaps that most of his
potential buyers might be more interested in <i>Utopia </i>as a New World
travel narrative, and not for its Humanist values.<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="FootnoteSymbol">9> As the allusions
to Diogenes and frequent references to More’s broader Humanist connections
indicate, Robinson’s prefatory letter reveals a desire to reach a Humanist audience.
Vele, however, sets the full title of <i>Utopia
</i>to function with and against Robinson’s dedication, disrupting and
reframing his high-literature persona. The title maintains a linguistic
semblance to the original Latin title, and was likely submitted by the
translator: <i>A fruteful, and pleasaunt worke of the beste state of a publyque
weale, and of the newe yle called Vtopia</i>. The attribution that follows
advertises Thomas More as a “knyght,” while Robinson is a “citizen and
goldsmyth of London,” and his friend Tadlowe is a “citizen haberdasher of the
same cittie.” Since the Latin title refers to More as “the distinguished and
eloquent author Thomas More citizen and sheriff of the Famous City of London”
(Kinney 34), the choice of appellatives does not seem to stem from Robinson’s
translation. Instead, Vele’s choice draws a direct connection between the
author and translator’s social status and his potential readers’ own
middle-class background. His title-page targets two markets at once: the
ambitious readers who would want the association with trendy, popular
literature and those who want to feel that this access is within their reach,
produced by citizens whom, like them, aspire to aristocratic connections.</span><span style="font-family: "times new roman" , "serif";"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="FootnoteSymbol">10> The popularity of the first printed edition, coupled with the
ascension of a Catholic ruler in 1553, must have encouraged Vele to produce a
new edition of <i>Utopia. </i>The title-page for the 1556 edition more
explicitly advertises <i>Utopia </i>as a literary, cultural product. Under
Queen Mary, now-Catholic-martyr More can be praised as “<i>the right worthy and
famous</i> Sir Thomas More knight” (emphasis mine), while Robinson earns the
distinction of a “fellow of Corpus Christi College in Oxford.” Besides being
“newly perused and corrected,” the second edition further boasts of “divers
notes in the margins,” most of which are translated from the Latin and some
which were added by Robinson himself. In addition to translations of the
original paratextual materials (including some letters and poems), this edition
features an epistle from Vele himself, labeled “the printer to the reader.”</span><span style="font-family: "times new roman" , "serif"; mso-bidi-font-style: italic;"> </span><span style="font-family: "times new roman" , "serif";">In this closing address, Vele
apologizes to his readers for not including the Utopian alphabet to which Peter
Giles refers in his letter to Jerome Busledein (in this edition the letter
immediately precedes Vele’s addendum). Vele in turn claims that “I have not as
yet the true characters or fourmes of the Utopiane letters [...] seyng it is a
tongue to us muche straunger then the Indian, the Persian, the Syrian, the
Arabicke, the Egyptian, the Macedonian [...] etc” (ns). By adding this note, Vele
chooses to actively participate in More’s satire, promising the appearance of
something he certainly knew was not real. Even if Vele had seen a Latin or
continental edition containing the printed alphabet, his note deliberately
compares the Utopian tongue with real-world languages and joins in the dialogue
of the letters by referring specifically to Giles’s letter appended before the
poems. <span class="FootnoteSymbol">Furthermore,
Vele’s epistle also functions as a playful marketing move towards a possible
third edition, presenting Vele as a print agent engaged in using his personal
resources to improve and enhance his publications. <o:p></o:p></span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="FootnoteSymbol">11> Vele’s participation in the ruse, and not simply his note
promising more paratexts, helps reinforce <i>Utopia</i>’s market value as
satire. In order to solidify the unique story this text presents and give it an
identity myth, Vele lends his own credibility to the fiction. Savvy readers
would eventually learn to recognize through paratextual materials what
distinguished <i>Utopia</i> from other available travel narratives: depending
on its framing devices, the work opened itself up to new contexts, new social
circles, and even new social critiques.</span><span style="font-family: "times new roman" , "serif"; mso-bidi-font-style: italic;"> </span><i><span style="font-family: "times new roman" , "serif";">Utopia</span></i><span style="font-family: "times new roman" , "serif";">’s popularity for both printers
and readers appears to die out for over forty years, but interest in More and
his ideal commonwealth must have remained strong, particularly as the political
threat associated with More’s name began to dissipate. Hence, the work’s
identity myth accordingly began to lose its more explicit allusions to the
humanist project in general, and More’s politics in particular. In the three
editions discussed below, we may see <i>Utopia</i>
working across a new set of historical contexts.<o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">12>
Thomas Creede’s edition at the end of the sixteenth century is modest yet
powerful evidence that <i>Utopia</i>’s
popularity continued to justify new publications. Creede, who often financed
his own publications, published his reprint in 1597 without modifying much from
Vele’s 1556 edition—choosing to leave out only Vele’s and Robinson’s envoys to
the reader.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[6]</span></span><!--[endif]--></span> <span class="FootnoteSymbol">Creede’s edition
is nonetheless an important turning point. As the House of Stuart rose to the
throne, English citizens began to experience increasing political
instabilities. The constant clashes between the Privy Council and the king
would eventually lead to Civil War. Amidst this political mine field, print
agents’ marketing strategies expanded the context of <i>Utopia</i> beyond a
topical, widespread critique of Henrician politics, making it more appropriate
to their current political climate. </span>The Utopia<i> </i>brand begins to solidify in the popular
imagination by becoming a constant amongst political and social changes in
England. As a new generation of readers became invested in such changes, print
agents adjusted the text’s identity myth to meet the needs of their growing
market.<span class="FootnoteSymbol"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="FootnoteSymbol">13> </span><span style="font-family: "times new roman" , "serif";">Bernard
Alsop, Creede’s former apprentice, is responsible for the next edition of <i>Utopia</i> in 1624. He makes the crucial
decision to change the title of his edition, effectively using the text’s most
iconic marker to create a simple, recognizable brand name: “Sir Thomas More’s
Utopia” appears atop the title-page, highlighting the word “utopia” in capital
letters. Alsop reframes the text to call attention to its recognizable literary
inheritance—an important element for the brand’s value—by including a
frontispiece with a large engraving of More and, below it, an inscription in
Latin. This title-page describes More as “right honorable and worthy of all
fame” and “lord Chancellor of England,” in line with Alsop’s evident interest
in rescuing the author’s historical importance and political authority. The
Latin inscription further helps readers associate More with the classical
tradition. Even for a reader unable to understand that the inscription praises
More’s sacrifice as a Catholic martyr, Alsop’s choice of Latin immediately
inscribes the work as a valuable literary commodity. Although Alsop, like Vele
and Creede before him, begins with the commonplace announcement that this new
edition is “newly corrected and purged of all errors happened in the former
editions,” this print agent is much more invested in reinventing <i>Utopia</i> as a recognizable brand name.<i> </i>As Holt explains, “brands that author a
successful myth earn the right to come back later with new myths that touch on
the same cultural concerns” (125). Alsop realizes that <i>Utopia</i> is by now a marketable name, and that it therefore merits a
new history. The repackaging extends beyond the branding title “Utopia” and the
engraving of More on the title-page: it is further reinforced by Alsop’s
dedicatory epistle to Cresacre More, Thomas More’s great-grandson, who was then
working on a biography of More.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[7]</span></span><!--[endif]--></span><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">14>
<span class="FootnoteSymbol">Inheritance
is an important theme for Alsop, and his dedication highlights both lineage and
literary status as essential qualities of the More family. The print agent
defines his motives as “noble,” and purely in the interest of preserving the
text as Cresacre’s birth right. Alsop attaches the “honorable pedigree” carried
by the More family to the book’s own virtues, which as a genre is “yet
unparalleled in that nature” and thus deserves to be shared with a new
generation of readers (A2). To fuel interest for a book whose popularity was
already established, Alsop builds up its historical value as an English
landmark. In a surprisingly elitist move, Alsop claims that failing to dedicate
the work to Cresacre would be “a theft of the worst nature [...] and I might as
well take from you the Lands of the Honorable and auncient Family of Cresacre
(with which God and your right hath endowed you) as bestow upon a stranger this
glorious Commonwealth” (A2v).</span> <span class="FootnoteSymbol">By elevating the book to the value of an
inheritable commodity, the print agent highlights <i>Utopia</i>’s material and
social attributes. The reader who owns this copy can feel like he is part of
this cultural inheritance even if he does not own lands and cannot claim any
rights to the work itself. This in turn makes the book at once old and new:
reclaiming More’s lineage and history is an innovative strategy that only works
because <i>Utopia </i>is by now far removed from More’s reputation as traitor
and his problematic Catholic identity. <o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="FootnoteSymbol">15> Whereas Abraham Vele had to devise specific marketing strategies
to frame the work as accessible to the middle-class buyer, Alsop moves somewhat
in the opposite direction, building an established, aristocratic lineage for
the book and its author. At the same time, however, Alsop also makes the work
highly attractive to readers who might see books as status symbols. While each
print agent highlighted the social capital of <i>Utopia</i>, their unique
contexts expand the amount and variety of readers, always inviting new groups
to identify with the brand’s identity myth.</span><span style="font-family: "times new roman" , "serif";"> By purchasing the book, the
reader also buys into More’s rebranded status as literary, cultural, and English
inheritance. In many ways, this is the edition that truly brands <i>Utopia</i> (and, in turn, More) as the text
(and author) we know and edit today. As Holt has argued, the power of the brand
resides not simply in the product, but in its ability to renew itself according
to new consumers, new identities, and new contexts. It is not until 1624 that <i>Utopia </i>can emerge as a canonical text,
with a praised author and a long, venerable history. <span class="FootnoteSymbol">Once <i>Utopia</i>
becomes established as genre representative of satirical criticisms of
government,<!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-style: italic; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[8]</span></span><!--[endif]-->
the association with More fades into the background, leaving only a generic
brand reference that authors and print agents can apply to various literary and
marketing contexts.</span><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">16>
Political and social discontent had grown exponentially during the time between
1624, when Alsop first reprinted and rebranded <i>Utopia</i>, and 1639, when he decided to put out his second edition of <i>Utopia</i>. England was facing increasing
poverty, loss in international trades, and out-of-control population growths.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[9]</span></span><!--[endif]--></span> The growing
conflicts between Parliament and Charles I brought on popular dissatisfaction
and domestic unrest, whereas the Bishops’ War of 1639 ominously foretold an
imminent Civil War. If Thomas More’s controversial status sometimes clouded <i>Utopia</i>’s true message, Alsop’s
rebranding in 1624 allowed the author’s history to fade away from the book’s
new packaging. By his second edition, new social conflicts encouraged Alsop to foreground
the ideological connotations of the work. Evidence of the print agent’s
constant renegotiation of his brand, Alsop’s 1639 edition changes the title
once more, this time highlighting the island’s political structure: <i>The Commonwealth of Utopia</i>. By
re-focusing the new edition on its central narrative, and not so much on
patronage or authorship, Alsop is able to remind English readers that the story
(or identity myth) told by <i>Utopia</i>
provides a space in which to rehearse their political and social anxieties. The
island of Utopia, after all, held a government that hid under its “ideal
commonwealth” a harsh control of its citizens, closed borders, and non-existent
property laws. Although he addresses the same patron, Alsop’s new dedication to
Cresacre More is much more subdued and appears less invested in reinforcing the
text’s aristocratic values. This edition is trimmed of its paratexts as well,
omitting More’s letter to Giles and all the poems that close the work after
Book II. Alsop likely felt that a government-themed <i>Utopia </i>would better cater to his reader’s interests, and reworked
the edition to step away from the text’s more ironic and playful aspects to
focus instead on its political relevance. Holt argues that the most iconic
brands help its consumers imagine resolutions for the anxieties brought on by
“tensions between ideology and individual experience” (57); in this case,
tensions between what the national, English ideal was supposed to represent
(lawfulness, monarchy, economic superiority) and what citizens were experiencing
(injustice, poverty, an overbearing government). <i>Utopia</i>, even as it fails to resolve any of these conflicts,
provides room for conversation and hope for reform.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[10]</span></span><!--[endif]--></span> By
removing the additional paratexts and changing the title once more, Alsop
shifts <i>Utopia</i>’s themes to attend to
the interests of his market. The new title signals a different marketing
approach that helps potential readers recognize the political capital of
Alsop’s new edition.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[11]</span></span><!--[endif]--></span><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">17>
<i>Utopia</i> thus became an iconic brand as
a result of its unique textual production history, the ever-changing status of
its polarizing author, and a malleable yet attractive identity myth. Taking on
anxieties about More as historical and political figure; the expansion of the
New World; and English political instability, the print agents responsible for
circulating More’s <i>Utopia</i> created a
unique identity myth that could be immediately recognizable and yet could just
as easily lend itself to new interpretations. A thorough look at the history of
<i>Utopia</i>’s English editions demonstrates
this brand-making process. Vele and Robinson at first attempted to legitimize
the work while still making it appeal to a middle-class public; Alsop repackaged
More and his text as English literary landmarks. By the end of the seventeenth
century, the word “utopia” could be used to label anything that referred to a
remote location, an ideal society, or a political complaint.<o:p></o:p></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Generic Cultural Branding<o:p></o:p></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">18>
If we are to fully understand the staying power of utopia as a name-brand, we
must broaden our definitions of the kinds of popular texts <i>Utopia </i>eventually influenced. Gary Saul Morson acknowledges that
“nonliterary (tractarian) utopias have been important in establishing the
conventions according to which utopian literary works have been interpreted,
and so have helped constitute the generic tradition” (78). Yet, Morson
qualifies this point by claiming that a distinction must be made between
ideology and fiction, since the latter need not provide supporting evidence or
historical groundwork for its claims. This distinction between fiction and
nonfiction, however, is blurred in the case of ephemeral pamphlets, which were
produced to address specific historical moments and yet often did so under the
guise of a fantastical story. The pamphlets discussed below take on
pre-established reading protocols from <i>Utopia</i>,
building on readers’ previous knowledge to construct new stories. In doing so,
they manage to extract <i>Utopia</i>’s most
abstract markers and apply them generically to vague (often ironic) concepts of
justice, religion, and lawfulness. This generic marketing approach relies on
the “reduction of the brand to a handful of abstract concepts” (Holt 20),
effectively employing protocols that guide book-buyers toward books that can
increase their social capital. Even if they have no direct link with More’s
original work, these generics help connect readers with the growing genre and
advance the English identity myth created by its previous print agents.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">19>
Arguably, one of the features that distinguish More’s work from other fictional
ideal worlds (and makes it a cultural icon) is its political exigency. The
narrative depends on the constant production and denial of expectations: More
is the voice of the preface, but he is not Morus, the narrator; Giles and his
fellow humanist collaborators testify to the fictional island’s existence only
to make it absurdly unreal; Morus describes the ideal commonwealth only to
reject it at the end, and so on. This assertion and denial process forces the
reader to question not just where or what Utopia<i> </i>is, but what is “ideal” (and whether that ideal is even
desirable). This quality separates More’s narrative from other contemporary
English works that represent more straight-forward ideologies or imaginary
voyages. It is precisely this feature that benefits these brand generics and in
the seventeenth century gives print agents, writers, and readers a place to
confront the political instabilities of the Civil War. The anonymous <i>The King of Utopia his letter to the
Citizens of Cosmopolis, the Metropolitan City of Utopia</i> (1647) is perhaps
the best illustration of such a trend. <i>The
King of Utopia </i>may be the first appearance anywhere of a work marketing
itself as a “<i>Utopia</i> generic”: it
takes up the brand created by <i>Utopia</i>’s
print agents<i> </i>and uses it to advertise
a different text altogether.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">20><i> The King of Utopia </i>utilizes the word
“utopia” both in its paratext and as part of its narrative, introducing a fictionalized
political context (and imitating the utopian genre) without any interest in
recreating More’s narrative or furthering the fictional island of Utopia. If
indeed the first reference to <i>Utopia</i>
as a form of branding does not appear before the mid-seventeenth century, this
pamphlet may be concrete evidence that Bernard Alsop’s 1624 edition was centrally
responsible for branding the work with its single, most recognizable marker.
The name “utopia,” at first a direct reference to the island of Utopia, becomes
a generic reference that could be used to market and describe texts that
tackled political ideology by creating fictional worlds. That this text is
written after the beginning of the Civil War is also an important marker, since
the island Utopia will serve as an imaginary location for resolutions on both
sides.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[12]</span></span><!--[endif]--></span> <i>The King of Utopia</i>’s anonymous author
and fictional translator claims to have found two letters, both written
originally in the Utopian tongue: in the first, Cosmopolis’s King justifies his
absence to his citizens, revealing the circumstances (and individuals) that
have kept him from returning to the city. The Citizens’ response follows suit,
urging the king to return and promising him that a loyal and supportive people
await him in Cosmopolis. Most of the pamphlet is overtaken by obscure
references and metaphors. The King never directly explains who or what has “so
puzzled my pentarquie” (A1) or what events could actually bring him back to the
throne. The King’s mention of his pentarquy should clue in the reader that this
is an “every man” monarch, intended as a universal figure representative of all
Christian kingdoms. The King proclaims his own fictional yet particularly
English identity, citing a maxim of state “observed ever since that beautifull
English <i>Moore </i>made <i>Utopia</i> a Monarchy” (A1v). The Utopia
named in this pamphlet is simultaneously a fictional and a real place—the king
and his citizens recognize themselves as Utopian in the same sentence where
they point to the pamphlet’s parent text and author.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[13]</span></span><!--[endif]--></span>
The generic-branding reference to More functions to indicate that Utopia is not
simply an ideal “no place”; instead, it is an in-between space where the reader
can confront his anxieties about the return of monarchy.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">21>
The King’s letter urges his citizens to hope for his return, but also to
understand the extreme strain under which he finds himself both physically and
mentally: “I am retarded, anticipated and restrain’d from my intentions [...] my
thoughts are as Civil War within my breast, like evil members in a good
commonwealth” (f.2). The absent monarch embodies the land itself, placed under
a domestic conflict that he cannot resolve without his citizens. Reality and
fiction coexist in this generic Utopia: the author, masked as translator, uses
a fictional location to give voice to English struggles. In this imagined
scenario, the nostalgic reader can share with the King a longing for his
return, and read his own feelings reproduced in the citizens’ letter. Of
course, part of <i>Utopia</i>’s identity
myth is that it challenges a straight reading. Its contradictions force the
reader to question the government being portrayed and to look for a solution to
the problem of interpreting the text. The author of <i>The King of Utopia</i> attempts a similar double-move, obscuring the
King’s true meaning behind metaphors as well as a faux-translator’s
deliberately poor interpretations. The two letters appear to be intentionally
convoluted, are often absurd and overly symbolic, and make it almost impossible
to extract anything beyond the fact that the King seeks to return and that the
citizens are ready to receive him.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[14]</span></span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">22>
The citizens’ answer reinforces this circular language by expressing their loss
in a series of paradoxes:<o:p></o:p></span></div>
<div class="StandardCxSpMiddle" style="margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle" style="margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">“we mourne without sorrow, starve
with satiety, weep and laugh, move yet sit still, fast and feast [...] be not then
(as our most pious physitian) negligent, but speedily yield thy royall remedy
to our unstable (and infirme) condition [...] regulate our libertie, and captivate
our senses in the service of thy vertues: let the memory of our learned
Licurgus, that unparalel’d mirror of his time, the glory of his nation, make us
more Lovers of Moor for this institute of our Utopian commonwealth [...] briefly he in our monarchy drew the picture
of al happy governments, and our ingrateful hands have disfigured the figure […]”
(f.5-6)<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">23>
The repetitive references to More and his work insist on reminding the reader
that More’s island in <i>Utopia </i>was an
ideal monarchy and not a commonwealth: the citizens long for a return to its
original “picture of al happy governments.” <i>The
King of Utopia</i> works precisely because it is so vague; by hindering a
straight-forward interpretation, the paradoxes force the reader to add his own
personal experience so as to create any meaning. The brand Utopia is only a
promise of resolution, a hope for addressing anxieties; it does not need to
offer an actual fix. As Richard Halpern observes, the function of the genre is
to create tension: “the island itself is constructed as the representation of
desires it cannot locate and of which it cannot take account” (149). This in
turn leads the reader to confront and address dangerous revolutionary desires,
locating them inside the text and eventually finding ways to express them in
the real world.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">24>
Although <i>The</i> <i>King of Utopia</i> pretends to discuss political ideals in a fictional
context, it concludes by forcing the reader back into reality. The text
switches from paradoxical metaphors to sharp irony as the reader is led away
from the fictional world of Utopia and reminded of the actual author of the
text. The “Postscript from the Translator to the Reader” offers a sarcastic
apology for the bad translation, claiming that although the translator “is not
wel vers’d in the Utopian tongue,” he is nonetheless supposed to be the best reader
of Utopian in England (f.5). Despite their questionable quality as literary
texts, “these letters being of such consequence, [they are] well worthy to be
read by English-men” (ibid.). Once more, the issue of language and
communication is a key element for the genre, as it gives the narrative a
national, English identity. The translator goes as far as suggesting that
Utopia has now been colonized by both the reader and the translator, as it
“learn’d to speake English (by an English quill).” The pamphlet never pretends
to offer an answer to the reader’s frustrations, focusing instead on
highlighting the ways in which England is “broken” and only England’s king and
its citizens can fix it. Because the reader is invited to identify with the
citizens in the letter, he is encouraged to act like them and demand real
change. Manuel and Manuel argue that the Utopian thought became popular during
the Civil War because writers could use it to demand action from others:
“Utopians, often people without political weight or authority, cling to the
hope that men of great power will put into practice and make real the ‘idea’
that they, the superior creators, have invented” (332). This notion applies to
the generic brand as well, since the Utopia in <i>The King of Utopia</i> serves as a point of reference for “symbolic
resolutions” (Holt 58). This is one of the important ways in which, according
to Holt, a brand can be recognized as a cultural icon: it serves to tell a
story that gives voice to, and thus helps placate, social anxiety. The author
of this pamphlet makes use of More’s identity myth of irony, paradox, and
political reform to expose the incoherencies caused by the Civil War.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[15]</span></span><!--[endif]--></span> <o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">25>
The author additionally mimics More by supporting the narrative with his own
satirical paratext.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[16]</span></span><!--[endif]--></span>
A false errata list, which “the translator and printers amends [sic] for
mistaking,” offers made-up page numbers and critical corrections for a number
of controversial terms:<o:p></o:p></span></div>
<div class="StandardCxSpMiddle" style="margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle" style="margin-left: 1.0in; mso-add-space: auto;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">“page 103. Line 50. For a good
thing read <i>a true subject.</i> Page 883.
Line 75. For Tyranny, read <i>Taxations.</i>
Page 68. Line 15 for Burglary read <i>Plunder</i>,
Page 94. Line 101. For Common-wealth read <i>Committee.
</i>Page 115 for Service read <i>Sacriledge.
</i>Page 40. line 100. For Bishop read <i>Presbyter.</i>
Page 56 line 80 for Pulpit read <i>Tub. </i>Page
37. Line 64 for Preaching read <i>Prating</i>”
(f.5v)<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">26>
These corrections allow the text to speak more explicitly about the print
agent’s complaints against Parliament by singling out specific groups
(“committees” like the Committee of Examinations, and “Presbyterians,” who
sought to overthrow the Episcopalian bishops and, with them, the king) and
social abuses (like excessive “Taxations” and the “Plundering” of lands from
those who did not support Parliament). While the language of the fictional
letters is cloudy and twisted with metaphors, the printer and the
author/translator (who might well be the same person) stand out as the true
authors of the text.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">27>
By calling attention to the errata, the print agents grant textual production a
central role: the peripheral details (the colophon, note from the translator,
errata lists) in fact contain the pamphlet’s true message. Further, by virtue
of being paratextual, these additions can escape the fictional world and speak
directly to the reader. Despite the satirical tone, the pamphlet delivers its
message on the title-page (“England is by th’ English broken”) and in the
closing errata. Citing a number of texts that use errata lists and admissions
of error as symbolic metaphors for the reading process, Michael Saenger points
out that error “is usually used as a means of asking the reader to see beyond
the printed page, and to search for the original that the page strives to
represent” (205). Using the errata to contrast specific, political terms with
their “corrections,” the print agents describe the Civil War and Parliament as
a poorly written text in dire need of correction. The press must call on its
“true subjects,” the middle-class readers by the bookstalls, to correct and
amend the country’s mistakes. The author enacts real-world reform through the
notion of textual reform, using the Utopia brand to emphasize the status of the
text as political intervention. Reinforcing the world-upside-down metaphor, the
imprint claims the pamphlet was first printed in Cosmopolis in “the year 7461”
and then “reprinted at London an. Dom. 1647.”
Utopia is not, then, simply a literary reference to More’s description
of the ideal government, but the memory of a time when England could still
count on a king and his citizens to keep their land and their religion intact.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">28>
As a brand generic, <i>The King of Utopia</i>
utilizes the iconic name to attract potential readers and create an immediate
thematic connection (or protocol) for understanding the author’s political
criticism. Although other authors are much less explicit about making use of
their generic Utopia brand, it is possible to see a growing trend among texts:
locating in Utopia the place not for the ideal government, but for idealized,
fair trials. Political critique therefore becomes more specific, tackling
issues of religious persecution and social injustice. In <i>The examination of Tilenus before the Triers; in order to </i>[sic]<i> his intended settlement in the office of a
publick preacher in the commonwealth of Utopia </i>(1658), for instance, Bishop
Laurence Womock takes on the pseudonym Tylenus to narrate a fictional dialogue.
In it, Tylenus is vetted by Triers (such as Dr. Absolute and Dr. Dam-Man) for a
preaching position in Utopia. Womock’s pamphlet aims to criticize a commission
of Triers created during the commonwealth to examine whether appointed
preachers were following sanctioned Calvinist doctrines.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[17]</span></span><!--[endif]--></span> By placing
a specific, contemporary event within the island of Utopia and assigning
caricatures to represent the Triers, Womock argues that the questioning process
is absurd and nonsensical. Satire is already an embedded marker of the Utopian
brand, so Womock can use its central narrative to present his arguments against
the Triers and refute the Tenets of the Remonstrants through a traditional
dialogue. In other words, the mention of Utopia automatically brands the text,
so that readers understand the absurdity and irony of the situation, allowing
the rest of Womock’s pamphlet to argue his ideological assertions with
straight-forward rhetoric.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">29>
Branding a text with the word “utopia” creates the opportunity for authors to
discuss controversial topics in a now-commonplace fictional safe space, while
still questioning what is “ideal” (and therefore righteous) and investigating
how to recuperate this ideal in the real world. The brand might function as
part of the narrative, as is the case of Womock’s pamphlet, or it might serve
as advertisement to attract more readers. In <i>A Letter Found in Utopia </i>(1675), for example, an anonymous author
praises Peter Sterry’s <i>Discourse of the
Freedom of the Will </i>(1675), arguing for religious acceptance. Although the
work has no mention of Utopia or More in the narrative, the print agent clearly
used the title to make the work attractive and draw in readers interested in
any work with the brand Utopia on its title-page. Here, the brand-name alone is
a sufficient marketing strategy.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">30>
Through and after the Civil War, authors continued to brand their works by
using <i>Utopia</i> to create a new kind of
identity myth. The use of the generic brand could serve to represent a “no
place,” or “any place,” as in: <i>Passes
Granted, by the Free-born People of England to severall of the most eminent
perjur’d rebels assembled in Junto at Webminster. Who are now desirous to
transport themselves into New England, to Amsterdam, or Utopia </i>(1648),
which cites parliamentary traitors and condemns them to exile. Similarly, <i>A Copie of the Quaeries, or, A Comment upon
the Life, and Actions of the Great Tyrant and his Complices; OLIVER the first
and last of that name, not unfit, not unworthy of thy perusal </i>(1659)
advertises having been “printed in Utopia,” referencing other queries and
petitions printed against Parliament.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[18]</span></span><!--[endif]--></span> The
queries vary from more serious questions like “whether (like that of most
weddings) the first joyfull day of this present Parliament, will not be the
fore-runner of a great many years of sorrowes” (A2), to derisive ones like
“whether Cromwell and Henry [the VIII] when they have compared their notes in
the other world, will not be good company in hell together” (A3v). The print
agent uses the label “printed in Utopia” to brand the petition as political
criticism and remind readers of the real queries and petitions that should be
made against the Commonwealth.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">31>
While the Utopia brand can represent stories of righteous judgment, its most
important marker is that it allows citizens to participate actively in public
debates. The authors of <i>The Loyal City of
Bristol, vindicated from Amsterdamnism, or Devil’s Borough </i>(1681) argue at the
start that their pamphlet has a valuable social purpose, stating in the epistle
to the reader that “the description was design’d only to turn the fanatick zeal
here into ridicule” (A2). The only reference to <i>Utopia</i> appears at the heading
of the text, “A Letter from the Bishop of Utopia,” and seems to be a device for
defending the city of Bristol as a just and law-abiding place. Bristol coffee
houses were at the time considered “meeting places of factitious persons, and
centers of false, scandalous news, libels and pamphlets” (Tapsell 109). The
bishop’s letter denies reports that the city is harboring Presbyterians and
supporting religious dissent. In the pamphlet, the anonymous author relates the
persecution and apprehension of dissenters and guarantees that the city itself
is still loyal to the king. Here, the brand-name “utopia” is designed to
attract the reader to purchase a politico-religious tract, placing Utopia as
the location for righteous monarchical support. Like Womock, the authors of
this tract use the brand to avoid having to set up an intricate or misleading
satire. Because the Utopia brand already represents the ironies and paradoxes
of political structures, the author can deliver his message from under the
protection of claiming to speak from Utopia, and not from or against England.<o:p></o:p></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">32>
The final and latest example of seventeenth-century <i>Utopia</i> generics deals with this literary paradox by using the
genre’s playfulness to address social flaws inherent to the middle-class
marketplace. This text is worth a closer look because it uses a variety of
strategies discussed above to create an elaborate new narrative. While it seems
to draw the furthest away from More’s original text, this pamphlet attempts to
use the brand’s political and social significance as the starting point for
complaints against middle-class workers. Whether taken seriously or as a
playful reflection on the English marketplace, John Dunton’s reference to <i>Utopia</i> demonstrates that the brand
continued to influence printed texts even before the appearance of Bishop
Gilbert Burnet’s translation in 1684. Thus, what at first glance appears to be
a long, forty-five year gap between Alsop’s second edition and Burnet’s
translation is merely a matter of perspective. <i>The King of Utopia </i>was published less than ten years after Alsop’s
second printing and, broadly speaking, Utopia as cultural brand remained alive
in the print marketplace through political, social, and religious pamphlets throughout
the length of the seventeenth century.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">33>
John Dunton’s <i>The Informer’s Doom</i>: <i>or, an Amazing Seasonable Letter from
Utopia, Directed at the Man in the Moon</i> (1683) depicts a mock-trial of
English characters and tradesmen. Dunton uses references to two utopian texts
to advertise his pamphlet: More’s <i>Utopia</i>
and Domingo Gonzalez’s faux-narrative <i>The
Man in the Moon</i>. Although the narrative is supposed to take place on the
Utopian island, Dunton does not disguise the fact that his characters represent
English values: e.g. Conscience the Judge, Mr. Sincerity, and Mr. Protestant.
The Utopian judge indicts a list of personages that Dunton believes to be
“grand and bitter enemies that disturb and molest all kingdoms and states” (as
stated in the title-page), including Pope Innocent XI, Justice Implacable, Mr.
Violence, A Witch, and Sir John Fraud. Because this is Utopia, all the trials
are expected to automatically dispense rightful justice (as Dunton sees it).
Similarly, each character can only earn his final punishment after hearing the
testimony of good citizens, good Christians, and honorable tradesmen. However,
the pamphlet’s accusations expose (perhaps unwittingly) a social paradox: the
“cheats” attributed to each profession are the inevitable results of the
capitalist system.<span class="FootnoteSymbol"><!--[if !supportFootnotes]--><span class="FootnoteSymbol"><span style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: HI; mso-fareast-font-family: "Droid Sans Fallback"; mso-fareast-language: ZH-CN;">[19]</span></span><!--[endif]--></span>
The problem of reading Dunton’s text is much like that of reading More’s <i>Utopia</i>: how seriously is the reader
expected to take this? In pointing out largely irresolvable problems and an
impossible resolution to dishonest behaviors in the trading and selling of
goods, Dunton (un)intentionally satirizes his own narrative: if one were to
judge every act of dishonesty done in the city, there would be no one left to
serve in the jury.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">34>
The most interesting section of the dialogue is the trial of Sir John Fraud,
whose request for a jury demands the appearance and subsequent vetting of a
variety of London workers. Sir Fraud is described as “an upstart, come out of
Italy, begot of Pride [...] a raiser of rents, and enemy to the kingdom, and hast
insinuated [himself] into all trades, estates, and professions” (f.81-2) and
his judgment gives Dunton an excuse to complain about the dishonesty of London
tradesmen, most of whom are not qualified to join the jury due to their own
misdeeds. Most of the “cheats” result from workers attempting to improve their
social standing or their financial profits. The tanner, for instance, is
accused of unbecoming class ambition (“hoping to make the proud Princox your
son the upstart gentleman [...] [and] marry your daughter at the least to an
esquire, that she may, if possible, be a gentlewoman,” f.110); the merchant is
said to undercut the “poor gentlemen” who cannot resell products bought from
the merchant at equal or higher prices; the weavers are accused of cheating
“poor countrey huswives” with poorly constructed knits (f.141) in order to sell
more products. Amongst the few who make it past the judge are higher-born men
(a knight, a gentleman, and an esquire), a priest, as well as professions that
Dunton considers to be non-speculative and therefore cannot lead to excessive
profits or class leverage (the waterman, the grocer, a husbandman, and even a
poet).<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">35> Unsurprisingly, the printer and the bookseller also get the judge’s seal of
approval, even though the printer scrapes by on a technicality, since “he
cheats the bookseller sometimes in working on half an impression for himself,
when the bookseller hath had his number he is to pay for; but because the
printer only doth thus to those booksellers that he thinks will never pay him,
he shall pass on the jury as an indifferent honest man” (f.125). The
bookseller, on the other hand, is a utopian model “of a gentile profession,” with
“a good report in Utopia” (f.152), who gets accepted as quickly as he is
dismissed from the narrative. Dunton’s praise of the bookseller is surely meant
to reflect on his own character, but it is worth recalling that print is the
only trade in the island Utopia that had been imported from the continent.
Further, in vetting the printer and the bookseller as honest men, Dunton
authorizes the two professionals as honorable citizens and the best sources for
truthful, politically important news, therefore reinforcing printed books as
one of the few marketplace commodities worth the consumer’s trust.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">36>
Dunton’s generic Utopia gathers a few of <i>Utopia</i>’s
more abstract markers and turns them into exaggerated caricatures. Taking
advantage of other generic brands’ own reading of Utopia as a place for fair
judgments, he portrays a court where everyone is punished and every tradesman
is a knave for having capitalist instincts. Although Gregory Claeys sees this
kind of adaptation as showing a “concern to bound human desires and ambitions
by institutional restraints aiming at regularity and orderliness rather than a
desire for moral perfection” (xii), there is no question that <i>The Informers Doom </i>is evidence of the
trickle-down effect of the Utopia brand, which by now has been dissociated from
any specific political context and shows no attempts on the part of the print
agents in challenging the reader to face real-life social conflicts. Yet, the
absurdity of the text calls into question the social complaint genre. Without a
certain degree of capitalist enterprise, no professional (especially not
printers or booksellers) would be able to survive, nor would they be able to
compete in an increasingly speculative society. Dunton, in particular, could
not have lived by the model he describes in this pamphlet and still have
managed to print over 200 books (Parks).<o:p></o:p></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">37><i> Utopia</i> came to represent, for modern
readers and consumers, something between the ideal and the possible; a viable
way to discuss ideology and to think of “the possibility of a world upside down
and at the same time to cast a shadow over the legitimacy of an upright world”
(Heilbrunn 104). It is impossible to know now if satire, political argument, or
humanist criticism was More’s primary goal in creating his <i>Utopia</i>. If we are to judge by the moving parts of the first Latin
editions, More and his circle of friends appreciated the text for its playful
structure: add a letter, and you support the fantasy, remove a map and you
highlight the unlikely “no place” that is <i>Utopia</i>.
Similarly, as <i>Utopia</i> moved across
print agents, translators, and markets, the iconic brand emerged as “a magical
device of transformation” (113) in which repetition, familiarity and interpretative
dissonance helped shape a recognizable commodity. The narrative and the framing of <i>Utopia</i> work together to shape the text
as a marketable cultural product, teaching the reader to identify features that
make it at once unique and yet reproducible.<o:p></o:p></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">38>
Understanding the printing history of More’s <i>Utopia</i> as part of a cultural branding process allows us to consider
the ways in which More’s narrative (and More himself) became such a cultural
icon in England. Print agents read and interpreted the work to make it appeal
to their unique markets and to respond to timely historical contexts. However,
while doing that, each agent helped define recognizable aspects of the text
that could be repeated, copied, and reproduced in generic form. Considering <i>Utopia</i> as an iconic brand—one which
survives precisely for its ability to tell different stories and create new
identity myths with each historical change—can offer readers and scholars of Thomas
More a new way to understand the multiplicity of narratives contained within
this single book. While it is not likely that the average reader encountered or
even read more than one or two versions of the text, this analysis of brand
generics proves that <i>Utopia</i> was a
culturally pervasive text across social and class divisions. The variety of
pamphlets and tracts making use of the word “utopia” to brand their product is
evidence of this text’s unusual history, filling in the gaps between each
edition of More’s text and the bigger picture of <i>Utopia</i> in the English imagination.<o:p></o:p></span></div>
<div class="StandardCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="StandardCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Notes</span></b></div>
<div>
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="FootnoteCxSpFirst" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[1]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> As Gary Saul
Morson and J. C. Davis discuss, the classical genre can be traced back to
Plato’s <i>Republic</i>, but More’s
revitalization adds new and unique elements to the tradition. While More may
not have invented the political fiction genre, he has been credited with
inventing the word “utopia” that now labels it. Following its initial
popularity, Amy Boesky claims that <i>Utopia
</i>remained unique in the English marketplace: “with the exception of two
dialogues [...] <i>Utopia </i>was not imitated
in England until Francis Bacon wrote <i>New
Atlantis </i>in the 1620s” (11).<o:p></o:p></span></span></div>
<div class="FootnoteCxSpLast" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn2">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[2]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> This analysis
deliberately avoids texts modeled after More’s narrative structure
(particularly fictional travel narratives), looking instead at cheap-print
works that use <i>Utopia</i> not as a literary form but as a generic reference. Many
faux narratives populated the print marketplace before and after Bacon’s attempt
at replicating More, including Thomas Lupton’s <i>Siuqila Too Good to Be True </i>[...] <i>The Wonderful Manners of the People of
Mauqsun </i>(1584), Francis Goodwin’s groundbreaking science fiction, <i>The Man in the Moon </i>(1638), and Samuel
Harlib’s <i>A Description of the Famous
Kingdom of Macaria </i>(1641). Although these works reproduce (in varying
degrees of quality) the popularity of <i>Utopia </i>by creating satirical travel
narratives, they appear less concerned with political or ideological critique,
a feature many may argue is what sets More’s work apart from previous utopias.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn3">
<div class="FootnoteCxSpFirst" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[3]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> Holt defines
material markers as the brand’s physical identifiers: a name, a logo, and a
unique design (3).<o:p></o:p></span></span></div>
<div class="FootnoteCxSpLast" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn4">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[4]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <span class="FootnoteSymbol">Routh argues that these letters indicate the limited
audience of the original printing: those who would know the aforementioned
authors and take their name as a commendation for the work.<o:p></o:p></span></span></span></div>
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn5">
<div class="MsoEndnoteTextCxSpMiddle">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[5]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> See Terence
Cave, <i>Thomas More’s Utopia in Early Modern Europe: Paratexts and Contexts </i>(2008).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn6">
<div class="FootnoteCxSpFirst" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[6]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> It is possible
that Creede inherited the rights to the edition and did not have to spend much
money to publish it. Nonetheless, his decision to publish a reprint suggests
there was still a market for <i>Utopia </i>even
forty years after Vele.<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn7">
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[7]</span></span><!--[endif]--></span></span><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> The Life and Death of Sir Thomas Moore </span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">was published in
1631. Given Alsop’s choice of Cresacre More for the dedication, he must have
known of his involvement in the biography. It is possible that this dedication
was also a play for Cresacre’s business or future associations with the More
family.<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn8">
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[8]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> Of course, <i>Utopia</i>’s narrative is much more complex
and paradoxical, as Manuel and Manuel, Cave, Boesky, et. al have demonstrated.
However, for the purposes of this analysis, I mean to argue that <i>Utopia</i> as an iconic brand entered the
popular imagination as a signifier for political critique, satire, and irony—especially
as it applied to Cromwell’s commonwealth.<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn9">
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[9]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> See Jack
Goldstone, <i>Revolution and Rebellion in
the Early Modern World </i>(1993); Peter Lawson, “Property Crime and Hard Times
in England 1559-1624” in <i>Law and History
Review </i>4.1 (1986); and Robert Brenner, <i>Merchants
and Revolution: Commercial Change, Political Conflict, and London’s Overseas
Trade 1550-1653 </i>(2003).<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn10">
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[10]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> By suggesting
that the island of Utopia represents the ideal commonwealth, the title
indicates that the conflicts presented in Book I will be resolved in Book II. Yet,
the organization and behavior of the Utopians proves to be less than ideal. For
a discussion of the ways in which More sets up this failure both rhetorically
and thematically, see Arthur F. Kinney, “<i>Encomium
Sapientiae</i>: Thomas More and <i>Utopia</i>,”
in <i>Humanist Poetics: Thought, Rhetoric,
and Fiction in Sixteenth-Century England</i> (1986).<o:p></o:p></span></span></div>
<div class="FootnoteCxSpLast" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn11">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[11]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> Not discussed
here are Richard Chiswell’s 1684 and 1685 editions, which feature a new
translation of the Latin text by bishop Gilbert Burnet. Although they omit the
original paratexts, these editions include a preface from a
religiously-reformed Burnet in hopes to regain favor with the king. Chiswell’s
unadorned, bare-bones reproduction of the popular text suggests that the brand
had by then become a guaranteed sell.<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn12">
<div class="FootnoteCxSpFirst" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[12]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> Manuel and
Manuel and Robert Appelbaum have argued that Utopias were mostly used by
Parliamentarians hoping to defend the idea of a commonwealth. Yet, most of the
pamphlets I located and discuss here focus on the royalist appeal of the work
and More’s own reservations against the suggestion that a republic could in
fact work.<o:p></o:p></span></span></div>
<div class="FootnoteCxSpLast" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn13">
<div class="MsoEndnoteTextCxSpFirst">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[13]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> For more on the
rhetoric of parenting in early modern literature, see Brooks, <i>Printing and Parenting in Early Modern
England</i> (2005).<o:p></o:p></span></span></div>
<div class="MsoEndnoteTextCxSpLast">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn14">
<div class="FootnoteCxSpFirst" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[14]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> The author
hints at the pamphlet’s deliberately bad language in the extended title of the
work, stating the King’s letter is bound with “the citizen’s answer thereunto, translated
out of the Utopian tongue, into broken English.” He asks his reader and
book-buyer rhetorically: “but why Broken English? O Sir! What here’s spoken,
imports that England is by the English broken.” He later returns to this
problem in “The Postcript from the Translator to the Reader.”<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn15">
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[15]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> Boesky observes
that “by the 1640s in England the term <i>utopia
</i>was increasingly associated with real-life reform” (84). Her analysis
focuses on Utopian texts meant to produce ideal societies that should be
mimicked in real life. Although these kinds of Utopias show “a clear shift from
monarch to the republic as a model utopian government” (90), the pamphlets
making use of the Utopia brand-name nearly all focus on the preservation of
monarchy and traditional values. For other analyses of Utopian texts written
during the Civil War, see “Topsy-Turvy in the English Civil War,” in <i>Utopian Thought in the Western World </i>(2009);
Christopher Hill, <i>The World Turned Upside
Down: Radical Ideas During the English Revolution </i>(1975); Marie Louise
Berneri, <i>Journey Through Utopia</i>
(1950); and George Claeys, <i>Restoration
and Augustan British Utopias</i> (2000).<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn16">
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[16]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> It is difficult
to know why the false paratexts, which only appear in the earlier versions of <i>Utopia</i> and become less frequent once the
brand is established, would become a distinguishing feature for this generic
version. The author could be more familiar with an edition that contained the
paratexts and felt compelled to add one to his text. In this case, the
self-aware aspect of these additions helped expose the true message of the
text.<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn17">
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[17]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> For a
commentary on how this text participates in Calvinist Oxthodoxy debates, see
Peter Thuesen, <i>Predestination: The
American Career of a Contentious Doctrine </i>(2009), 75-80.<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn18">
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[18]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> Bernard Alsop
was among many print agents who were accused of printing seditious pamphlets that
announced fake news from Parliament and fake royalist petitions, most famously
the Hertfordshire petition (1641), which caused him to be sent for by the House
of Commons. He and his partners were later imprisoned in 1643 for printing <i>His Majesty’s Propositions to Sir John
Hotham and the Inhabitants of Hell </i>(Plomer 4).<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
</div>
<div id="edn19">
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[19]</span></span><!--[endif]--></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Dunton
was a wise capitalist himself, using popular stories or literary trends to
boost his publishing career. Michael Mascuch calls him “the maven of
(re)invention [whom] catered to the public’s growing hunger from the start”
(146). <o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
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of Texas Press, 1981. 69-107.<o:p></o:p></span></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Parks,
Stephen. <i>John Dunton and the English Book Trade: A Study of His Career with
a Checklist of His Publications</i>. New York: Garland, 1976.<o:p></o:p></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Plomer,
Henry R. <i>A Dictionary of the Booksellers and Printers Who Were at Work in
England, Scotland and Ireland from 1641 to 1667</i>. London: Bibliographical
Society, 1968.<o:p></o:p></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Saeger,
Michael Baird. “The Birth of Advertisement.” <i>Printing and Parenting in Early
Modern England</i>. By Douglas A. Brooks. Aldershot, Hampshire, England:
Ashgate, 2005. 197-221.<o:p></o:p></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Saltzman,
Paul. “Narrative Contexts for Bacon's New Atlantis.” <i>Francis Bacon’s “New
Atlantis”: New Interdisciplinary Essays</i>. Ed. Bronwen Price. Manchester:
Manchester UP, 2002. 28-48.<o:p></o:p></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Tapsell,
Grant. <i>The Personal Rule of Charles II, 1681-85</i>. Woodbridge: Boydell,
2007.<o:p></o:p></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Thuesen,
Peter Johannes. <i>Predestination: The American Career of a Contentious
Doctrine</i>. Oxford: Oxford UP, 2009.<o:p></o:p></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Womock,
Laurence. <i>The Examination of Tilenus before the Triers; in Order to His
Intended Settlement in the Office of a Publick Preacher in the Commonwealth of
Utopia</i>. London, 1658.<o:p></o:p></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
<div class="FootnoteCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; text-indent: 0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">Yamada,
Akihiro. <i>Thomas Creede: Printer to Shakespeare and His Contemporaries.</i> Tokyo:
Mesei UP, 1994.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Andie Silva</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> is Assistant
Professor of English at York College (CUNY) in Jamaica, New York. Her research
and reviews have appeared in <i>History of European Ideas</i>, <i>Early Modern
Literary Studies</i>, and <i>Early Modern Online Bibliography</i>. Her book
project examines early modern print and modern digital cultures, focusing on
paratextual materials as unique sites of labor, cultural capital, and
maker-consumer relationships. She’s also currently working on a database of
non-authorial paratexts.<o:p></o:p></span></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></b></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Studies in
Renaissance / Early Modern Literature and Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">,</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></b></div>
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<a href="http://appositions.blogspot.com/"><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">http://appositions.blogspot.com/</span></b></a><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">, ISSN:
1946-1992,</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></b></div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: medium;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Volume Nine (2016): <i>Texts
& Contexts</i></span></b></span></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-75543446852663239422016-08-16T17:12:00.003-07:002016-08-19T12:24:16.663-07:00* * * REVIEWS * * *<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Literature & Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a><o:p></o:p></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">ISSN: 1946-1992</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">VOLUME NINE (2016):<o:p></o:p></span></b></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">TEXTS & CONTEXTS<o:p></o:p></span></i></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">REVIEWS:</span></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Joshua Brazee, University of Wisconsin-Madison, review of <a href="http://appositions.blogspot.com/2016/08/joshua-brazee-other-renaissance.html" target="_blank">Rocco Rubini, <i>The Other Renaissance: Italian Humanism between Hegel and Heidegger</i></a>. The University of Chicago Press (Chicago, 2014).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Philip Gavitt, Saint Louis University, review of <a href="http://appositions.blogspot.com/2016/08/philip-gavitt-roman-inquisition-on-stage.html" target="_blank">Thomas F. Mayer, <i>The Roman Inquisition on the Stage of Italy c. 1590-1640</i></a>. University of Pennsylvania Press (Philadelphia, 2014).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Elizabeth Mazzola, The City College of New York, review of <a href="http://appositions.blogspot.com/2016/08/elizabeth-mazzola-educating-english.html" target="_blank">Frances Teague and Margaret J. M. Ezell, eds.; associate ed., Jessica Walker, <i>Educating English Daughters: Late Seventeenth-Century Debates. Bathsua Makin and Mary More with a reply to More by Robert Whitehall</i></a>. Volume 44 in The Other Voice in Early Modern Europe: The Toronto Series. Volume 491 in the Medieval and Renaissance Texts and Studies Series. Iter Academic Press (Toronto, 2016).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Amy D. Stackhouse, Iona College, review of <a href="http://appositions.blogspot.com/2016/08/amy-stackhouse-women-poetry-politics.html" target="_blank">Sarah C. E. Ross, <i>Women, Poetry, & Politics in Seventeenth-Century Britain</i></a>. Oxford University Press (Oxford, 2015).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Sara van den Berg</span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">, Saint Louis University, review of <a href="http://appositions.blogspot.com/2016/08/sara-j-van-den-berg-disknowledge.html" target="_blank">Katherine Eggert, <i>Disknowledge:</i> </a><i><a href="http://appositions.blogspot.com/2016/08/sara-j-van-den-berg-disknowledge.html" target="_blank">Literature, Alchemy, and the End of Humanism in Renaissance England</a>. </i>University of Pennsylvania Press (Philadelphia, 2015).<o:p></o:p></span></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Studies in Renaissance / Early Modern</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Literature & Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a><o:p></o:p></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">ISSN: 1946-1992<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">VOLUME NINE (2016):<o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">TEXTS & CONTEXTS<o:p></o:p></span></i></b><br />
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><br /></span></i></b></div>
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whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-24668195625895493352016-08-16T17:12:00.001-07:002016-08-27T15:12:20.053-07:00Joshua Brazee: "The Other Renaissance"<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: medium;"><b><span style="font-family: "times new roman" , "serif";">Joshua
Brazee</span></b><span style="font-family: "times new roman" , "serif";"><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium;"><a href="http://www.wisc.edu/" target="_blank">University of Wisconsin-Madison</a><o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: medium;">Book
Review<o:p></o:p></span></b></div>
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<span style="font-size: medium;"><b><span style="font-family: "times new roman" , "serif";">Rocco
Rubini, <i>The Other Renaissance: Italian Humanism between Hegel and Heidegger</i>.
The University of Chicago Press (Chicago, 2014), 408 pp. ISBN: </span></b><span style="font-family: "times new roman" , "serif";"><b><a href="http://press.uchicago.edu/ucp/books/book/chicago/O/bo18991133.html" target="_blank">9780226186139</a></b><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium;">1>
Professor Rubini’s book traces the confrontation between modern Italian
philosophy and Italian Renaissance humanism. Modern Italian philosophy began to
disregard humanism as shameful because of its perceived emphasis on the
individual, and this sense of shame dominated Italian Renaissance studies until
the mid-20<sup><span style="font-size: xx-small;">th</span></sup> century when the scholars and philosophers Ernesto
Grassi, Eugenio Garin, and Paul Oskar Kristeller reinvigorated humanism as a
philosophy, largely through the lens of German existentialism. Yet, despite the
affinities between humanism and existentialism, the 20<sup><span style="font-size: xx-small;">th</span></sup> century
German anti-Cartesians, according to Rubini, ignored Renaissance humanism.
This, he argues, is a sad irony given that Descartes explicitly defined his
intellectual project against humanism. These anti-Cartesians missed an
opportunity to argue for their insights as, in fact, “a pre- or early ‘modern’
ambition” (5). <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium;">2>
Italian Renaissance humanism was shameful for the Italians for two reasons. The
first, because, according to </span><span style="font-family: "times new roman", serif; font-size: medium;">Bertrando Spaventa (1817-83), </span><span style="font-family: "times new roman", serif; font-size: medium;">the Italians lost ownership of their own
legacy. Instead of growing and being cultivated in Italy, humanism found a new
fatherland in Germany. Secondly, the Italians believed the Renaissance
individualism praised by Burckhardt to have been a political and philosophical
failure, leading to the chaos that dominated the Italian states until their
unification in 1860-61. Rubini begins his narrative with the work of Vincenzo
Cuoco (1770-1823), whose </span><i style="font-family: "times new roman", serif; font-size: large;">Historical Essay on the Neapolitan Revolution</i><span style="font-family: "times new roman", serif; font-size: medium;">
(1801), and </span><i style="font-family: "times new roman", serif; font-size: large;">Plato in Italy</i><span style="font-family: "times new roman", serif; font-size: medium;"> (1804-06) attempted to combat French
rationalism by returning to the political and historical realism of Machiavelli
and Vico. Even in the absence of a strong philosophical tradition in Italy,
Cuoco was trying to develop an Italian way of thinking. This, of course, is
humanism. Others, like Spaventa, looked outside the borders
of Italy to see where Italian thinking had found a new fatherland. He names
“Spinoza, Kant, Fichte, Schelling, and Hegel” as the “true disciples of Bruno,
of Vanini, of Campanella, of Vico and other illustrious thinkers” (63). The
Italian shame could be overcome, according to Spaventa and others, by showing
how Italian Renaissance humanism had in fact blossomed into a powerful
philosophical tradition elsewhere.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium;">3>
Giovanni Gentile (1875-1944) </span><span style="font-family: "times new roman", serif; font-size: medium;">responds to the rise of positivism in Italy by affirming humanism
as “prepar[ing] the freedom of spirit of modern times” (99). At the end of the
19</span><sup style="font-family: "times new roman", serif;"><span style="font-size: xx-small;">th</span></sup><span style="font-family: "times new roman", serif; font-size: medium;"> century and throughout the twentieth century, Italian
philosophers, historians, and critics attempted to breathe new life into our
understanding of humanism by positioning it as a counter-movement to the
positivism, rationalism, and empiricism that dominated contemporary
philosophical discussion. Like Gentile, though despite obvious and important
political disagreements, Eugenio Garin (1909-2004) and Ernesto Grassi (1902-1991) argued for a renewed
understanding both of Italian Renaissance humanism as well as for a radically
different take on contemporary philosophy and the scientific and technological
world views that came to dominate. The chapters on these two 20</span><sup style="font-family: "times new roman", serif;"><span style="font-size: xx-small;">th</span></sup><span style="font-family: "times new roman", serif; font-size: medium;">
century Italian critics and philosophers, as well as a chapter on Paul Oskar
Kristeller (1905-1999) are the cornerstones of the book, in large part because of the
importance of these three figures, especially Kristeller, in informing
contemporary work on humanism.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium;">4>
Grassi, a student and friend of Heidegger’s, through his writing and editorial
work, had begun to set the stage for a reinterpretation of humanism as
philosophy. Grassi used Heidegger’s insights about the nature of the poetic
word to counter Heidegger’s claim that humanism is just another chapter in the
long history of western metaphysics. Grassi argued that the humanists had in
fact anticipated some of Heidegger’s insights, and that Heidegger, himself not
a strong student of humanism, missed these insights completely. Eugenio Garin
agreed with Grassi, and his own work elaborated on these insights. Garin’s <i>Italian
Humanism</i> provided a philologically accurate description of quattrocento
humanism, one that, according to Rubini, acts almost a counter-manifesto to
Heidegger’s “Letter on Humanism.” Moreover, Garin took Hans Baron’s insights
about civic humanism and turned them into an existentialism. He saw in civic
humanism a reconciliation of the personal, the social, and the holy worlds, a
reconciliation after which contemporary philosophy was then again striving
(284).<o:p></o:p></span></div>
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<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: medium;">5>
Although Garin and Kristeller began their careers as friends and intellectual
compatriots, their reconnection after the end of the war was short-lived.
Kristeller’s work on the Renaissance seemed, at least to Grassi, to be indebted
to the anti-humanism and Renaissance shame that he and Garin had been
combatting. Kristeller, on the other hand, did not believe that humanism had
much to offer that was philosophically original. Yet despite these differences,
Rubini maintains that Kristeller, like Grassi and Garin, contributed strongly
to the sense of humanism as a philosophy precisely because of how his
neo-Kantiansim informed his scholarship. That is, the philosophical nature of
the debate Garin and Kristeller were having about the essence of Italian
Renaissance humanism turned scholarship about the Renaissance “into a genuine
philosophical discourse” (307). According to Rubini, this is a “philosopher’s
humanism” which engages in precisely the kind of philosophical thinking that
Renaissance humanists would have wanted us to engage in.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: medium;">6>
This is an excellent and important book, one that will prove indispensable to
the history of philosophy, dramatically changing our understanding of Italian
Renaissance humanism, its legacy, and its future. Working out of the tradition
of Grassi and Garin, Rubini’s narrative allows us to see past the limited and
often severely limiting judgments of modern critics and philosophers about
Renaissance humanism—a legacy of judgments reaching as far back as Descartes—to
again to discover what was philosophical about the movement, and what may still
be philosophical about it today. Writing in 1940, Grassi argues that modern
thinking begins only with Descartes if we believe that the problem of knowledge
takes priority. He writes, “If we dispute that priority, then the philosophy of
humanism and the Renaissance gains its new and central meaning and proves
itself to be a field full of historical and speculative problems.”[if
!supportFootnotes][1] Rubini’s book asks us to again take Grassi and
Garin’s insights about humanism as philosophy seriously.<o:p></o:p></span></div>
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<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: medium;">7>
The book’s style also recommends itself. Although it deals with sometimes
weighty philosophical problems, its narrative agenda, telling the story of this
other Renaissance and its continual disappearance in modern criticism lends the
work a sometimes almost breezy readability. Of course, this too speaks to
Rubini’s philosophical as well as historiographical agendas. The other humanism
that Rubini reveals in his narrative grants a significance to history and
biography that philosophy after Descartes, in its emphasis on truth and
knowledge, denies. The story is a much a part of the philosophy, in that we
come to attend to the changing nature of human existence through its concern
with how its path informs its present, but also in how it allows us to see
certain possibilities for the future. For Rubini, those possibilities lie in an
explicit reengagement with Italian Renaissance humanism.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: medium;">8>
I worry that while Rubini here has strongly suggested where we might take our
understanding of Renaissance humanism, he has broken off too prematurely.
What’s missing at the end of this book is something more programmatic, either a
reading of a Renaissance work that brings to bear his insights, or something
short of a manifesto. Of course, the book is already very long, so this may not
have seemed reasonable. But unless Rubini’s readers are already actively
engaged with the work of Garin or Grassi, then this book’s conclusions may not
lead to any immediate changes in the field. I hope that this doesn’t lead to a
loss of momentum for what might be some of the most interesting and challenging
insights in Renaissance studies in almost 30 years.<o:p></o:p></span></div>
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<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: medium;">9>
Yet in any case, this is an important work. As our own moment wrestles with the
place of the professional humanities both in the university and in the world,
this book might provide some of the themes and motifs for new insights into the
necessity of our work, as well a renewed defense of the humanities.<o:p></o:p></span></div>
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<span style="font-size: medium;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: medium;">_____<o:p></o:p></span></div>
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<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-size: medium;"><b><span style="font-family: "times new roman" , "serif";">Note</span></b><span style="font-family: "times new roman" , "serif";"><o:p></o:p></span></span></div>
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<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: medium;">[1] Grassi,
Ernesto. “Der Beginn des Modernen Denkens: von der Leidenschaft und der
Erfahrung des Ursprünglichen.” <i>Geistige Überlieferung: ein Jahrbuch</i>.
1.1940: 36-84: 37.<o:p></o:p></span></div>
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<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: medium;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-size: medium;"><b><span style="font-family: "times new roman" , "serif";">Joshua
Brazee</span></b><span style="font-family: "times new roman" , "serif";"> is a PhD Candidate
in the Department of English, University of Wisconsin-Madison. His dissertation
examines how Renaissance English poets understood the differences between their
work and the work of the burgeoning new sciences, as well as the rhetorical
strategies they used to maintain those distinctions in their poetic practice.<o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: medium;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-size: medium;"><br /></span>
<span style="font-size: medium;"><br /></span></div>
<div class="MsoNormalCxSpMiddle">
<div align="center" class="MsoNormalCxSpFirst" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Studies in
Renaissance / Early Modern Literature and Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">,</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<a href="http://appositions.blogspot.com/"><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">http://appositions.blogspot.com/</span></b></a><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">, ISSN:
1946-1992,</span></b><br />
<b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Volume Nine
(2016): <i>Texts & Contexts</i></span></b></div>
</div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , serif; font-size: medium;"><br /></span>
<span style="font-family: "times new roman" , serif; font-size: medium;"><br /></span>
<span style="font-family: "times new roman" , serif; font-size: medium;">_____</span></div>
</div>
</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-65134306659014381982016-08-16T17:10:00.000-07:002017-08-07T12:35:55.860-07:00Philip Gavitt: "The Roman Inquisition on Stage"<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormalCxSpFirst">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Philip Gavitt<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://www.slu.edu/" target="_blank">Saint Louis University</a><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Book Review<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Thomas F. Mayer,
<i>The Roman Inquisition on the Stage of
Italy c. 1590-1640</i>. University of Pennsylvania Press (Philadelphia, 2014),
361 pp. ISBN: <a href="http://www.upenn.edu/pennpress/book/15235.html" target="_blank">978-0-8122-4573-8</a><o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">1>
This is the middle book of Thomas F. Mayer’s trilogy on the Roman Inquisition,
framed by an initial volume that sets out its structure, function, and
procedures as it developed after the Council of Trent, and a final volume,
published posthumously, that analyzes Galileo’s trial under the light of the
function and purpose of the Roman Inquisition. This middle volume serves as a
bridge between the first and third volumes by examining how the Roman
Inquisition applied its rules and procedures to a number of cases, both famous
and obscure, in three test areas: Naples, Venice, and Florence. Mayer’s main
argument is that even though the course of the Inquisition ran very differently
in each of these three areas, they were united by the overriding political
character of the institution, and in particular, the decreasing importance of
the popes’ own agents and locally-appointed inquisitors, and the increasing
reliance of the papacy on its diplomatic representative, the papal nuncio, to
negotiate the tensions between the papacy’s use of the Inquisition as an extension
of its political power and the interests of local officials in maintaining at
least some form of autonomy and local control.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">2>
The argument thus forms a lightly worn apparatus that structures the chapters
and takes care to set out in each case the larger political context of the Inquisition’s
operations. Thus in Naples, the struggle between the papacy and “local”
authorities played out under the shadow of Pope Urban VIII’s (r. 1623-1644) desire
to lighten the heavy hand of Spanish dominion, in particular that of Cardinal
Borja, whom the pope made Archbishop of Seville in hopes that the Tridentine
decrees on episcopal residence would keep
him geographically distant. Although these specific hopes were not to be
realized, Urban VIII succeeded to a degree in excluding Borja and thwarting the
latter’s aims to give the Spanish crown control over the taxation of clergy,
and most importantly, to thwart the Viceroy’s plans to allow the Spanish rather
than the Roman Inquisition to operate in Naples. Urban VIII’s strategies
paradoxically involved strict adherence to rules of procedure while using means
well beyond the scope of the Inquisition itself to conquer the attempts of
local and Spanish authorities to protect and hide defendants and to assert
papal control over the Inquisition. The second chapter then more narrowly focuses
on the case of the natural philosopher, Tommaso Campanella, and in it Mayer
specifically argues that Clement VIII (r. 1592-1605), intent as he had been on
destroying Campanella and bringing him to trial, succeeded only in prolonging
Campanella’s imprisonment. Only when Urban VIII, two popes later, eventually
established much clearer boundaries and lines of authority over the Inquisition
through increasing reliance on the papal nuncio, could the trial of Campanella
finally proceed. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">3>
Pope Paul V (r. 1605-1621), who ruled after Clement but before Urban, was more
concerned to establish the authority of the Inquisition in Venice than in
Naples, and the political context of his interactions with Venetian authorities
occurred with the Venetians’ far greater sense of autonomy and open defiance of
the Paul V’s attempts to bring the Inquisition under papal control after the
interdict. Paul V not only had to contend with the close ties among the laymen
who decided whether cases should be referred to the Inquisition, but also with
the independence of the Venetian press, an independence supported vigorously by the Venetian Senate.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">4> Chapter 4 takes up the three most prominent cases of the Venetian
Inquisition, those of Giordano Bruno, Cesare Cremonini, and Marcantonio De
Dominis. The Inquisition pursued all three cases with great intensity. Giordano
Bruno’s case was the most well-known, resulting in his being burned at the stake in 1600. Cremonini, the author
of a treatise on the soul, came under the scrutiny of the Inquisition for
denying the immortality of the soul. The Inquisition also was most interested
in whether <i>De Coelo</i> had made any
mention of Galileo. Meanwhile Marcantonio de Dominis attracted the attention of
the Roman Inquisition because of his association with Paolo Sarpi, the flight
to England of De Dominis (and subsequent wish to return to Rome, which was
granted), and for his work on the ecclesiastical republic that argued that
authority within the Church came not from papal monarchy but from the bishops
as representatives. It was Urban VIII who brought him speedily to trial, which
continued even after the defendant’s death. From these prominent cases, as well
as the cases involving Sarpi and the theologians associated with him, Mayer
concludes that the Venetians, through refusing requests for extradition and
losing critical paperwork, could protect its subjects from the Inquisition when
it was so motivated, but could equally give them up, as in the case of Bruno
and De Dominis, whose ideas not even the Venetians could defend, and “both [of whom] could be safely sacrificed in
order to gain the Venetians a little political currency in Rome</span><span style="font-family: "times new roman", serif; font-size: 16px;">” </span><span style="font-family: "times new roman", serif; font-size: 12pt;">(151).</span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">5>
By contrast, the grand dukes of Florence had showed early on their willingness
to cooperate with the Roman Inquisition with the trial and execution of Pietro
Carnesecchi in 1567. The documentary evidence for the overall Florentine
situation is more sparse, except for a very extensive set of documents for the
prosecution of the rulers of Castel del Rio, documents in the Biblioteca
Estense of Modena. These documents concern the prosecution of Rodrigo and
Mariano Alidosi. Although their heresies were quite modest (Rodrigo Alidosi was
said to have denied a belief in demons), the Roman Inquisition took an interest
in these men, who were well protected not only by the Tuscan grand dukes but
who also had connections to the emperor and to the king and queen of France. The
grand dukes succeeded also in prolonging the prosecution of the case, especially
under Pope Paul V, who was scrupulous about procedural legalities. Urban VIII,
once again, was more effective using the same strategy he had used elsewhere,
working through the nuncio on the diplomatic side rather than exclusively
through the use of the powers of the Holy Office. Mayer buttresses his argument
concerning the political nature of the Inquisition by showing that the Holy Office
reacted much more harshly to open defiance and contempt of the Inquisition than
they did to whatever minor heresies to which the Alidosi might have subscribed.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">6>
Mayer warns his readers in the introduction that they would be well served to
read the first volume of the trilogy before tackling this second volume, and
certainly those who follow his advice will have a much easier time navigating the procedures and the cast of characters who served as prosecutors,
defendants, local officials, and papal agents. Moreover, there are times that
Mayer took for granted a detailed knowledge of the defendants of the Inquisition that not all readers, unless they are thoroughly immersed in the
field of Inquisition studies, will have.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">7>
This slight weakness, however, can be more than forgiven, since not only in
this volume, but in the trilogy as a whole, readers will find the most
authoritative account of the Roman Inquisition available in any language. Mayer’s
immersion in the primary sources is as comprehensive as their survival allows
them to be, and he goes well beyond the recently published and eminently useful
four-volume collection and explication of sources by Leen Spruit and Ugo
Baldini. Moreover, despite the author’s self-described tendency to “go my own
way,” Mayer’s conclusions never stretch the evidence too thin. He is
scrupulously cautious and his narrative overflows with detail. The wry and
ironic wit by which we remember him in person also enliven a work that is
monumental and comprehensive by any standard.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">Philip Gavitt</span></b><span class="apple-converted-space"><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;"> </span></span><span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">is
Professor and former Chair of the Department of History at Saint Louis
University. In 1992 he founded the Saint Louis University Center for Medieval
and Renaissance Studies, and is the author of<span class="apple-converted-space"> </span><i>Charity
and Children in Renaissance Florence: The Ospedale degli Innocenti</i>,
1410-1536 (Ann Arbor: University of Michigan Press, 1990) as well as<span class="apple-converted-space"> </span><i>Gender, Honor and Charity in Late
Renaissance Florence</i> (New York: Cambridge University Press, 2011). He
is co-editor (with Rebecca Messbarger and Christopher Johns) of<span class="apple-converted-space"> </span><i>Pope Benedict XIV: Art, Science,
Spirituality<span class="apple-converted-space"> </span></i><span class="apple-converted-space">(Toronto:
University of Toronto Press, 2016)</span>. He is also working on a
book-length project on religious orders and the early Catholic Reformation.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="background: white; font-family: "times new roman" , serif; font-size: 12pt;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">APPOSITIONS:</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Studies in
Renaissance / Early Modern Literature and Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">,</span></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><a href="http://appositions.blogspot.com/">http://appositions.blogspot.com/</a>, ISSN: 1946-1992,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Volume Nine
(2016): <i>Texts & Contexts</i></span></b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<br />
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-54058464346613655682016-08-16T17:07:00.003-07:002016-08-20T14:13:47.164-07:00Elizabeth Mazzola: "Educating English Daughters"<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormalCxSpFirst">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Elizabeth
Mazzola<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="https://www.ccny.cuny.edu/" target="_blank">The City College of New York</a><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Book Review<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Frances Teague
and Margaret J. M. Ezell, eds.; associate ed., Jessica Walker, <i>Educating English Daughters: Late
Seventeenth-Century Debates. Bathsua Makin and Mary More with a reply to More
by Robert Whitehall</i>. Volume 44 in <a href="https://crrs.ca/pub/other-voice/" target="_blank">The Other Voice in Early Modern Europe: The Toronto Series.</a> Volume 491 in the Medieval and Renaissance Texts and
Studies Series. Iter Academic Press (Toronto, 2016), 201 pp. ISBN: <a href="https://acmrs.org/publications/catalog/bathsua-makin-and-mary-more-reply-more-robert-whitehall-educating-english" target="_blank">978-0-86698-546-8</a><o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">1>
It is difficult to read Robert Whitehall’s <i>The
Woman’s Right Proved False</i> (ca. 1674) after first seeing what his contemporaries
Bathsua Makin and Mary More propose about the equality of early modern women’s
minds and rights in seventeenth-century English society. A year before, in the first
defense of female education published by a woman in England entitled <i>The Ancient Education of Gentlewomen</i>, Makin
not only advertises a new school for gentlewomen near London with a capable
governess at its helm, but also unveils an illustrious history of learned women
stretching all the way back to Diotima and Cassandra, Portia and Hroswitha, and
including such biblical figures as Debora and Lois and the Queen of Sheba. Elizabeth
Tudor and Anna Maria van Schurman are offered as more recent examples of women’s
extraordinary learning in this account, which also demonstrates how many ideas
and practices treasured by English humanists are at work in the thinking,
teaching, and writing of early women. More draws on some of the same history to
argue for women’s property rights, suggesting that “cruel laws” now allow men
“to make it their business to raise themselves by estates with wives” (137). Although
Makin and More, in <i>The Woman’s Right</i>,
uncover an intellectual tradition not merely marked by remarkable women but
profoundly shaped by it, their writings share another goal. Both of them draw
on earlier precedents of female learning to advance the case for a modern
counterpart in the figure of the middle class wife and mother whose learning
enriches her household. These writings make clear the importance of a new urban
mercantile audience, with readers who can be reasonably expected to appreciate
the virtues of “an honest, wellbred, ingenious, industrious Dutchwoman” (89). Whitehall
may have aimed to reach this larger audience, too, hoping to attract readers
beyond Oxford’s narrow precincts.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">2>
Neither Makin’s nor More’s work carries much weight in Whitehall’s discussion,
however. He prefers to refute More’s argument on the basis of her alleged misreadings
and misconstructions, along with the “danger” of “remov[ing] <i>Ancient Landmarks</i> (150). Whitehall also pushes
aside the extensive picture of female thinkers, scholars, and saints More assembles,
instead concentrating on the sad case of Eve, and reducing the history of
female accomplishment which Makin and More so carefully describe to a story of sin,
folly, and ruin.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">3>
A new edition of the writings of Makin, More, and Whitehall, edited by Frances
Teague and Margaret Ezell, gives us access to these authors’ works and
interplay of their ideas in a highly accessible form. The three texts are
lightly annotated, accompanied by generous introductions that provide
biographies of the writers, view them in terms of the cultural landscape of the
period, and tell us about the place of these works in their authors’ lives. Makin’s
work is the best known of the three. Formerly the tutor of Princess Elizabeth,
daughter of Charles I, Makin was now embarking on a new enterprise, a school
near Tottenham High Cross. Makin’s <i>Essay</i>
shows her to be a canny businesswoman, talented linguist, expert pedagogue, and
dedicated historian. “It doth appear out of sacred writ that women were
employed in most of the great transactions that happened in the world, “she
asserts at the outset of the work, “<i>Miriam</i>
seems to be next to <i>Moses</i> and <i>Aaron</i>“ (57). The rest of her arguments
are often pungent and practical: “Had God intended women only as a finer sort
of cattle, he would not have made them reasonable” (76), she tells us. If the
ostensible purpose of Makin’s argument is to urge well-to-do parents to exchange
their daughters’ training in dancing and music for a more rigorous program in languages
and natural history, a larger consequence is the unearthing of a shining early
world in which what women thought and wrote also shaped men’s minds. Makin doesn’t
press for a return to this earlier time; indeed, in her preface she describes the
<i>Essay</i>’s author as a man (54). Makin’s
goals are more modest, mainly centered upon promoting an education designed to
help stop women’s ears against seducers and protect them from heresy (79),
outfitting them as wives and mothers rather than as linguists or philosophers,
or even as teachers of other women. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">4>
Although Ezell and Teague supply a richly detailed account of the provenance of
these works as well as their authors</span><span style="font-family: "times new roman", serif; font-size: 16px;">’ </span><span style="font-family: "times new roman", serif; font-size: 12pt;">careers and educations, affiliations and associations,
a reader can still wonder about the larger literary context: the degree to
which Milton’s picture of Eve’s feelings of inferiority (or the poet’s rooting
of gender inequality in Satan’s faulty perspective) can be associated, for
instance, with Makin’s history or More’s challenge to the law. And, how shall
we regard the fact that the Empress in Margaret Cavendish’s </span><i style="font-family: "times new roman", serif; font-size: 12pt;">Blazing World</i><span style="font-family: "times new roman", serif; font-size: 12pt;"> can only find herself in a
contemporary double named Margaret Cavendish rather than in the one of the many
other talented women More and Makin array before us? (Makin points to the
Duchess of Newcastle in the </span><i style="font-family: "times new roman", serif; font-size: 12pt;">Essay</i><span style="font-family: "times new roman", serif; font-size: 12pt;"> [60];
why doesn’t the Duchess respond in kind?) This history of female thought gives
us a very different image of the pious mothers of the Christian Church as well
as of the porousness of Europe’s borders, where learned women might know and
cite each other. The volume also reminds us that European humanism flourished
because of the lively involvement of learned women, creating a world in which
writers like “the four daughters of Sir Anthony Cook,” Isotta Nogarola, Katherine
Philips and a “Mrs. Broadstreet [...] (now
in </span><i style="font-family: "times new roman", serif; font-size: 12pt;">America</i><span style="font-family: "times new roman", serif; font-size: 12pt;">)”could signal each other. These
women weren’t invisible, even if sometimes we have difficulty seeing them now. Some
of our troubles are explained by the “barbarous custom” Makin describes (52),
what More calls “men’s pretending” (130)—the efforts marshalled by the project
to eradicate women’s voices and their rights. This is the project to which
Whitehall lends his intellectual gifts, and the reason why he so proudly
flashes his scholarly credentials in his reply to More.</span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">5>
<i>Educating English Daughters</i> helps us better
grasp the widened contours and consequences of early modern humanism and also makes
it possible to share this knowledge with our students. Publishing these three
texts together puts into relief the variety of goals, audiences, motives, and
pedigrees operating behind these debates, and how teachers, scholars, parents,
and merchants all had skin in the game, money to earn (or, as More claims, to
be awarded by the courts). Makin, we learn, may not have been able to open the
school she advertises at the end of the <i>Essay</i>;
only two years after its publication she writes a letter making no mention of
the school or its pupils, telling us she has left Tottenham High Cross. As the
editors suggest, we are left to wonder whether a celebrated tutor to a King’s
daughter had been forced to change tactics and look for students in the
daughters of merchants and tradesmen. One such daughter is Mary More, however, and
her claims are fierce enough to force Robert Whitehall to look beyond Oxford
and see a world of women unshaped by (or unafraid of) his vast and learned
prejudices.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Elizabeth
Mazzola</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">
is Professor of English at The City College of New York, and has written four
books, the most recent of which, <i>Learning and Literacy in Female Hands,
1520-1698</i>, was published by Ashgate in 2013. She has also written essays on
Milton, Shakespeare, Sidney, and Spenser, and is currently working on a project
exploring the links between female agency and mobility on Shakespeare’s stage.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Studies in
Renaissance / Early Modern Literature and Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">,</span></b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,
ISSN: 1946-1992,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Volume Nine
(2016): <i>Texts & Contexts</i></span></b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<br />
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-73555765796010863042016-08-16T17:05:00.002-07:002016-08-17T09:16:17.453-07:00Amy D. Stackhouse: "Women, Poetry & Politics"<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="BodyCxSpFirst">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></b>
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Amy D.
Stackhouse</span></b></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://www.iona.edu/Home.aspx" target="_blank">Iona College</a><o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Book Review<o:p></o:p></span></b></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Sarah C. E. Ross,
<i>Women, Poetry, & Politics in
Seventeenth-Century Britain</i>. Oxford University Press (Oxford, 2015), 272
pp. ISBN: <a href="https://global.oup.com/academic/product/women-poetry-and-politics-in-seventeenth-century-britain-9780198724209?cc=us&lang=en&" target="_blank">9780198724209</a></span></b></div>
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<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">1>
In his note on The Verse of <i>Paradise</i> <i>Lost</i>, John Milton sets out a
political poetic, defending his use of blank verse as not only more
aesthetically appropriate to his subject, but as fit ammunition in the cause of
liberty against the jangling rhyme of the Restoration court. His statement is
as much a declaration of politics as it is of poetics.<o:p></o:p></span></div>
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<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">2>
The distinctions we draw today — between poetry and politics, manuscript and
print, public and private, church and state, female authors and male authors —
are useful to a point, but only so far as we do not take the categorical
divisions that help us understand our world as our world itself. This becomes
an especial danger when we impose our categories onto the past, as we have to
depend on one another to do the digging that might upend our assumptions. <o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">3>
Were the English civil wars fought over politics or religion? Yes. Was <i>Paradise
Lost</i> a religious text or a political text? Yes. Did gentlemen poets
hesitate to see themselves in print or was that just a trope? Yes. Did women
engage in politics or stay in the private sphere? Yes. Is the birth of the
female author distinct from the birth of the male author or is there a common
birth? Yes.<o:p></o:p></span></div>
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<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">4>
In our own thinking, we have divorced politics and religion, sacred and
profane, poetry and politics, poetry and religion, public and private,
manuscript and print, female authorship and male authorship. It is easy to
forget that when these terms were married it did not mean that one term
necessarily had dominance over the other. When we look at John Donne’s poetry
and divide it into the sacred and profane, we might subsume the religious
tropes of “A Valediction Forbidding Mourning” to the overtly secular nature of
that poem. We assume we know the tenor from the vehicle. Likewise, we might
subsume Aemelia Lanyer’s religion under her proto-feminist politics in <i>Salve
Deus Rex Judaeorum</i>. We need to be aware of these dangers, to realize that
one term in the binary does not necessarily have dominance over the other, or
that if it does, that it is not necessarily the one we believe. For the poet,
there may be little distinction between the tenor and the vehicle.<o:p></o:p></span></div>
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<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">5>
In <i>Women, Poetry, and Politics in Seventeenth-Century Britain</i>, Sara C.
E. Ross has complicated the categories that necessarily have arisen as we study
seventeenth-century literature. She does so beautifully. Drawing on the writing
that has come teeming from the archives in the past 20 years, Ross plants
women’s manuscript poetry at the intersections of public and private, religious
and political, manuscript and print.<o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">6>
Much of our understanding of women’s place in literary history is based on
print. We see Katherine Philips, Margaret Cavendish, and Anne Bradstreet as
representative of women’s political poetry in the seventeenth century because
they have become canonical, and they have become canonical, in part, because
they were published in print. However, digging in the archives of manuscript
poetry, we find that the bias towards Royalism in the poetic writing of women
is less straightforward than we had assumed. Our understanding of the narrative
has been limited by the material we have had available. The recovery of lost
women in the archives allows us to create a more nuanced narrative, but we have
to find a way to read and understand what it is we have found. We might find
that the categories we have come to rely upon to understand seventeenth-century
British poetry, politics, and gender do not tell us the whole story. “Rewriting
the narrative of women’s political poeticization in the seventeenth century
requires us to read less selectively, to read different genres and to read them
differently, and to focus not only on ‘the birth of the modern woman author’ as
she is recognizable to our twenty-first century tastes and literary-critical
habits, but on more foreign and at times less pleasing modes of poetic
authorship, and on poetic acts that were in some cases less successful” (213).<o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">7>
Ross points out that much of the recovery project of women writers has focused
on “microhistories” of those writers. There is a certain depth to the
individual author, but less work done to date on the larger picture. This is
understandable, as we are still trying to figure out how these women writers
fit into and modify our sense of literary history. Ross takes a stab — a
successful stab — at broadening the project of individual histories of each
writer.<o:p></o:p></span></div>
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<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">8>
Each chapter in Ross’s book is a case study of an individual writer: Elizabeth
Melville, Anne Southwell, Jane Cavendish, Hester Pulter, and Lucy Hutchinson.
Ross argues that “focusing on these manuscript-based poets offers a new
critical view of women’s relationship to poetry and politics in the period: one
that is more extensive and various than has previously been realized, one that
is less exclusively associated with royalism than has long been the case, and
one that spans the long seventeenth century rather than being defined by the
revolutionary period and its aftermath” (4-5). Rather than looking at these
poets as establishing a female poetic community in the way Aemelia Lanyer
attempted to do with <i>Salve Deus Rex Judaeorum,</i> Ross finds a clear female
tradition of political manuscript poetry in the “tropes, genres, and material
forms in which they articulate their politics” (6).<o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">9>
Arguing against the idea that there was a clear distinction between the public
sphere and the political sphere in seventeenth-century Britain, Ross makes the
case that women’s poetry, starting in the early part of the century, was
political, even as it was wed to religious tropes and private, manuscript form.
According to Ross, in some cases, not only did women use poetry to “imagine the
political state,” but they also used it to “articulate a sense of political
agency or even action” (20). <o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">10>
Ross’s book is well-researched, clever, intelligent, and accessibly written.
Ross contributes substantially to our understanding of women’s history, the
history authorship, manuscript and print culture, and the relationship between
the canon and non-canonical writers. <i>Women, Poetry, and Politics in
Seventeenth-Century Britain</i> belongs on the shelf of any student of early
modern British literature and culture.<o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Dr.
Amy D. Stackhouse</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> is
the Associate Dean of Arts and Science at Iona College in New Rochelle, New
York, as well as the editor of <i>The Shakespeare Newsletter</i>. Dr.
Stackhouse’s research focus is on John Milton and seventeenth-century British
literature. She also writes fiction and has recently completed a Young Adult
novel.<o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div align="center" class="BodyCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div align="center" class="BodyCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Studies in
Renaissance / Early Modern Literature and Culture</span></i></b><b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">,</span></b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div align="center" class="BodyCxSpMiddle" style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,
ISSN: 1946-1992,</b><o:p></o:p></span></div>
<div align="center" class="BodyCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Volume Nine
(2016): <i>Texts & Contexts</i></span></b><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="BodyCxSpMiddle">
<br /></div>
<div class="BodyCxSpMiddle">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
<br />
<div class="BodyCxSpLast">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
</div>
whowhttp://www.blogger.com/profile/09061175252438502627noreply@blogger.com0tag:blogger.com,1999:blog-7389932094231362545.post-49957678282194411432016-08-16T17:03:00.000-07:002016-09-01T16:24:53.758-07:00Sara van den Berg: "Disknowledge"<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormalCxSpFirst">
<div class="MsoNormalCxSpFirst">
<div class="MsoNormalCxSpFirst">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Sara
van den Berg<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><a href="http://www.slu.edu/" target="_blank">Saint Louis University</a><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Book
Review<o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Katherine
Eggert, <i>Disknowledge: Literature,
Alchemy, and the End of Humanism in Renaissance England</i>. University of
Pennsylvania Press (Philadelphia, 2015), 368 pp. ISBN: <a href="http://www.upenn.edu/pennpress/book/15417.html" target="_blank">978-0-8122-4751-0</a><o:p></o:p></span></b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">1> Living in a period of
profound cultural change is hard, as people in seventeenth-century Europe knew
all too well. “Tis all in pieces, all coherence gone,” lamented John Donne. That
“coherence,” the presumed seamless link between physical and spiritual reality,
had been the consensus belief of Christian Europe. Katherine Eggert explores
the undoing of that consensus in <i>Disknowledge</i>,
her remarkable study of four disparate domains: theology, kabbalah, human
reproduction, and the English theatre. She argues that the European humanist
vision of a moral leadership grounded in classical learning degenerated into
the education of bureaucrats who were content to know only piecemeal and
superficial ideas. As humanism decayed, people were too often content to rely on
classical ideas that were no longer persuasive, while at the same time
remaining ignorant of, or at best indifferent to, the substance and
implications of those ideas. At the same time, new modes of knowledge that
excited scholars and investigators yielded innovative ideas that were often
rejected by others in favor of received ideas, or that were not critically
examined for their implications for a new world view. As Eggert puts it, people
chose “disknowledge”: not knowing what they knew, deliberately “setting aside”
one theory in favor of another (3). To illustrate the practice of
“disknowledge,” Eggert focuses on transubstantiation, kabbalah, and human
reproduction. These disparate domains have one thing in common: transformation,
whether physical, metaphysical, or biological. In all three, she argues, it was
equally possible “to rely on theories of transformation” and to reject them as
“spurious” (10).<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">2> Katherine Eggert’s unifying
theme is alchemy, a theory that rested on a belief in changeable, uncertain
matter that could be manipulated by human knowledge. At once a scam, a mode of
esoteric learning, and a model of scientific investigation, alchemy was present
throughout English culture, from the urban swindlers mocked by Ben Jonson to
virtuosi like Robert Boyle and Isaac Newton whose work we respect as science.
Katherine Eggert does not simply trace the history of alchemy or explain its
esoteric language and methods. Instead, she shows how a mode of thinking that
we could call “alchemical” pervades disciplines of thought from the Reformation
onward.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">3> Eggert appropriately begins
her study with the central transformative act in Christian Europe: the
transubstantiation of bread and wine into the body and blood of Christ.
Catholics and Protestants debated the nature of that central moment in the
Mass. Since the bread and wine remained visibly bread and wine, what
transformation had occurred? For Catholics, the “substance” was transformed
into Christ’s body and blood (“the real presence”) and only the appearances of
bread and wine remained. For Protestants, the transformation was symbolic and
commemorative. Eggert argues that transubstantiation rested on a kind of
alchemical thinking, a belief that matter could be changed and
perfected—whether into physical or spiritual gold. Discussing “How to Forget
Transubstantiation,” Eggert shows that Europeans discarded classical
Aristotelian ideas but had not as yet agreed on a new model of materiality.
Donne, Herbert, and Vaughan used the rhetoric of alchemy in their poetry about
communion, yet both transubstantiation and alchemy rested on unsustainable
precepts. Alchemy could only be a provisional mode of religious meditation.
Faith required forgetting.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">4> In the third chapter, “How
to Skim the Kabbalah,” Katherine Eggert shows that Christians who used the
Hebrew kabbalah could do so only by ignoring its foundation and appropriating
its surface. Here, faith required not erasure but distortion and deliberate
superficiality. To do otherwise would have yielded to the truth claims of the
Hebrew texts, and would have challenged the truth claims of Christian doctrine. In this chapter, she offers interpretations
of Marlowe’s <i>Doctor Faustus</i> and
Shakespeare’s <i>The Tempest</i>. Her
reading of <i>The Tempest</i> does not
always seem to build on her theoretical ideas. Eggert follows Julia Lupton in
reading Caliban in terms of the master/slave relationship. Eggert treats
Caliban as a golem, the figure of earth shaped into a hostile being, and
chooses to disregard colonial interpretations of Caliban. Only in a footnote
does Eggert mention Ariel, whose connection to Prospero’s magic art is much
more direct and whose name can be traced to Jewish mysticism.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">5> Turning to another
prominent issue in classical Greece and Renaissance Europe, Eggert describes
other ways to relate old and new ideas: avoidance and contradiction. In her
fourth chapter, “How to Avoid Gynecology,” Eggert offers a compelling account
of how anatomists struggled to reconcile their discoveries about the female
body with long-held ideas about woman’s passive role in reproduction. No less
than the understanding of life itself was at stake in the debates about
reproduction, or “generation.” In addition to describing the work of William
Harvey and Helkiah Crooke, Eggert shows how Spenser and Shakespeare use
alchemical rhetoric to imagine masculine parthenogenesis. In <i>The Faerie Queene</i>, she suggests, Spenser
“introduces alchemy to explore what men desire to know, what they think they
know, and what they avoid knowing about women’s bodies” (181). The ideals and
practices of male learning are comically inscribed in <i>Love’s Labours Lost</i>. This chapter owes much to feminist scholars of
science, but the synthesis of their insights is Eggert’s own.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">6> It is in the final chapter,
“How to Write Fiction,” that Katherine Eggert brings together her ideas about
alchemy, transubstantiation, kabbalah, and generation into a discussion about
literature itself. She rightly reminds us that Sidney used alchemical language
when he described poetry as a “golden world,” in contrast to the brazen world
of history and “mouse-eaten records.” In order to discuss this new theory of
literature, she offers interpretations of Shakespeare’s <i>Hamlet</i>, Jonson’s <i>The
Alchemist</i>, and Cavendish’s <i>The
Blazing World</i>. <i>The Alchemist</i>
relies on alchemical language, and Eggert could easily have built on her
earlier chapters to relate kaballah to the Hebrew elements in the play, and the
issues of reproduction and women’s bodies to the alchemical language of male
and female and the depiction of the female characters. Jonson converts the
detritus of urban life and characters into comic gold, making us ignore,
forget, avoid, or deny what we know in favor of the comic gold he creates.
These comments, however, should not detract from an appreciation of Eggert’s
book. Her learning and her argument are compelling, and the reader wants even
more.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">7> Writing in our own time of
cultural change, Katherine Eggert is all too aware of the threadbare legacy of
humanism. In a coda at once modest, skeptical, and affirmative, she brings her
thesis to bear on literary criticism. She laughs at and with her fellow
critics, who stand apart in our comfortable disciplines and only indirectly
explain the world to the world. Like Prospero, our strength is “most faint.”
Yet in modesty lies a hope for the strength of interpretation and scholarship
like that of Katherine Eggert. Read this book.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Sara
van den Berg</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">
specializes in seventeenth-century literature, medical humanities, and disability
studies. She and W. Scott Howard co-edited <i>The
Divorce Tracts of John Milton</i>, and she also co-edited <i>Language, Culture, and Identity: The Legacy of Walter J. Ong, S.J. </i>Her
other publications include<i> The Action of
Ben Jonson’s Poetry </i>and essays on Milton, Jonson, Shakespeare, Freud, and
medical humanities. Her current project is a study of the cultural meanings of
dwarfism since the Renaissance.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">_____<o:p></o:p></span></div>
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<br /></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">APPOSITIONS:</span></i></b><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><i><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Studies
in Renaissance / Early Modern Literature and Culture</span></i></b><b><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">,</span></b><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"><a href="http://appositions.blogspot.com/"><b>http://appositions.blogspot.com/</b></a><b>,
ISSN: 1946-1992,</b><o:p></o:p></span></div>
<div align="center" class="MsoNormalCxSpMiddle" style="text-align: center;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Volume
Nine (2016): <i>Texts & Contexts</i></span></b><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">_____</span></div>
</div>
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