Skip to Main Content
Have library access? Log in through your library
Renaissance Papers 2011

Renaissance Papers 2011

Andrew Shifflett
Edward Gieskes
Copyright Date: 2012
Published by: Boydell and Brewer,
Pages: 168
  • Cite this Item
  • Book Info
    Renaissance Papers 2011
    Book Description:

    Renaissance Papers' collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The 2011 volume opens with three essays focused on Shakespeare: one on Pauline presences in '1 Henry 4', one on the play of letters in 'Love's Labour's Lost', and another on 'productive violence' in 'Titus Andronicus'. The volume then turns to links between Renaissance drama and the wider culture, with essays on Ramistic method in Marlowe's 'Massacre at Paris', 'overflowing' emotion in generically experimental plays of the first decade of the seventeenth century, and the 'birdliming' of characters in 'Bartholomew Fair' and 'Othello'. Next come essays devoted to a trio of lyric poets: Sir Philip Sidney, whose frustrated desire leads to the 'sacrificial sublime'; Fulke Greville, whose quest for certainty is complicated by his radical Calvinism; and George Herbert, whose spiritual transformations are inspired by the machinery of court masques. The volume closes with essays showcasing a range of interests in the history of ideas: Trinitarianism in Edmund Spenser's 'Faerie Queene', social satire and the norms of Christian exemplarity, and the humane censorship of Cardinal Bellarmine. Contributors: William A. Coulter, L. Grant Hamby, Bryan Herek, C. Bryan Love, Julia P. McLeod, Kara Northway, James Pearce, Paul J. Stapleton, Jessica Tooker, Lewis Walker, Kathryn Walls, Emma Annette Wilson. Andrew Shifflett and Edward Gieskes are Associate Professors of English at the University of South Carolina, Columbia.

    eISBN: 978-1-57113-836-1
    Subjects: Language & Literature

Table of Contents

Export Selected Citations Export to NoodleTools Export to RefWorks Export to EasyBib Export a RIS file (For EndNote, ProCite, Reference Manager, Zotero, Mendeley...) Export a Text file (For BibTex)
  1. Front Matter
    (pp. [i]-[iv])
  2. Table of Contents
    (pp. [v]-[viii])
  3. Walking, Waking, and the Armor of Light: Pauline Enactments in Henry IV, Part 1
    (pp. 1-16)
    Lewis Walker

    Stephen Marx’s Shakespeare and the Bible usefully points out that “Shakespeare read the Bible with a wide range of interpretative responses to its vast plenitude of meanings.”¹ Among the many ways in which the plays appropriate scripture, more or less exact echoing of phrases is one of the most prominent.² This essay will begin by considering some obvious verbal borrowings having to do with repentance and reform in preparation for salvation from Paul’s epistles in 1 Henry IV. I will then argue that each clearly identified borrowing is embedded in or closely linked to a cluster of images, heretofore unconnected...

  4. Costard’s Revenge: Letters and Their Misdelivery in Love’s Labour’s Lost
    (pp. 17-30)
    Kara Northway

    As many critics have noted, letters permeate Love’s Labour’s Lost at both the linguistic and structural levels. Patricia Parker has identified an extended pun on letters connected to the plot, and H. R. Woudhuysen has remarked that two thirds of the plays’ scenes focus significantly on letters.¹ Stanley Wells calls Biron’s letter-exposure scene “a mid-play discovery that is quite as important in the design of this play as the Prince’s discovery of Claudius’s guilt is to the design of Hamlet.”² However, while critics recognize the importance of epistles in the play, they overlook delivery conventions and remove bearers from the...

  5. Productive Violence in Titus Andronicus
    (pp. 31-40)
    Jessica Tooker

    Coming upon his niece, Lavinia, “her hands cut off, and her tongue cut out, and ravished,” Marcus asks, “Who is this? My niece, that flies away so fast?”¹ Marcus’s initial inability to recognize Lavinia is caused not by her gruesome maiming but by her flight from his sight. His next lines confirm his inability to gaze on her properly, as he does not comment on her physical condition, but attempts to detain her again, asking: “Cousin, a word, where is your husband?” (2.4.12). At this point, presumably, Lavinia reveals herself to him, as Marcus’s next lines indicate an immediate, instinctual...

  6. Method in Marlowe’s Massacre at Paris
    (pp. 41-52)
    Emma Annette Wilson

    In scene 4 of Christopher Marlowe’s Massacre at Paris (1593), his dramatization of the St. Bartholomew’s Day massacre of Protestants, which took place in 1572 and formed a central moment in the French wars of religion, Queen Mother of France, Catherine de Medici, asks the Duke of Guise: “What order will you set down for the massacre?”¹ The Duke of Guise gives a typically smooth answer, detailing the “white crosses” and “white linen scarfs” to be worn by his men taking part in the massacre, and the “peal[s] of ordnance” that will mark the beginning and the end of the...

  7. Ending Well: Mixed Genres and Audience Response in the London Theatrical Marketplace, 1604–06
    (pp. 53-64)
    Love C. Bryan

    William Shakespeare’s All’s Well That Ends Well is of uncertain date, but many scholars suggest it was written and performed by the King’s Men around 1604–06, speculation largely based on “invocations of God in the play, a habit . . . curtailed in 1606 by James’s edict against ‘the great abuse of the Holy Name of God in stage plays,’” a few topical references, and similarities with Measure for Measure, which was performed at Court at the very end of 1604.¹ Recently, Terry Reilly convincingly has tied All’s Well That Ends Well to debate over the Court of Wards...

  8. Birdlime: Sticky Entrapments in Renaissance Drama
    (pp. 65-78)
    Julia P. McLeod

    Renaissance theater held a mirror up to its audiences, reflecting the anxieties, emotions, and beauty of life, often in unsettling and challenging ways. Because theater served as a space for critiquing contemporary political, social, and religious structures as well as the personal challenges of life in this rapidly changing and often unstable society, much of the playwrights’ subject material sprang from experiences of quotidian English life and landscape. Tapping into such shared daily experiences and natural phenomena provided cultural touch points that, as easily identified and widely understood metaphors, served to reinforce the sense of community in the audience and...

  9. Sacrifice and Transcendence in Sir Philip Sidney’s Astrophil and Stella
    (pp. 79-86)
    L. Grant Hamby

    If one had to choose a single word to sum up Sir Philip Sidney,” writes Anthony Low, “that word might well be ‘desire.’”¹ But what is the object of Sidney’s desire? In endeavoring to answer this question I shall suggest that Sidney presents in Astrophil and Stella a kind of transgressive desire that problematizes the ideological tensions present in the Elizabethan subject. This desire surfaces as the sacrifice of the subject. Sidney developed a model of erotic transcendence ending in the sacrificial sublime, defined here as the radical rendering of the self in which discourse of the self goes beyond...

  10. The Quest for Certainty in Fulke Greville’s A Treatie of Humane Learning
    (pp. 87-102)
    Jim Pearce

    Philosophy may, as Aristotle avers, begin in wonder, but amours that spring from this emotion, Fulke Greville implies, run the risk of never being consummated. In Greville’s Sonnet LVI—an exotic dreamlike vision charged with an erotic potential that, to the great embarrassment of the speaker, remains unrealized—“Cynthia” escapes because of the speaker’s naively confident attitude towards experience. Like the dream of St. Jerome, this poem records a crucial moment in Greville’s development, for in his subsequent works he systematically repudiates the sublunary, the mutable, and the inherently uncertain: “None can well behold with eyes,” he writes, “But what...

  11. Traces of the Masque in George Herbert’s The Church
    (pp. 103-116)
    William A. Coulter

    Years ago, D. J. Gordon wrote the following about the Banqueting House:

    The decoration of such a room was a public and political act: a declaration of the meaning of the ruler’s kingship. Here Charles, child of the James who had constantly declared, in no blasphemous gesture, kings to be God on earth, and sustained by the iterations of the most powerful Anglican divines, might move, an image, among images, in that late Renaissance world where the relationship between image and what was imaged, sign and what was signified, was still patient of ambiguous readings, and in part powerful by...

  12. Una Trinitas: Una and the Trinity in Book One of The Faerie Queene
    (pp. 117-130)
    Kathryn Walls

    Along with most commentators, I interpret Una as the Church. Unlike most, however, I understand that Church not as the English Church of Spenser’s day (which, needless to say, incorporated nearly all of Elizabeth’s subjects), but as the community of the redeemed.¹ This latter community was understood to exist not only within the English Church, but also beyond it. As explained by Robert Nowell in his Catechism of 1570, the visible Church (whose claim to be a Church derives from its “sincere preaching of the gospel,” and its “invocation and administration of the sacraments”) is liable to include hypocrites among...

  13. Reconsidering the 1599 Bishops’ Ban on Satire
    (pp. 131-140)
    Bryan Herek

    In 1599, the Archbishop of Canterbury, John Whitgift, and the Bishop of London, Richard Bancroft, ordered the Stationers’ Company to call in and burn various collections of satires. They further imposed a ban on satire in general, prohibiting future publication.¹ A variety of theories have been proposed to account for the bishops’ ban. Noting that a number of satires included in the order were of a gross sexual nature, John Peter suggests that the Bishops were motivated out of a concern for public morals.² Richard McCabe, observing that these satires often attacked identifiable individuals, argues that the bishops were troubled...

  14. Robert Bellarmine the Censor and Early-Modern Humanism
    (pp. 141-156)
    Paul J. Stapleton

    In recent years scholars have called attention to the seeming discrepancy between John Milton’s memorable arguments against licensing in Areopagitica and the fact that he was himself employed as a censor. “That in 1649 the newly formed Council of State enlisted Milton’s aid in regulating the book trade has troubled modern readers,” observes Stephen Dobranski; “we presume that the author of the Areopagitica would have refused on principle to work as a government censor.”¹ Nevertheless, most of us would agree that the principles set down in the Areopagitica, and the contributions they have made to the development of modern civil...

  15. Back Matter
    (pp. 157-157)