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Renaissance Papers 2005

Renaissance Papers 2005

Christopher Cobb
M. Thomas Hester
Copyright Date: 2005
Published by: Boydell and Brewer,
Pages: 128
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  • Book Info
    Renaissance Papers 2005
    Book Description:

    Renaissance Papers collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. In the 2005 volume, two essays focus on Shakespeare: one on "choric juxtaposition" in his twinned characters and one on the rhetoric of The Tempest; another essay on drama considers Dryden's critical response to Epicoene. There are two essays on John Donne, one on the choir space in his conduct of worship in St. Paul's and the other on the revisions to his Elegies. Other essays consider the influence of Castiglione on the paintings of Bronzino, the metaphor of the horse and horsemanship in Sidney's poetics, and the role of conversation in Hutchinson and Milton. CONTRIBUTORS: GEORGE WALTON WILLIAMS, SARA VAN DEN BERG, JENNIFER BRADY, JOHN N. WALL, ERNEST W. SULLIVAN II, HEATHER L. HOLIAN, ANNE LAKE PRESCOTT, AND BOYD BERRY. M. THOMAS HESTER is professor of English, and CHRISTOPHER COBB is assistant professor of English, both at North Carolina State University.

    eISBN: 978-1-57113-748-7
    Subjects: Language & Literature

Table of Contents

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  1. Front Matter
    (pp. [i]-[iv])
  2. Table of Contents
    (pp. [v]-[viii])
  3. Bronzino, Castiglione, and A Self-Portrait: Re-evaluating Bronzino’s Trip to Pesaro
    (pp. 1-24)
    Heather L. Sale Holian

    In late 1530 the Florentine painter, Agnolo Bronzino accepted the invitation of Duke Francesco Maria I della Rovere and Duchess Eleonora da Urbino to attend their court in Pesaro. At the time of his arrival, the northern court was not only recognized as an intellectual center but also revered as both the impetus for, and origin of, Baldassare Castiglione’s Il Cortegiano, the most widely read civility text of the Renaissance.¹ As an exemplar of courtly elegance and manners, the Della Rovere court in 1530 provided a stark contrast to the more spartan court environment of Bronzino’s native city, which was...

  4. Tracing Astrophil’s “Coltish Gyres”: Sidney and the Horses of Desire
    (pp. 25-42)
    Anne Lake Prescott

    At the start of Philip Sidney’s Defence of Poesie (written some time in the early 1580s), John Pietro Pugliano, the Emperor’s master of horse, praises horsemanship and horses so compellingly that Sidney says, smilingly, “if I had not been a piece of logician before I came to him, I think he would have persuaded me to wish myself a horse.”¹ We see, he says, the distorting effect of self-love, and offers the reader another example: himself. A poet, he will praise poetry. The paradox Sidney sets up is not quite that of self-reference, although it comes close, but Sidney does...

  5. Shakespeare’s Twins: Choric Juxtaposition
    (pp. 43-50)
    George Walton Williams

    Several years ago, I presented a paper before the Shakespeare Association arguing against the modern custom in productions of The Comedy of Errors of allowing one actor to play both roles of the Antipholus Twins (and one for both of the Dromios). I suggested that such doubling was contrary to Shakespeare’s intent and, indeed, nullified some of the effects of choric juxtaposition of the two Twins that Shakespeare had been at pains to produce. As a specific instance of Shakespeare’s intention, I cited Act III, scene i, where on two occasions—both before and after the scene—one twin makes...

  6. Rhetoric and Intimacy in The Tempest
    (pp. 51-60)
    Sara van den Berg

    We split! We split!” comes the despairing cry in the opening scene of The Tempest, as those on board fear not only their broken ship but their broken families: “‘Farewell, my wife and children!’—/ ‘Farewell, brother!’”¹ We soon learn that the ship is whole, “Safely in harbor” (I.ii.226), but it will take the rest of the play to acknowledge if not heal all the splits between and within the characters. The healing power of intimacy—of pity, empathy, and care—paradoxically is attained only through the act of separation and distancing, voiced in the rhetoric of the play and...

  7. “That Holy roome”: John Donne and the Conduct of Worship at St. Paul’s Cathedral
    (pp. 61-84)
    John N. Wall

    In his poem “Hymn to God My God in my Sicknesse,”¹ John Donne uses imagery drawn from the realm of the performing arts to articulate the claim that illness can both bring one closer to God and also help one prepare for that encounter. His speaker notes:

    SINCE I am comming to that Holy roome,

    Where, with thy Quire of Saints for evermore,

    I shall be made thy musique; as I come

    I tune the Instrument here at the dore,

    And what I must doe then, think now before. (1-5)

    Donne is of course here drawing on the traditional Christian...

  8. Conversation in Hutchinson’s Order and Disorder and Milton’s Paradise Lost
    (pp. 85-102)
    Boyd Berry

    My argument is not that Paradise Lost is the production of a biblical literalist; we well know that, amidst many bits of scripture, there are a very great number of extra-scriptural lines. Yet if we compare Paradise Lost with Lucy Hutchinson’s Genesis poem, Order and Disorder, we see in a new way the truth of the obvious.¹ That can be best effected if we consider “conversation” in the two poems, and that in two senses—an ordinary understanding that conversers will listen to and respond to the words of others, and one contemporary with Milton and Hutchinson. OED defines an...

  9. Dryden on Epicoene’s “Malicious Pleasure”: The Case of the Otters
    (pp. 103-120)
    Jennifer Brady

    Dryden identifies the “malicious pleasure” Jonsonian comedy affords its spectators in his Essay of Dramatick Poesie, in which he proclaims Epicoene “the pattern of a perfect Play.”¹ Written in 1665, the examen of Epicoene is the first sustained formal criticism of a literary work in English. Dryden’s admiration of Jonson’s dramaturgy draws on his immersion in the Workes (he refers to half of Jonson’s plays in the span of the Dramatick Poesie, discussing many—including the famously disparaged “dotages”—in fluent detail), confirming his professed ideal of emulating the dramatic practice of the principal Jacobean playwrights. It is an intense,...