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Renaissance Papers 2013

Renaissance Papers 2013

Jim Pearce
Joanna Kucinski
Copyright Date: 2014
Edition: NED - New edition
Published by: Boydell and Brewer,
Pages: 168
https://www.jstor.org/stable/10.7722/j.ctt9qdm3g
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  • Book Info
    Renaissance Papers 2013
    Book Description:

    Renaissance Papers collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The 2013 volume features essays from the conference held at Duke University in Durham, North Carolina. The volume opens with three reappraisals of Renaissance poetics. The first essay addresses the incarnational poetics in George Herbert's poetry; the second investigates the poetics of probability in Middleton's A Yorkshire Tragedy; and the third considers an image from Colluthus's Rape of Helen, proposing new ways to understand allusion in Marlowe's Hero and Leander. The volume then turns to Renaissance representations of women with a discussion of "swooning" in George Gascoigne's The Adventures of Master F.J.; a discussion of prostitution, performance, and the art of Anti-Sprezzatura; and a discussion of identity, loss, and narration in The Rape of Lucrece. The center of the volume turns to an examination of friendship and the paratextual apparatus of Michel de Montaigne's Essais, and then shifts to Shakespearean drama with essays on The Comedy of Errors, Measure for Measure, and Cymbeline/I>. The volume closes with an essay on John Milton's historical iconoclasm in his History of Britain. Contributors: John Wall, Kevin Chovanec, Pamela Macfie, Margaret Simon, Mara Amster, Ruth Stevenson, Andrew Keener, Christopher Crosbie, Ward Risvold, Patricia Wareh, and Paul Stapleton. Jim Pearce is an Associate Professor and Joanna Kucinski is an Assistant Professor at North Carolina Central University.

    eISBN: 978-1-78204-454-3
    Subjects: Language & Literature

Table of Contents

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  1. Front Matter
    (pp. [i]-[iv])
  2. Table of Contents
    (pp. [v]-[viii])
  3. George Herbert’s Incarnational Poetics
    (pp. 1-16)
    John N. Wall

    This essay is about some poems by George Herbert, and especially about how the process of reading these poems offers us the opportunity to see the world as opening to us afresh, the closed text opening to new possibilities of meaning both within the text and in the world that surrounds us as we read. These are poems, mostly among those of Herbert’s poems called “shaped verse,” in which the form of the poem is in conversation with the experience of the text as it unfolds in the process of reading. These poems provide a distinctive reading experience, an experience...

  4. “What is there in three dice?”: The Role of Demons in the History of Probability
    (pp. 17-30)
    Kevin Chovenak

    Almost every history of probability grapples at some point with an improbability: why was it that games of dice existed for two thousand years before any thinker understood and accurately recorded the mathematics of chance? Various answers have been suggested, but no general consensus has emerged.¹ Instead, the best recent scholarship has turned to filling in a picture of all the hidden proto-probability lying nascent in the classical, medieval and early modern worlds. This material, it has been suggested, influenced the eventual formulation of mathematical probability when it finally broke through around 1660. In this short article, I certainly have...

  5. Allusion as Plunder: Marlowe’s, Hero and Leander, and Colluthus’s Rape of Helen
    (pp. 31-42)
    Pamela Royston Macfie

    Defining literary allusion as “a way of dealing with the predicaments and responsibilities of ‘the poet as heir,’” Christopher Ricks recommends that we pay special attention “when the subject matter of an allusion is at one with the impulse that underlies [its] making.”² This paper responds to Ricks’s challenge by considering how an image from Colluthus’sRape of Helenshapes an important turn in Marlowe’sHero and Leander. Marlowe issues the reference within the long-awaited moment when Leander enters Hero’s virgin body: “Leander now, like Theban Hercules, / Entered the orchard of th’ Hesperides, / Whose fruit none rightly can...

  6. Authorial Feints and Affecting Forms in George Gascoigne’s The Adventures of Master F.J.
    (pp. 43-54)
    Margaret Simon

    Philip Barrough’s 1590 manual “The Methode of Phisicke” includes a long section called “Of swounding” with the following recipe to revive a fainting person: make them a meal of “the stones of cockes, which be nourished with milke” and “swynes brayne … diligently rosted, or well sodden in water with leekes, and dill.”¹ The goal was to thicken the skin as a means to stop the “exhalations” that might have resulted in a loss of consciousness. Treatises on humoral medicine are rife with such, to modern tastes at least, unorthodox remedies. In reading Barrough and other medical exegeses on swooning,...

  7. “A … harlot is true in nothing but in being false”: Prostitute Performances and Anti-Sprezzatura
    (pp. 55-66)
    Mara I. Amster

    In Alexander Oldys’s 1683The London Jilt, his titular heroine Cornelia provides her readers with a cosmetics lesson. She explains that she “took someSpanishWool, which I macerated some hours in Brandy, by the force whereof, the Tincture of theSpanishWool began to lose it self, and if one wet or rubbed any place therewith, it communicated a colour, which seem’d to be altogether natural.”¹ In fact, the color of her cheeks does not just “seem” natural; Cornelia brags that it resembles something “which Nature produced.” Cornelia’s ability to create an artificial blush that looks naturally inspired places...

  8. The Speaker’s Depth of Character in Shakespeare’s The Rape of Lucrece
    (pp. 67-82)
    Ruth Stevenson

    The Rape of Lucrece¹ is a poem of loss. It resembles a long funeral elegy for Lucrece as it retells the forces that cause her acute deprivations. She is robbed of her most prized identity, “that true type” of chastity (1050); she loses her relationship with her husband and with her father, and as a consequence she will lose her own life and the life within her of a future son or daughter if she is pregnant.² Critical commentary has analyzed many of the forces that lead to and/or explain her loss. Studies of sexual trauma and gender pressure,³ of...

  9. Prefatory Friendships: Florio’s Montaigne and Material Technologies of the Self
    (pp. 83-100)
    Andrew S. Keener

    In recent years, much discussion of Michel de Montaigne’sEssaishas gravitated toward the chapter “Of Friendship” (De l’amitié). This chapter remains one of Montaigne’s most influential philosophical interventions, and it gathers its force from the French author’s close relationship with judge and writer Etienne de la Boétie. In “Of Friendship,” Montaigne surveys a variety of philosophical stances on friendship, commenting along the way on topics including pederasty and marriage, and citing extensively from classical sources. Scholars including Laurie Shannon and Marc Schachter have addressed this essay in broader investigations of Renaissance friendship and in conjunction with the classically-derived notions...

  10. The Comedy of Errors, Haecceity, and the Metaphysics of Individuation
    (pp. 101-114)
    Christopher Crosbie

    When Coleridge, speaking ofThe Comedy of Errors, averred that “farces commence in a postulate which must be granted,” he pointed to the internal logic governing the otherwise illogical.¹ That he did so to categorizeErrorsa farce helped contribute to masking the play’s more sophisticated explorations of identity formation, social contracts, mercantile exchange, and the crucial epistemological functions of the memory, to name a few of the play’s broader cultural concerns, that recent critics have rightly recovered. Some readings, in fact, have begun, daringly even if mostly in passing, to suggest the play gestures towards the metaphysical.² But why...

  11. “Cucullus non facit monachum”: Hooded Words, Tricky Speech, and Licentia, in Measure for Measure
    (pp. 115-130)
    Ward Risvold

    John Heminges and Henry Condell listedMeasure for Measureas a comedy in the 1623 folio, a categorization whose insufficiency was addressed by F. S. Boas in 1896.¹ Boas reclassified the play as a “problem” play and a problem play it has remained, though different critics identify the problem in often diametrically opposed features of the play; its ending in marriages appears perfunctory; its use of theDeus ex machinaseems contrived; the characters in the play hardly seem likeable or sympathetic. Indeed, audiences want Angelo to be held accountable, and audiences shake their heads in dismay at the excessive...

  12. Reading Women: Chastity and Fictionality in Cymbeline
    (pp. 131-146)
    Patricia Wareh

    As an implausible romance, Shakespeare’sCymbelineencourages the audience to delight in its fiction. A 1998 production by the Royal Shakespeare Company began with the performers around a campfire, gathered for a story, as a man in a red robe intoned, “There was a king …”¹ In other recent productions, such as those by Shakespeare’s Globe in 2002 and Fiasco Theater Company in 2011, the entire cast sat throughout the play in a semi-circle around the stage, ready to take on different roles at different times.² With a small cast and many doubled roles, these performances required some instant character...

  13. King Arthur, Badon Hill, and Iconoclasm in Milton’s History of Britain
    (pp. 147-159)
    Paul J. Stapleton

    By the time he began to writeThe History of Britain(1671) in the late 1640s, John Milton had come to view the historical reality of the legendary exploits of King Arthur as dubious at best. As he says inThe History, “But who Arthur was, and whether ever any such reign’d in Britain, hath bin doubted heertofore, and may again with good reason.”¹ Milton was not alone in this assessment. Polydore Vergil, the sixteenth-century Italian humanist commissioned by Henry VII to write the history of England, was the first “humanist” historiographer to call into question the veracity of the...

  14. Back Matter
    (pp. 160-160)