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Author: Gabriel Harvey
Publisher:
ISBN:
Category :
Languages : en
Pages : 220
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Author: Gabriel Harvey
Publisher:
ISBN:
Category :
Languages : en
Pages : 220
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Book Description
Author: Gabriel Harvey
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
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Author: Gabriel Harvey
Publisher:
ISBN:
Category :
Languages : en
Pages : 360
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Author: Edward George Harman
Publisher:
ISBN:
Category : Authors, English
Languages : en
Pages : 296
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Author: Margo Todd
Publisher: Cambridge University Press
ISBN: 9780521892285
Category : Political Science
Languages : en
Pages : 308
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Book Description
The author contends that the traditional views of puritan social thought have done a great injustice to the intellectual history of the 16th-century. Margo Todd reveals the puritans to be the heirs to a complex intellectual legacy.
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Publisher: Anaphora Literary Press
ISBN: 1681145731
Category : Poetry
Languages : en
Pages : 382
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A comparative anthology of all of the variedly-bylined texts in William Byrd’s linguistic-group, with scholarly introductions that solve previously impenetrable literary mysteries. This is a comparative anthology of William Byrd’s multi-bylined verse, with scholarly introductions to their biographies, borrowings, and generic and structural formulas. The tested Byrd-group includes 30 texts with 29 different bylines. Each of these texts is covered in a separate chronologically-organized section. This anthology includes modernized translations of some of the greatest and the wittiest poetry of the Renaissance. Some of these poems are the most famous English poems ever written, while others have never been modernized before. These poems serve merely as a bridge upon which a very different history of early British poetry and music is reconstructed, through the alternative history of the single ghostwriter behind them. This history begins with two forgeries that are written in an antique Middle English style, while simultaneously imitating Virgil’s Eclogues: “Alexander Barclay’s” claimed translation of Pope Pius II’s Eclogues (1514?) and “John Skelton’s” Eclogues (1521?). The next attribution mystery solved is how only a single poem assigned to “Walter Rawely of the Middle Temple” (when Raleigh is not known to have been a member of this Inn of Court) in The Steal Glass: A Satire (1576) has snowballed into entire anthologies of poetry that continue to be assigned to “Raleigh” as their “author”. Matthew Lownes assigned the “Edmund Spenser”-byline for the first time in 1611 to the previously anonymous Shepherds’ Calendar (1579) to profit from the popularity of the appended to it Fairy Queen. And “Thomas Watson” has been credited with creating Hekatompathia (1582), when this was his first book-length attempt in English; and this collection has been described as the first Petrarchan sonnet sequence in English, when actually most of these poems have 18-line, instead of 14-line stanzas. Byrd’s self-attributed Psalms, Sonnets, and Songs (1588) includes several lyrics that have since been re-assigned erroneously to other bylines in this collection, such as “My Mind to Me a Kingdom Is” being re-assigned to “Sir Edward Dyer”. The Byrd chapter also describes the history of his music-licensing monopoly. The “University Wit” label is reinterpreted as being applied to those who completed paper-degrees with help from ghostwriters, as exemplified in “Robert Greene’s” confession that “his” Pandosto and Menaphon were “so many parricides”, as if these obscene topics were forced upon him without his participation in the authorial process. “Philip Sidney’s” Astrophil and Stella (1591) is showcased as an example of erroneous autobiographical interpretations of minor poetic references; for example, the line “Rich she is” in a sonnet that puns repeatedly on the term “rich”, has been erroneously widely claimed by scholars to prove that Sidney had a prolonged love-interest in “Lady Penelope Devereux Rich”. Similarly, Thomas Lodge’s 1592-3 voyage to South America has been used to claim his special predilection for “sea-studies”, in works such as Phillis (1593), when adoring descriptions of the sea are common across the Byrd-group. Alexander Dyce appears to have assigned the anonymous Licia (1593) to “Giles Fletcher” in a brief note in 1843, using only the evidence of a vague mention of an associated monarch in a text from another member of the “Fletcher” family. One of the few blatantly fictitiously-bylined Renaissance texts that have not been re-assigned to a famous “Author” is “Henry Willobie’s” Avisa (1594) that invents a non-existent Oxford-affiliated editor called “Hadrian Dorrell”, who confesses to have stolen this book, without “Willobie’s” permission. Even with such blatant evidence of satirical pseudonym usage or potential identity-fraud, scholars have continued to search for names in Oxford’s records that match these bylines. “John Monday’s” Songs and Psalms (1594) has been labeled as one of the earliest madrigal collections. 1594 was the approximate year when Byrd began specializing in providing ghostwriting services for mostly university-educated musicologists, who used these publishing credits to obtain music positions at churches such as the Westminster Abbey, or at Court. An Oxford paper-degree helped “Thomas Morley” become basically the first non-priest Gospeller at the Chapel Royal. The section on “Morley’s” Ballets (1595) describes the fiscal challenges Morley encountered when the music-monopoly temporarily transitioned from Byrd’s direct control to his. “John Dowland’s” First Book of Songs or Airs (1597) is explained as a tool that helped Dowland obtain an absurdly high 500 daler salary from King Christian IV of Denmark in 1600, and his subsequent equally absurd willingness to settle for a £21 salary in 1612 to become King James I’s Lutenist. And the seemingly innocuous publication of “Michael Cavendish’s” 14 Airs in Tablature to the Lute (1598) is reinterpreted, with previously neglected evidence, as actually a book that was more likely to have been published in 1609, as part of the propaganda campaign supporting Lady Arabella Stuart’s succession to the British throne; the attempt failed and led to Arabella’s death during a hunger-strike in the Tower, and to the closeting of Airs. “William Shakespeare’s” The Passionate Pilgrim (1599) has been dismissed by scholars as only containing a few firmly “Shakespearean” poems, in part because nearly all of its 20 poems had appeared under other bylines. Passionate’s poems 16, 17, 19 and 20 are included, with an explanation of the divergent—“Ignoto”, “Shakespeare” and “Marlowe”—bylines they were instead assigned to in England’s Helicon (1600). Scholars have previously been at a loss as to identity of the “John Bennet” of the Madrigals (1599), and this mystery is solved with the explanation that this byline is referring to Sir John Bennet (1553-1627) whose £20,000 bail, was in part sponsored with a £1,200 donation from Sir William Byrd. “John Farmer’s” First Set of English Madrigals (1599) is reinterpreted as a byline that appears to have helped Farmer continue collecting on his Organist salary physically appearing for work, between a notice of absenteeism in 1597 and 1608, when the next Organist was hired. “Thomas Weelkes’” Madrigals (1600) is reframed as part of a fraud that managed to advance Weelkes from a menial laborer £2 salary at Winchester to a £15 Organist salary at Chichester. He was hired at Chichester after somehow finding around £30 to attain an Oxford BA in Music in 1602, in a suspicious parallel with the Dean William Thorne of Chichester’s degree-completion from the same school; this climb was followed by one of the most notorious Organist tenures, as Weelkes was repeatedly cited for being an absentee drunkard, and yet Dean Thorne never fired him. “Richard Carlton’s” Madrigals (1601) also appears to be an inoffensive book, before the unnoticed by scholars “Mus 1291/A” is explained as torn-out prefacing pages that had initially puffed two schemers that were involved in the conspiracy of Biron in 1602. The British Library describes Hand D in “Addition IIc” of Sir Thomas More as “Shakespeare’s only surviving literary manuscript”; this section explains Byrd’s authorship of verse fragments, such as “Addition III”, and Percy’s authorship of the overall majority of this censored play; the various handwritings and linguistic styles in the More manuscript are fully explained. “Michael Drayton’s” Idea (1603-1619) series has been explained as depicting an autobiographical life-long obsession with the unnamed-in-the-text “Anne Goodere”, despite “Drayton’s” apparent split-interest also in a woman called Matilda (1594) and in male lovers in some sprinkled male-pronoun sonnets. “Michael East’s” Second Set of Madrigals (1606) is one of a few music books that credit “Sir Christopher Hatton” as a semi-author due to their authorship at his Ely estate; the many implications of these references are explored. “Thomas Ford’s” Music of Sundry Kinds (1607) serves as a gateway to discuss a group of interrelated Jewish Court musicians, included Joseph Lupo (a potential, though impossible to test, ghostwriter behind the Byrd-group), and open cases of identity-fraud, such as Ford being paid not only his own salary but also £40 for the deceased “John Ballard”. “William Shakespeare’s” Sonnets (1609) are discussed as one of Byrd’s mathematical experiments, which blatantly do not adhering to a single “English sonnet” formula, as they include deviations such as poems with 15 lines, six couplets, and a double-rhyme-schemes. The poems that have been erroneously assigned to “Robert Devereux” are explained as propaganda to puff his activities as a courtier, when he was actually England’s top profiteer from selling over £70,000 in patronage, knighthoods and various other paper-honors. “Orlando Gibbons’” or “Sir Christopher Hatton’s” First Set of Madrigals and Motets (1612) describes the lawsuit over William Byrd taking over a Cambridge band-leading role previously held by William Gibbons, who in retaliated by beating up Byrd and breaking his instrument. This dispute contributed to Byrd and Harvey’s departure from Cambridge. Byrd’s peaceful life in academia appears to be the period that Byrd was thinking back to in 1612, as he was reflecting on his approaching death in the elegantly tragic “Gibbons’” First songs. Acronyms and Figures Introduction Handwriting Analysis: Byrd-Group “Alexander Barclay’s” Translation of Pope Pius II’s Eclogues (1530?) “John Skelton’s” Pithy, Pleasant and Profitable Works (1568) “Sir Walter Raleigh’s” Poems Between 1576 and 1604 “Edmund Spenser’s” Shepherds’ Calendar (1579) “Thomas Watson’s” Hekatompathia or Passionate Century of Love (1582) William Byrd’s Psalms, Sonnets, and Songs of Sadness and Piety (1588) “Sir Edward Dyer’s” Poems Between 1588 and 1620 “Robert Greene’s” Poems in Menaphon (1589) and Dorastus and Fawnia (1588/1696) “Philip Sidney’s” Astrophil and Stella (1591) “Thomas Lodge’s” Phillis (1593) “Giles Fletcher’s” Licia (1593) “Henry Willobie’s” Avisa (1594) “John Monday’s” Songs and Psalms (1594) “Thomas Morley’s” Ballets (1595) “John Dowland’s” First Book of Songs or Airs (1597) “Michael Cavendish’s” 14 Airs in Tablature to the Lute (1598) “William Shakespeare’s” The Passionate Pilgrim (1599) “John Bennet’s” Madrigals (1599) “John Farmer’s” First Set of English Madrigals (1599) “Thomas Weelkes’” Madrigals (1600) “Richard Carlton’s” Madrigals (1601) “Anthony Monday”, “Henry Chettle” and “William Shakespeare’s” Sir Thomas More, “Addition III” (Censored: 1592-1603) “Michael Drayton’s” Idea (1603-1619) “Michael East’s” Second Set of Madrigals (1606) “Thomas Ford’s” Music of Sundry Kinds (1607) “William Shakespeare’s” Sonnets (1609) “Robert Devereux’s” Poems (1610) “Orlando Gibbons” or “Sir Christopher Hatton’s” First Set of Madrigals and Motets (1612) Terms, References, Questions, Exercises
Author: Richard Verstegan
Publisher: Anaphora Literary Press
ISBN: 168114574X
Category : History
Languages : en
Pages : 508
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The launch of Britain’s “Anglo-Saxon” origin-myth and the first Old English etymological dictionary. This is the only book in human history that presents a confessional description of criminal forgery that fraudulently introduced the legendary version of British history that continues to be repeated in modern textbooks. Richard Verstegan was the dominant artist and publisher in the British Ghostwriting Workshop that monopolized the print industry across a century. Scholars have previously described him as a professional goldsmith and exiled Catholic-propaganda publisher, but these qualifications merely prepared him to become a history forger and multi-sided theopolitical manipulator. The BRRAM series’ computational-linguistic method attributes most of the British Renaissance’s theological output, including the translation of the King James Bible, to Verstegan as its ghostwriter. Beyond providing handwriting analysis and documentary proof that Verstegan was the ghostwriter behind various otherwise bylined history-changing texts, this translation of Verstegan’s self-attributed Restitution presents an accessible version of a book that is essential to understanding the path history took to our modern world. On the surface, Restitution is the first dictionary of Old English, and has been credited as the text that established Verstegan as the founder of “Anglo-Saxon” studies. The “Exordium” reveals a much deeper significance behind these firsts by juxtaposing them against Verstegan’s letters and the history of the publication of the earliest Old English texts to be printed starting in 1565 (at the same time when Verstegan began his studies at Oxford). Verstegan is reinterpreted as the dominant forger and (self)-translator of these frequently non-existent manuscripts, whereas credit for these Old English translations has been erroneously assigned to puffed bylines such as Archbishop Parker and the Learned Camden’s Society of Antiquaries. When Verstegan’s motives are overlayed on this history, the term “Anglo-Saxon” is clarified as part of a Dutch-German propaganda campaign that aimed to overpower Britain by suggesting it was historically an Old German-speaking extension of Germany’s Catholic Holy Roman Empire. These ideas regarding a “pure” German race began with the myth of a European unified origin-myth, with their ancestry stemming from Tuisco, shortly after the biblical fall of Babel; Tuisco is described variedly as a tribal founder or as an idolatrous god on whom the term Teutonic is based. This chosen-people European origin-myth was used across the colonial era to convince colonized people of the superiority of their colonizers. A variant of this myth has also been reused in the “Aryan” pure-race theory; the term Aryan is derived from Iran; according to the theology Verstegan explains, this “pure” Germanic race originated with Tuisco’s exit from Babel in Mesopotamia or modern-day Iraq, but since Schlegel’s Über (1808) introduced the term “Aryan”, this theory’s key-term has been erroneously referring to modern-day Iran in Persia. Since Restitution founded these problematic “Anglo-Saxon” ideas, the lack of any earlier translation of it into Modern English has been preventing scholars from understanding the range of deliberate absurdities, contradictions and historical manipulations behind this text. And the Germanic theological legend that Verstegan imagines about Old German deities such as Thor (Zeus: thunder), Friga (Venus: love) and Seater (Saturn) is explained as part of an ancient attempt by empires to demonize colonized cultures, when in fact references to these deities were merely variants of the Greco-Roman deities’ names that resulted from a degradation of Vulgar Latin into early European languages. Translations of the earlier brief versions of these legends from Saxo (1534; 1234?), John the Great (1554) and Olaus the Great (1555) shows how each subsequent “history” adds new and contradictory fictitious details, while claiming the existence of the preceding sources proves their veracity. This study also questions the underlying timeline of British history, proposing instead that DNA evidence for modern-Britons indicates most of them were Dutch-Germans who migrated during Emperor Otto I’s reign (962-973) when Germany first gained control over the Holy Roman Empire, and not in 477, as the legend of Hengist and Horsa (as Verstegan satirically explains, both of these names mean horse) dictates. The history of the origin of Celtic languages (such as Welsh) is also undermined with the alternative theory that they originated in Brittany on France’s border, as opposed to the current belief that British Celts brought the Celtic Breton language into French Brittany when they invaded it in the 9th century. There are many other discoveries across the introductory and annotative content accompanying this translation to stimulate further research. Acronyms and Figures Exordium Verstegan’s Publishing Technique Earliest “Anglo-Saxon” Texts Published in England “Archbishop Parker’s” Antiquarian Project (1565-1575) The Percys’ Patronage of the Workshop (1580-1597) “Learned Camden’s” Society of Antiquaries (1590-1607) The “Cowell” Revenge-Attribution: Plagiarism and Innovation in Saxon Dictionaries British Pagan and Christian Origin Myths Scientific Evidence and Its Manipulation in Establishing the Origin of Britons and Europeans Critical Reception of Restitution Verstegan’s Handwriting Synopsis Primary Sources The Northern Theological Histories of Saxo (1534; 1234?), John the Great (1554) and Olaus the Great (1555) Text 1. Of the origin of nations 2. How the Saxons are the true ancestors of Englishmen 3. Of the ancient manner of living of our Saxon ancestors 4. Of the isle of Albion 5. Of the arrival of the Saxons into Britain 6. Of the Danes and the Normans 7. Our ancient English tongue, and explanation of Saxon words 8. The etymologies of the ancient Saxon proper names of men and women 9. How by the surnames it may be discerned from where they take their origins 10. Titles of honor, dignities and offices, and names of disgrace or contempt References, Questions, Exercises
Author: Michael Hattaway
Publisher: John Wiley & Sons
ISBN: 9781444319026
Category : Literary Criticism
Languages : en
Pages : 1264
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Book Description
In this revised and greatly expanded edition of theCompanion, 80 scholars come together to offer an originaland far-reaching assessment of English Renaissance literature andculture. A new edition of the best-selling Companion to EnglishRenaissance Literature, revised and updated, with 22 newessays and 19 new illustrations Contributions from some 80 scholars including Judith H.Anderson, Patrick Collinson, Alison Findlay, Germaine Greer,Malcolm Jones, Arthur Kinney, James Knowles, Arthur Marotti, RobertMiola and Greg Walker Unrivalled in scope and its exploration of unfamiliar literaryand cultural territories the Companion offers new readingsof both ‘literary’ and ‘non-literary’texts Features essays discussing material culture, sectarian writing,the history of the body, theatre both in and outside theplayhouses, law, gardens, and ecology in early modern England Orientates the beginning student, while providing advancedstudents and faculty with new directions for theirresearch All of the essays from the first edition, along with therecommendations for further reading, have been reworked orupdated
Author: Virgil Keeble Whitaker
Publisher: Stanford University Press
ISBN:
Category : Religion in literature
Languages : en
Pages : 76
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Author: Terttu Nevalainen
Publisher: Routledge
ISBN: 1315475154
Category : Language Arts & Disciplines
Languages : en
Pages : 236
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Book Description
Historical Sociolinguistics: Language Change in Tudor and Stuart England is the seminal text in the field of historical sociolinguistics. Demonstrating the real-world application of sociolinguistic research methodologies, this book examines the social factors which promoted linguistic changes in English, laying the foundation for Modern Standard English. This revised edition of Nevalainen and Raumolin-Brunberg’s ground-breaking work: discusses the grammatical developments that shaped English in the early modern period; presents the sociolinguistic factors affecting linguistic change in Tudor and Stuart English, including gender, social status, and regional variation; showcases the authors’ research into personal letters from the people who were the driving force behind these changes; and demonstrates how historical linguists can make use of social and demographic history to analyse linguistic variation over an extended period of time. With brand new chapters on language change and the individual, and on newly developed sociolinguistic research methods, Historical Sociolinguistics is essential reading for all students and researchers in this area.
