‘A comely gate to so rich and glorious a citie’: The Paratextual Architecture of the Rheims New Testament and the King James Bible
This chapter examines Miles Smith’s King James Bible preface, ‘The Translators to the Reader’, excavating the polemical, hermeneutic, and literary contexts that frame the preface and determine its rhetoric, style, and tone. Smith’s preface took shape in response to successive installments of the Catholic Douai-Rheims translation and the Sistine Vulgate of 1590, and drew on classic Protestant principles of argument and exegesis. At stake in these debates was the question of a textual and doctrinal return ad fontes, as both Reformed and Roman polemicists claimed the authority of the early church for their cause. In a detailed examination of the paratexts of the Rheims New Testament and the King James Bible, a compelling case study of the debates surrounding reform and interpretation is provided.
Susan I. Gatti
A bold, imaginative work, The Star Rover demonstrates Jack London’s inventive approach to the social-protest genre. London mixes in the typical problem-novel ingredients: gritty, realistic details; sympathetic, downtrodden victims; greedy capitalist villains and their muscle-headed henchmen; brisk, often violent, action; outraged invective; individual and collective resistance; and radical action for precipitating change. But, in the process of exposing conditions within American prisons, London deviates sharply and creatively in The Star Rover—not only from the conventions of protest writing but also from the type of writing that normally assured him of good sales and positive reviews.
This chapter explores the inaugural moment for the English Reformation, and for the rendering of the scriptures in English within a national church. In May 1530, Henry VIII began to suggest that it was his duty to cause the New Testament to be translated into English for his subjects, marking a hesitant and reluctant shift towards a possible translation of the Bible. The King’s suggestion was met with opposition from senior churchmen on the one hand, and frustration by English evangelicals on the other, and Henry subsequently imposed legislation that limited Bible reading. This chapter examines the complex issues involved in the protocols that governed how scripture was disseminated to the laity.
Kim Ian Parker
This chapter deals with the largely neglected field of political Hebraism. Biblical citations are ubiquitous in virtually all political discussion in the seventeenth century, yet the political uses of Hebraic scholarship have been more or less absent from scholarship until recent years. The post-Reformation era, with its emphasis on sola scriptura, placed the Bible squarely in the centre of culture. One of the main issues for early modern political theorists was whether God approved or disapproved of a monarchy, based on their interpretation of Deuteronomy 17 and I Samuel 8. This chapter discusses the influence of political Hebraism on some influential seventeenth-century thinkers in England and argues that the Bible played an influential role in the formation of early modern political thought in the West as transmitted through the idea of the rebirth of the Hebrew Republic.
The divorce tracts, which consist of four prose pamphlets published between August 1643 and March 1645, represent a significant and underappreciated development in John Milton's theorizing of liberty. His arguments raise issues not only of family harmony, but also of political commitment. This article explores the emotional and political breakthroughs and sunderings visible in, and prompted by, these texts. Milton's tracts became the centre of a storm of anti-sectarianism, and were held up for ridicule as a harbinger of anarchy. They also engaged the stricken political realm. In recontextualizing Milton's divorce writings, the article places his analysis of irremediable difference, both on a personal and political level, in relation to the practical political work of the day. It also helps to explain the larger, both more local and more philosophical, significance of Milton's analogy between the marriage contract and the contract of civil obedience to the magistrate.
The sketch of prosodic theory presented in this article helps to clarify how the blank verse of Paradise Lost is virtually a new beginning and transmits a quite un-Shakespearean energy. Prosodic analysis shows that John Milton ranges freely within his chosen limits: there is no iambic jog-trot, and the rhythms are endlessly varied. The verse of Paradise Lost is distinguished by the sustained length of its sentences, which are on average about ten lines long, despite the frequent use of short sentences for rhetorical effect. Its blank verse is a deliberate and distinctive creation, influenced by but antithetical to late Shakespeare, through working within a strict discipline. Prosody and syntax are almost inseparable in effect in Paradise Lost.
This article examines the concept of cognitive environment in relation to ecocriticism. It discusses Gaston Bachelard’s analysis, in his The Poetics of Space, of historian Jules Michelet’s work depicting the building of a bird’s nest. It suggests that the corporeal act of nest-building may then be argued to imply the continuity of an organism and its environment and that the notion of enclosure is built into any ecology or Thoreavian economy.
In the 1990s, ceasefires were adopted in Ireland, followed in 2007 by the institution of devolved government at Stormont. With the Troubles now gone, the country has experienced a dramatic growth in tourism. Goodwill is everywhere, as is ‘progress’. Poetry now crowns the dome of one of Ireland's largest and plushest shopping malls. This chapter explores whether Belfast has stopped posing more problems than it offers solutions, and how the poets now coming of age will define themselves and their role, particularly in relation to the city. It focuses on the work of three poets – Leontia Flynn, Sinéad Morrissey, and Alan Gillis – all of whom wrestle with the problem of representing and interrogating their ‘own moment in history’. The chapter argues that, perhaps contrary to expectation, the peace context renders identity in Northern Irish poetry more, rather than less, problematic.
Ann Baynes Coiro
John Milton put A Maske presented at Ludlow Castle in the middle of his authorial identity when he announced that he was an important writer. A Maske has often been linked with Pleasure Reconciled to Virtue. John Fletcher's The Faithful Shepherdess was one of Milton's favourite plays and reading it can feel like a phantasmagoric encounter with Milton's Maske. The points of intersection between Coelum Britannicum and A Maske show the difference between the sceptical courtier and the romantic humanist. A Maske is the crucial nexus of Milton's two great English influences: Spenser's pastoral romance and Shakespeare's richly human drama. The most fascinating feature of the masque is the Lady. The masque's reversion to a conventional deus ex machina (Sabrina, or, if necessary, Heaven) only underscores retrospectively the boldness of Milton's most original creation in A Maske, a real woman acting nobly in the world.
The Irish national theatre movement developed in the ferment of cultural nationalism at the turn of the century, but it was not at all clear what form a national theatre should take: an Ibsenian model of critical realism, favoured by Edward Martyn, George Moore, and John Eglinton, the mythological poetic drama of Yeats, or the peasant plays that came to be written by Yeats and Gregory. Apart from the playwrights, the company of actors formed around the Fay brothers, nationalist groups such as Maud Gonne’s Inghinidhe na hEireann, and the Abbey’s English patron Annie Horniman all had ideas of their own. This chapter analyses the national and theatrical politics of the period up to the death of Synge in 1909, paying particular attention to the ways in which debates of the period centred around the idea of an Irish theatre in ways that were to influence future generations.