Sons And Authors In Elizabethan England

It is the purpose of this study to suggest how such a career finally became conceivable at this historical moment by examining the ways each of these authors managed to negotiate a relationship to writing that enabled them to mature into adulthood, not only without relinquishing their writing, but actually by means of the self-scrutiny and social interaction enabled by that writing." "This study also investigates some of the many cultural inflections of manhood in Elizabethan England - both in the relationship of fathers to sons and the relationship of men to women."--BOOK JACKET.

The sensational narratives of John Lyly, Robert Greene, and Thomas Lodge established prose fiction as an independent genre in the late sixteenth century. The texts they created are a paradoxical blend of outrageous plotting and rhetorical sophistication, high and low culture. Although their works were feverishly devoured by contemporary readers, these writers are usually only known to students as sources for Shakespearean comedy. Fictions of Authorship in Late Elizabethan Narratives re-examines some of the pamphleteers earlier critics christened the 'University Wits', young professionals who exposed their education and talents to the still new and uncertain world of mass market publication. These texts chart their authors' disenchantment with the limitations of romance and of their own careers, yet they also form an alternative canon of vernacular writing, which is both self-referential and self-questioning. Shocking, unpredictable, and very engaging, these narratives provide a vivid commentary on the interface between popular taste and 'English literature'.

Histories of autobiography in England often assume the genre hardly existed before 1600. But Tudor Autobiography investigates eleven sixteenth-century English writers who used sermons, a saint’s biography, courtly and popular verse, a traveler’s report, a history book, a husbandry book, and a supposedly fictional adventure novel to share the secrets of the heart and tell their life stories. In the past such texts have not been called autobiographies because they do not reveal much of the inwardness of their subject, a requisite of most modern autobiographies. But, according to Meredith Anne Skura, writers reveal themselves not only by what they say but by how they say it. Borrowing methods from affective linguistics, narratology, and psychoanalysis, Skura shows that a writer’s thoughts and feelings can be traced in his or her language. Rejecting the search for “the early modern self” in life writing, Tudor Autobiography instead asks what authors said about themselves, who wrote about themselves, how, and why. The result is a fascinating glimpse into a range of lived and imagined experience that challenges assumptions about life and autobiography in the early modern period.

Becoming a father was the main way that an individual in the English Renaissance could be treated as a full member of the community. Yet patriarchal identity was by no means as secure as is often assumed: when poets invoke the idea of paternity in love poetry and other forms, they are therefore invoking all the anxieties that a culture with contradictory notions of sexuality imposed. This study takes these anxieties seriously, arguing that writers such as Sidney and Spenser deployed images of childbirth to harmonize public and private spheres, to develop a full sense of selfhood in their verse, and even to come to new accommodations between the sexes. Shakespeare, Donne and Jonson, in turn, saw the appeal of the older poets' aims, but resisted their more radical implications. The result is a fiercely personal yet publicly-committed poetry that wouldn't be seen again until the time of the Romantics.

The Oxford Handbook of English Prose 1500-1640 is the only available overview of early modern English prose writing. It considers the range and variety of the substance and types of English prose, and also analyses the forms and styles of writing adopted in the early modern period.

Robert Greene, contemporary of Shakespeare and Marlowe and member of the group of six known as the "University Wits," is the subject of this essay collection, the first to be dedicated solely to his work. Although in his short lifetime Greene published some three dozen prose works, composed at least five plays, and was one of the period's most recognized-even notorious-literary figures, his place within the canon of Renaissance writers has been marginal at best. Writing Robert Greene offers a reappraisal of Greene's career and of his contribution to Elizabethan culture. Rather than drawing lines between Greene's work for the pamphlet market and for the professional theatres, the essays in the volume imagine his writing on a continuum. Some essays trace the ways in which Greene's poetry and prose navigate differing cultural economies. Others consider how the full spectrum of his writing contributes to an emergent professional discourse about popular print and theatrical culture. The volume includes an annotated bibliography of recent scholarship on Greene and three valuable appendices (presenting apocrypha; edition information; and editions organized by year of publication).

The Parable of the Prodigal Son is one of the best-known stories in the Bible. It has captured the imagination of commentators, preachers and writers. Alison M. Jack explores the reconfiguring of the character of the Prodigal Son and his family in literature in English. She considers diverse literary periods and genres in which the paradigm is particularly prevalent, such as Elizabethan literature, the work of Shakespeare, the novels of female Victorian writers, the American short story tradition, novels focused on the lives of ordained ministers, and the poetry of Elizabeth Bishop and Iain Crichton Smith. Drawing on scholarship from biblical and literary studies, this study demonstrates the remarkable potency of the parable in generating new, and at times contradictory, meanings in different contexts. Historical and literary criticism are brought into dialogue to explore this remarkably resilient and nimble character as he dances through drama, novels and poetry across the centuries.

An exploration of sexuality and gender in Renaissance art, literature, and society.