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Marlowe's Ovid
The first book of its kind, Marlowe's Ovid explores and analyzes in depth the relationship between the Elegies-Marlowe's translation of Ovid's Amores-and Marlowe's own dramatic and poetic works. Stapleton carefully considers Marlowe's Elegies in the context of his seven known dramatic works and his epyllion, Hero and Leander, and offers a different way to read Marlowe. Stapleton employs Marlowe's rendition of the Amores as a way to read his seven dramatic productions and his narrative poetry while engaging with previous scholarship devoted to the accuracy of the translation and to bibliographical issues. The author focuses on four main principles: the intertextual relationship of the Elegies...
Christopher Marlowe the Craftsman
Contributions to this volume explore the idea of Marlowe as a working artist, in keeping with John Addington Symonds' characterization of him as a "sculptor-poet." Throughout the body of his work-including not only the poems and plays, but also his forays into translation and imitation-a distinguished company of established and emerging literary scholars traces how Marlowe conceives an idea, shapes and refines it, then remakes and remodels it, only to refashion it further in his writing process. These essays necessarily overlap with one another in the categories of lives, stage, and page, which signals their interdependent nature regarding questions of authorship, theater and performance his...
Admired and Understood
Admired and Understood analyzes Behn's only pure verse collection, Poems upon Several Occasions (1684), and situates her in her literary milieu as a poet. Behn's book demonstrates her desire for acceptance in her literary culture, to be admired and understood, as she puts its, the antitheses of what many surmise from reading her other works - that she saw herself primarily as a guerilla critic of her culture's views on race, class, and gender. The introduction to Admired and Understood argues that her colleagues thought of her as poet first, rather than as a dramatist, reviews current criticism about Behn, and provides a brief overview of late seventeenth-century poetical theory. The first chapter explains the intricately interwoven structure of Behn's collection. The next two chapters concern intertextual linkages between Behn and Abraham Cowley, as well as the influence of Thomas Creech's translations of Horace, Theocritus, and Lucretius on her poetics. The ensuing chapters concern Behn's response to Rochester's libertine aesthetic, a close reading of On a Juniper-Tree (a poem central to her collection), Katherine Philips as Behn's most important predecessor as a woman writin
Fated Sky
The ensuing chapters extend the idea by explaining the centrality of John Studley's Medea to Shakespeare's conception of Joan la Pucelle (1 Henry V), Margaret of Anjou (2 Henry VI, 3 Henry VI, Richard III), and Tamora (Titus Andronicus); the further transformations of femina furens in The Taming of the Shrew and The Merchant of Venice; the strange parallels between Helena (All's Well that Ends Well) and John Studley's Phaedra; and between Cleopatra and Jasper Heywood's Juno. The last chapter suggests that Imogen and Cymbeline's Queen represent an exorcism of femina furens."--Jacket.
Harmful Eloquence
M. L. Stapleton's Harmful Eloquence: Ovid's Amores from Antiquity to Shakespeare traces the influence of the early elegiac poetry of Publius Ovidius Naso (43 B.C.E.-17 C.E.) on European literature from 500-1600 C.E. The Amores served as a classical model for love poetry in the Middle Ages and the Renaissance and were essential to the formation of fin' Amors, or "courtly love". Medieval Latin poets, the troubadours, Dante, Petrarch, and Shakespeare were all familiar with Ovid in his various forms, and all depended greatly upon his Amores in composing their cansos, canzoniere, and sonnets. Harmful Eloquence begins with a detailed analysis of the Amores themselves and their artistic unity. It m...
Spenser's Ovidian Poetics
The author's predecessors focus almost exclusively on the Metamorphoses as intertext, but do not often distinguish between early modern Latin editions of the poem and translations such as Arthur Golding's. Although Spenser read Ovid in his native language, during the quarter-century of his writing career, his countrymen such as Shakespeare, Donne, and Lodge imitate and recast the ancient author. During this English aetas Ovidiana, a translation industry arises simultaneously so that the entire corpus is rendered into English, from Golding's Metamorphoses (1567) to Wye Saltonstall's Ex Ponto (1638). Since the sixteenth century did not often read or hear a Roman poet in prose renditions, the author uses Renaissance poetical verse translations (with the Latin text) to explore Spenser's variegated use of Ovid: how he sounded as early modern English poetry.
Thomas Heywood's Art of Love
The English Art of Love
A Tale Blazed Through Heaven
A Tale Blazed Through Heaven examines developments in the representation of the classical tale of Mars, Venus, and Vulcan in the literature and painting of the Golden Age of Spain (c.1526-1681). Anchored in close analysis of individual primary texts, the five chapters that comprise this study assess how poets and painters breathed new life into the tale inherited from Homer, Ovid, and others, examining some of the ways in which the story of Mars, Venus, and Vulcan was disguised, developed, expanded, mocked, combined with or played off against different subjects, or otherwise modified in order to pique the interest of successive generations of readers and viewers. Each chapter discusses what ...
