{"title":"The Second World War and Second-Wave Historical Criticism: A Selection of Rosemond Tuve's Chapel Talks (1944–1956)","authors":"M. Elsky","doi":"10.1353/sip.2020.0017","DOIUrl":"https://doi.org/10.1353/sip.2020.0017","url":null,"abstract":"Abstract:Rosemond Tuve's (1903–1964) Chapel Talks, delivered to an audience of students at Connecticut College for Women between 1944 and 1956, provide insight into the larger motivation behind mid-century historical criticism emerging from the Second World War. These talks, a selection of which is introduced and transcribed here, show the link between Tuve's literary thinking and her moral commitments while she was articulating her widely influential arguments about typological criticism and historical criticism more generally. The introduction to her Chapel Talks traces the context of historicism in the turbulence of the war, as in the connection between her groundbreaking analysis of typology in George Herbert's \"The Sacrifice\" and her experience with Jewish refugees at Black Mountain College. Further, it shows the connection between her critical response to American habits that emerged after victory in the war and questions of medieval and Renaissance periodization posed by Ernst Curtius's European Literature and the Latin Middle Ages. The introduction argues that Tuve's historical criticism is the second wave to Edwin Greenlaw's first wave, articulated in the wake of the First World War, and is linked to emerging European democratic movements supported by the war-time \"Anglo-Saxon,\" or Anglo-American, alliance, in which the United States would play the leading role in politics and literary criticism.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"117 1","pages":"627 - 680"},"PeriodicalIF":0.2,"publicationDate":"2020-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2020.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42831474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Ne spared they to strip her naked all\": Reading, Rape, and Reformation in Spenser's Faerie Queene","authors":"Stephanie Bahr","doi":"10.1353/sip.2020.0010","DOIUrl":"https://doi.org/10.1353/sip.2020.0010","url":null,"abstract":"Abstract:In book 2 of Edmund Spenser's Faerie Queene, Archimago and Duessa accuse the Redcross Knight of rape. Although both Spenser and his critics have long treated their accusation as false, this essay argues that it has three layers of truth: Duessa's stripping in book 1 is a literal sexual assault; it is a metaphorical rape; and, due to the accusation's use of metaphor and ellipsis, it mirrors Spenser's own narration with surprising accuracy. This third sense of the accusation's truth illustrates the representational challenges of rape and the fissures between literal and figurative meanings—hermeneutic concerns violently at issue in the Reformation. Duessa's stripping and dismissed rape accusation illuminate the complex interrelation of three things: shifting early modern attitudes toward rape, the Protestant turn to inwardness both hermeneutically and soteriologically, and the interpretive and moral problems of allegory after the Reformation. Thus, the disturbingly gendered interpretive violence of Faerie Queene reflects not only the grim misogyny of the sixteenth century but also a broader hermeneutic and epistemological crisis.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"117 1","pages":"285 - 312"},"PeriodicalIF":0.2,"publicationDate":"2020-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2020.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47217299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Pricked Hearts and Penitent Tears: Embodying Protestant Repentance in Robert Southwell's Saint Peter's Complaint (1595)","authors":"J. Snyder","doi":"10.1353/sip.2020.0011","DOIUrl":"https://doi.org/10.1353/sip.2020.0011","url":null,"abstract":"Abstract:Among Protestant readers, Jesuit Robert Southwell's Saint Peter's Complaint was a surprise best seller. First published in 1595, one month after his martyrdom, South-well's poem underwent thirteen editions by 1634. This essay examines the grounds of that popularity by exploring how Southwell's portrayal of Peter's repentance might have appealed to readers across confessional boundaries. It contends that Southwell's familiarity with the landscape of affective piety in post-Reformation England allowed him to make a self-conscious entreaty to Elizabethan readers caught in the crossfire of reform. It first examines the affective contours of repentance depicted in Protestant devotional works, many of which were rooted in Calvinist movements of sorrowfulness, mortification of the flesh, and vivification of the spirit. Southwell, it argues, distends these movements in Saint Peter's Complaint in a way that echoes not only Protestant conceptions of penitent weeping but also Protestant pastoral practices. This cross-confessional deployment of religious affects highlights the overlapping practices of piety within Protestant and Catholic devotion. It also intimates the methods by which South-well might have utilized devotional poetry in service to evangelism.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"117 1","pages":"313 - 336"},"PeriodicalIF":0.2,"publicationDate":"2020-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2020.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47622605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The End of the Line? Alliterative Meter, Macaronic Style, and Piers Plowman","authors":"Eric Weiskott","doi":"10.1353/sip.2020.0007","DOIUrl":"https://doi.org/10.1353/sip.2020.0007","url":null,"abstract":"Abstract:Surviving in three distinct authorial versions (A, B, and C) and over sixty manuscripts, including complete texts of each version, spliced texts of two or more versions, fragments, and excerpts, William Langland's Piers Plowman presents exceptional difficulties for readers, bibliographers, and textual critics. Sporadically throughout the text, both the medieval scribes who copied the poem and the modern scholars who propose to edit its three versions have disagreed about where one poetic line ends and the next begins. Uncertainty about the end of the line throws into doubt all other textual and literary discriminations, so the two case studies in mislineation of multilingual lines considered in this essay (B.13.19 / C.15.21–22 and B.15.69 / C.16.229–30) illustrate a larger swath of interpretive problems in this recalcitrant medieval text.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"117 1","pages":"225 - 239"},"PeriodicalIF":0.2,"publicationDate":"2020-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2020.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48455202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Shadow Casts a Body: Racial Dialogue in Two Neo-Latin Lyrics Attributed to George Herbert","authors":"V. M. Braganza","doi":"10.1353/sip.2020.0003","DOIUrl":"https://doi.org/10.1353/sip.2020.0003","url":null,"abstract":"Abstract:This essay offers a new reading of a secular poem by George Herbert, a black woman's erotic complaint to a white beloved, entitled \"Æthiopissa ambit Cestum Diuersi Coloris Virum,\" and a hitherto unknown response lyric, \"Cesti ad Æthiopissam responsio\" attributed to Herbert in a non-autograph commonplace book. Placing the poems within related rhetorical and ethnological contexts through a close analysis of their dialogue, I show that their interlocking structures exemplify humanist argumentation in utramque partem. The poetics of fashioning an argument \"in each part,\" a feature of early modern manuscript culture of poetic response more broadly, indicates an interaction between the performance of rhetorical adroitness and the development of a manipulable ethnology that presages the emergence of racialism.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"117 1","pages":"108 - 128"},"PeriodicalIF":0.2,"publicationDate":"2020-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2020.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45641711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Common Errors, Common Readers: Thomas Browne's Pseudodoxia Epidemica and the Scientific Public, 1646–ca. 1800","authors":"Harriet M. Phillips","doi":"10.1353/sip.2020.0005","DOIUrl":"https://doi.org/10.1353/sip.2020.0005","url":null,"abstract":"Abstract:Thomas Browne's Pseudodoxia Epidemica (1646–72) is a landmark in the public understanding of science. This essay analyzes 120 copies of Pseudodoxia to uncover its readership between 1646 and about 1800. As this essay argues, this readership was closely engaged with the text and keen to participate in the debates it explored: more than 70 percent of the inspected copies are annotated. Many of these annotations correct, augment, or organize the original text, drawing on both personal experience and experiment and current philosophical writing to do so. This evidence attests not only to the depth of Browne's readership, in terms of its scientific and informational literacy, but also to its breadth. Annotated copies are dispersed across the anglophone world and reveal a culturally and socially diverse audience. Crucially, they also show the extent of substantial and informed engagement with questions of natural philosophy outside known intellectual networks, demonstrating the existence of a serious \"scientific public\" in the seventeenth and eighteenth centuries.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"117 1","pages":"151 - 200"},"PeriodicalIF":0.2,"publicationDate":"2020-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2020.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49427433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"What hath been his mind?\": Motivation, History, and Theater in Samuel Daniel's Philotas","authors":"Alzada Tipton","doi":"10.1353/sip.2020.0001","DOIUrl":"https://doi.org/10.1353/sip.2020.0001","url":null,"abstract":"Abstract:Samuel Daniel's play Philotas (1605), especially in the trial of Philotas, emphasizes the detection of interior motives underlying public, external actions, particularly in the service of making a value judgment about those motives. At the same time, the play demonstrates that this kind of detection is ultimately impossible, illustrated by the fact that characters attribute different and competing motives to the same outward appearances and actions. This revelation of the inaccessibility of interior motive has implications for Daniel's views regarding writing history and writing drama—as the play shows, both genres are necessarily built on a foundation of external and public action yet seek to uncover interior motive. Finally, however, the emphasis on interpretation in Philotas, as well as Daniel's defense of himself and his play, shows his commitment to interpreting motive—and his efforts to influence others' interpretations of his own motives for writing the play.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"117 1","pages":"40 - 75"},"PeriodicalIF":0.2,"publicationDate":"2020-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2020.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47862891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Innocence after Experience: Herrick's \"Oberon's Palace\" as Counter-Epithalamion","authors":"W. Miller","doi":"10.1353/sip.2020.0004","DOIUrl":"https://doi.org/10.1353/sip.2020.0004","url":null,"abstract":"Abstract:\"Oberon's Palace,\" one of Robert Herrick's fairy poems, offers unusual variations on topoi of virginity and matrimony. This article argues that the Herrick's poem is a \"counter-epithalamion,\" a genre combining the high sacred concerns of traditional epithalamia with lower nuptial forms, particularly fescennine verses. Herrick uses this hybrid genre to complex ends, at once satirizing the debauched sexuality of the Fairy King and his court and celebrating the cultural power of poetic artifice.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"117 1","pages":"129 - 150"},"PeriodicalIF":0.2,"publicationDate":"2020-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2020.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47547469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Song of Silence: Plaintive Dissonance and Neoteric Method in Spenser's Daphnaïda","authors":"M. J. Rack","doi":"10.1353/sip.2019.0027","DOIUrl":"https://doi.org/10.1353/sip.2019.0027","url":null,"abstract":"Abstract:This study offers a new paradigm for reading Edmund Spenser's unusual elegy Daphnaïda, a poem often considered aesthetically displeasing in its unsympathetic characterization, deferred consolation, and highly rhetorical style. This essay describes Daphnaïda's eccentricities as a product of a neoteric aesthetic unique to Spenser's late pastorals and inspired by the poetic experiments of the Latin poet Gaius Valerius Catullus. The plaintive mode, a key element of Spenser's neoteric method, acts as a disruptive, revisionary mechanism that prefigures formal revision, highlighting the poet's role as master craftsman and the artistry of poetry itself. In Daphnaïda, plaintive dissonance demonstrates how the poetic expression of loss is reflexive and self-negating, engendering a silence that mimics the absence of the beloved. The force of Spenser's psychological depiction of grief as dissonant effectively externalize Alcyon's internal state. The poem's lack of resolution, then, is not a failure of representation but an apt portrayal of the destructive nature of grief.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"116 1","pages":"668 - 695"},"PeriodicalIF":0.2,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2019.0027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46941805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Music at the Close: Richard II in the Elizabethan Anthologies","authors":"T. Tregear","doi":"10.1353/sip.2019.0028","DOIUrl":"https://doi.org/10.1353/sip.2019.0028","url":null,"abstract":"Abstract:The dying words spoken by John of Gaunt have a long afterlife: as sententious lines bound to catch the eye of a commonplacing reader, they seem almost designed to appear outside their dramatic setting, in manuscript and printed compilations. This essay reads Gaunt's deathbed scene, in William Shakespeare's Richard II 2.1, in the light of two anthologies printed in 1600, Englands Parnassus and Belvedere, both derived in some way from the circle of printers and editors surrounding John Bodenham. Richard II's strong representation in both volumes testifies to its wider popularity, and that popularity was doubtless aided in turn by these anthologies. Beyond that, though, this moment of the play seems peculiarly anthologizable. Words spoken on the point of death were frequently thought to acquire a special truthfulness, even a sense of prophecy. Through an examination of dying moments in a variety of early modern sources, from Michel de Montaigne to Antonio Minturno, this essay is an experiment in thinking about how William Shakespeare might have shaped his plays for a commonplace-book culture. It looks closely at the unexpectedly lyrical quality of the sententiae themselves and the intimate relationship between lyric and sententiae in the play and the anthologies. It reads Gaunt's famous encomium to \"this sceptred Ile\" as it appears when read through the anthologies' negotiation of poetry and nationhood. And it considers the affinity between the peculiar life of the \"choicest flowers\" gathered in these anthologies, and the dying words they choose.","PeriodicalId":45500,"journal":{"name":"STUDIES IN PHILOLOGY","volume":"116 1","pages":"696 - 727"},"PeriodicalIF":0.2,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/sip.2019.0028","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49299791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}