Torture and the Drama of Emergency: Kyd, Marlowe, Shakespeare recovers the legal complexity of early modern torture and makes it central to an account of the anti-torture politics of the English stage. More people were tortured in the 1580s and 1590s than at any other time in England's history, and this sudden increase generated a backlash in the form of calls for the protection of liberties. Chapters on plays by Thomas Kyd, Christopher Marlowe, and William Shakespeare show how theater contributed to this backlash by means of its unique ability to present on the public stage the otherwise private suffering characteristic of state torture. Above all, these playwrights alerted audiences to the dangers posed by the concentration of absolute power in the hands of the monarch. The introduction and first chapter of Torture and the Drama of Emergency demonstrate that although torture was unknown to common law, it was executed in the context of a state of emergency. The second chapter presents Kyd's The Spanish Tragedy as resistance literature: rather than critiquing Spanish cruelty, as its setting implies, the play indicts English torture. Kyd uses the genre of revenge tragedy, enormously popular after and because of his play, to argue that torture is a form of revenge the state itself might carry out. Chapter three, on 1 and 2 Tamburlaine, argues that Tamburlaine transforms the world into a military camp by extending martial law to everyone, everywhere. Marlowe's portrayal of the creation and rise of this totalitarian regime depicts the nightmarish consequences for the people when the state's power to extend martial law remains unchecked. The final chapter, on King Lear, argues that in his most pessimistic play Shakespeare suggests there is no escape from the state's ability to seize absolute power in times of crisis. Lear's moving but tenuous declaration of human rights remains a dream that cannot survive the state of emergency created when he divides the kingdom. / text

The subject of this thesis is the by now traditional grouping of certain innovative works of historiography produced in eighteenth-century Britain and France; namely the historical works of Voltaire, and the historical writings of the philosophes; and, in Britain, the histories of Hume, Robertson, and Gibbon. This thesis gives a historical and expository analysis of the individual strategies of literary self-fashioning and generic appropriation which underlie this impression of resemblance. It particularly demonstrates that the major characteristics of the contemporary vision of philosophic historiography – the idea of a European history of manners or l’esprit humain, and the insistence on the rejection of the practices of the érudits – which have become incorporated within scholarly definitions of ‘Enlightenment historiography’, are well-established generic tropes, adapted and affected in France as in Britain, by authors of diverse ambitions. The invitation to assume inauthentic connections contained within the practice of philosophic historiography is shown to be embraced by Gibbon, in a notable literary challenge to the paradigms of intellectual history. This study contrasts the textual evidence of these authors’ experience of literary, personal, and political challenges regarding the definition of their role as public, intellectual writers, to the acquired image of an ideal of ‘Enlightenment writing’. It considers the Frenchness of philosophie, and the potential Britishness of Hume, Robertson, and Gibbon. As part of its wider analysis of the practice of intellectual writing with a historical focus, its scope includes the writings of British clerics and writers on religion; of French academicians; and of the late philosophe Volney, and Shelley his interpreter. The major conclusion of this thesis is that eighteenth-century British and French history writing does not support any synthesis of an Enlightenment historical philosophy, narrative, or method; while it is suggested that one of the costs of the construct of ‘Enlightenment’, has been the illusion of familiarity with eighteenth-century intellectual culture, in France as well as Britain.

The Mirror for Magistrates, the collection of de casibus complaint poems compiled by William Baldwin in the 1550s and expanded and revised between 1559 and 1610, was central to the development of imaginative literature in the sixteenth and early seventeenth century. Additions by John Higgins, Thomas Blenerhasset and Richard Niccols extended the Mirror’s scope, shifted its focus, and prolonged its popularity; in particular, the 1587 edition of the original text with Higgins’s ancient British and Roman complaint collections profoundly influenced the work of Spenser and Shakespeare. However, while there has been a recent resurgence of critical interest in the editions of 1559 and its 1563 ‘Second Part’, the later additions are still largely neglected and disparaged, and the transmission of the original text beyond 1563 has never been fully explored. Without an understanding of this transmission and expansion, the importance of the Mirror to sixteenth-century intellectual culture is dramatically distorted. Higgins, Blenerhasset and Niccols’s contributions are invaluable witnesses to how verse history was conceptualised, written and read across the period, and to the way in which the Mirror tradition was repeatedly reinterpreted and redeployed in response to changing contemporary concerns. The Mirror corpus encompasses topical allegory, nationalist polemic, and historiographical scepticism. What has not been recognised is the complex interaction of these themes right across the Mirror’s history. This thesis provides a comprehensive reassessment of the Mirror’s expansion, transmission, and appropriation between 1559 and 1610, focusing in particular on Higgins, Blenerhasset, and Niccols’s work. By comparing editions and tracing editorial revisions, the changing contexts and attitudes which shaped the early texts’ development are explored. Higgins, Blenerhasset, and Niccols’s contributions are analysed against this backdrop for the first time here, both within their own literary and historiographical contexts, and in dialogue with the early editions. A broad reading of the themes and concerns of these recensions, rather than the limited approach which has characterised previous scholarship, takes account of their depth and variety, and provides a new understanding of the extent of the Mirror’s influence and ubiquity in early modern literary culture.

My thesis explores the posthumous literary life in the early modern period by examining responses to ‘dead poets’ shortly after their deaths. Analysing responses to a series of literary figures, I chart a pre-history of literary biography. Overall, I argue for the gradual emergence of a linkage between an individual’s literary output and the personal life that predates the eighteenth century. Chapter 1 frames the critical investigation by contrasting examples of Lives written for authors living before and after my chosen period of specialisation. Both these Lives reflect changed attitudes towards the writing of poets’ lives as a result of wider discourses that the following chapters examine in more detail. Chapter 2 focuses on the events following the death of Robert Greene, an author often described as the first ‘professional’ English writer. The chapter suggests that Greene’s notoriety is for the most part a posthumous construct resulting from printed responses to his death. Chapter 3 is concerned with the problem of reconciling a poet’s life-narrative with the vita activa model and examines potential causes for the ‘gap’ between Sir Philip Sidney’s public life and his works, which continues to pose a challenge for biographers. Chapter 4 examines the evolution of Izaak Walton’s Life of Donne. The ‘life history’ of Walton’s Lives, particularly the Life of Donne, reflects an accidental discovery of a biographical technique that anticipates literary biography. My method is mainly based on bibliographical research, comparing editions and making distinctions between them which have not been made before, while paying particular attention to paratextual materials, such as dedications, prefaces and title pages. By investigating assumptions about individual authors, and also authorship in general, I hope to shed some light on a promising new area of early modern scholarship and direct greater scrutiny towards the assumptions brought into literary biography.

This thesis re-examines Shakespeare’s creation of tragic character through the concept of ‘arrivals’. What arrives is not an ‘individual’ but what I call a ‘subject’, which is a diffused dramatic process of arriving, rather than a self-contained entity that arrives in a final form. Not all characters are ‘subjects’. A subject only arrives through dramatic ‘events’ that rupture the existing structures of the play-world and the play-text. The generators of these irruptions are found equally in the happenings of plot and in changes of poetic intensity and form. The ‘subject’ is thus a supra- individual irruption that configures new forms of language, structure, and action. Accordingly, I explain why scrupulous historicism’s need for nameable continuums is incommensurate to the irruptive quality of Shakespearean character. The concepts of ‘process’, ‘subject’ and ‘event’ are informed by a variety of thinkers, most notably the contemporary French philosopher Alain Badiou. Badiou develops an ‘evental’ model of subjectivity in which the subject emerges in fidelity to a ‘truth- event’, which breaks into a situation from its ‘void’. Also important is the process- orientated philosophy of Bergson and Whitehead, which stresses that an entity is not a stable substance but a process of becoming. The underlying connection between the philosophers I embrace – also including the likes of Žižek, Kierkegaard, Latour, Benjamin, and Christian thinkers such as Saint Paul and Luther – is that they establish a creative alternative to the deadlock between treating the subject as either a stable substance (humanism) or a decentred product of its place in the world (postmodernism). The subject is not a pre-existing entity but something that comes to be. It is not reducible to its cultural and linguistic circumstances but is precisely what exceeds those circumstances. Such an excessive creativity is what gives rise to Shakespeare’s subjects and, I argue, underpins the continuing force of his drama. But it also produces profound dangers. In Shakespeare, ‘events’ consistently expose subjects to uncertainty, catastrophe, and horror. And these dangers imperil both the subject and the relationship between Shakespeare and the affirmative philosophy of the event.

This study demonstrates, through the detailed examination of a specific example of written Old English, that a very large proportion of the general vocabulary of Old English survives in some form in Late Modern English. The "Finnsburg Fragment" is parsed and translated and its lexicon glossed. After a brief discussion of several special semantic categories and the traditional categories of semantic change, the study enlarges upon the historical setting which influenced the loss, retention, shift, or stability of these two hundred Old English words. Appendices group the lexicon by parts of speech as well as by semantic history.

The reception of the Huguenot poet Guillaume de Saluste Du Bartas' Semaines (1578, 1584 et seq.) is an important episode in early modern literary history for understanding relations between Scottish, English and French literature, interactions between contemporary reading and writing practices, and developments in divine poetry. This thesis surveys translations (Part I), allusions and quotations in prose (Part II) and verse imitations (Part III) from the period when English translations of the Semaines were being printed in order to identify historical trends in how readers absorbed and adapted the poems. Early translations show that the Semaines quickly acquired political and diplomatic affiliations, particularly at the Jacobean Scottish Court, which persisted in subsequent decades (Chapter 1). William Scott's treatise The Model of Poesy (c. 1599) and translations indicate how attractive the Semaines' combination of humanist learning and sacred rhetoric was, but the poems' potential appeal was only realized once Josuah Sylvester's Devine Weeks (1605 et seq.) finally made the complete work available in English (Chapter 2). Different communities of readers developed in early modern England and Scotland once this edition became available (Chapter 3), and we can observe how individuals marked, copied out, quoted and appropriated passages from their copies of the poems in ways dependent on textual and authorial circumstances (Chapter 4). The Semaines, both in French and in Sylvester's translation, were used as a stylistic model in late-Elizabethan playtexts and Zachary Boyd's Zions Flowers (Chapter 5), and inspired Jacobean poems that help us to assess Du Bartas' influence on early modern poetry (Chapter 6). The great variety of responses to the Semaines demonstrates new ways that intertextuality was a constituent feature of vernacular religious literature that was being read and written in sixteenth- and seventeenth-century Britain.

<p>This dissertation focuses on gender-related terms as well as adjectives and demonstratives in connection with these terms used in texts from the period 1670–1720. The material in the study has been drawn from both English and American sources and comes from three text categories: depositions, examinations and journals. Two of these text categories represent authentic and speech-related language use (depositions and examinations), whereas the third (journals) is representative of a non-speech-related, non-fictional text category. While previous studies of gender-related terms have primarily investigated fictional material, this study focuses on text categories which have received little attention so far. </p><p>The overarching research question addressed in this study concerns the use and distribution of gender-related terms, especially with regard to referent gender. Data analyses are both quantitative and qualitative, and several linguistic and extra-linguistic factors are taken into account, such as the semantic domain to which the individual gender-related term belongs, region of origin and referent gender. Adjectives and demonstratives collocating with the gender-related terms are also investigated, as previous research has shown that referent gender has an impact on the use of adjectives as well.</p><p>The results show that the use of gender-related terms is influenced by both region of origin and referent gender. It is suggested that this is due in part to the difference in nature between Early Modern English society and the early American colonies, and in part due to the social roles which men and women had. Referent gender also has an impact on the type of adjectives used in connection with gender-related terms: adjectives collocating with gender-related terms denoting men have positive connotations to a larger extent than do adjectives collocating with their female counterparts; meanwhile, gender-related terms denoting women tend to collocate with negative adjectives. </p>

This dissertation examines the early modern representation of the Ottoman sultan as merciless murderer of his own family in dramas depicting Islam that are also revenge tragedies or history plays set in empires. This representation arose in part from historical events: the civil wars that erupted periodically from the reign of Sultan Murad I (1362-1389) to that of Sultan Mehmed III (1595-1603) in which the sultan killed family members who were rivals to the throne. Drawing on these events, theological and historical texts by John Foxe, Samuel Purchas, and Richard Knolles offered a distorted image of the Ottoman sultan as devoid of pity for anyone, but most importantly family, an image which seeped into early modern drama. Early modern English playwrights repeatedly staged scenes in the dramas that depict Islam in which one member of a family implores another for pity and to remain alive. However, family killing became diffuse and was not the sole province of the Ottoman sultan or other Muslim character: the Spanish, Romans, and the Scythians also kill their kin. Additionally, they kill members of their own religious, ethnic, and national groups as family killing expands to encompass a more general self destruction, self sacrifice, and self consumption. The presence of the Muslim character, Turk or Moor, serves to underscore the political and religious significance of other characters' family killing. Part of the interest of English playwrights in the Ottoman history of family killing is that England had suffered its own share of family killing or the specter of it during the Wars of the Roses, the Babington Plot against Queen Elizabeth's life, and the martyrdom of many English during the Protestant Reformation. Through an analysis of such plays as Thomas Kyd's The Spanish Tragedy , William Shakespeare's Titus Andronicus , and Christopher Marlowe's Tamburlaine I and II , among others, I argue that English playwrights represented family killing to contend with England's past of civil war, its Protestant Reformation present, and its political future. The dramas that depict Islam portray rulers who elevate empire building above kinship bonds and who feel no pity for those in their own kinship, national, or religious groups. The plays illustrate that the emotion, pity, leads a ruler to the just action of extending mercy and that the converse, lack of pity, leads a kingdom or empire to injustice and destruction. The plays ultimately declare empire building unjust because it is pitiless, creating an argument against empire for English audiences.

This dissertation focuses on gender-related terms as well as adjectives and demonstratives in connection with these terms used in texts from the period 1670–1720. The material in the study has been drawn from both English and American sources and comes from three text categories: depositions, examinations and journals. Two of these text categories represent authentic and speech-related language use (depositions and examinations), whereas the third (journals) is representative of a non-speech-related, non-fictional text category. While previous studies of gender-related terms have primarily investigated fictional material, this study focuses on text categories which have received little attention so far. The overarching research question addressed in this study concerns the use and distribution of gender-related terms, especially with regard to referent gender. Data analyses are both quantitative and qualitative, and several linguistic and extra-linguistic factors are taken into account, such as the semantic domain to which the individual gender-related term belongs, region of origin and referent gender. Adjectives and demonstratives collocating with the gender-related terms are also investigated, as previous research has shown that referent gender has an impact on the use of adjectives as well. The results show that the use of gender-related terms is influenced by both region of origin and referent gender. It is suggested that this is due in part to the difference in nature between Early Modern English society and the early American colonies, and in part due to the social roles which men and women had. Referent gender also has an impact on the type of adjectives used in connection with gender-related terms: adjectives collocating with gender-related terms denoting men have positive connotations to a larger extent than do adjectives collocating with their female counterparts; meanwhile, gender-related terms denoting women tend to collocate with negative adjectives.