The Review of English Studies - recent issues

On Dating the Duchess: The Personal and Social Context of Book of the Duchess

Foster, M. — 2008-04-24

The Book of the Duchess is usually dated to various points between 1368 and 1374. This article suggests that these various datings imply different interpretations of the poem, because at some point in this period John of Gaunt began an affair with Katherine Swynford, Geoffrey Chaucer's sister-in-law and governess to the children of Gaunt and Blanche, duchess of Lancaster, whose death is the topic of the text. This article explores how dating Book of the Duchess to before or after their affair began alters our understanding of Chaucer's representations of himself and Gaunt and his intentions in writing this literary tribute.

Honing a History: Thomas More's Revisions of his Richard III

Hanham, A. — 2008-04-24

The texts of Thomas More's Historia Richardi Regis Angliae Tertii that survive, in whole or in part, witness More's propensity for revising that work. But hitherto it has been difficult to detect any pattern in his revisions, because in editing their respective volumes in the Yale Complete Works of Saint Thomas More, R. S. Sylvester and Daniel Kinney held conflicting views about the nature and date of the version first printed in 1565. Nor did either of them seriously consider that the version of the English History of King Richard the Thirde that was printed by Richard Grafton in 1543 might incorporate More's own revisions of a text which is otherwise known only from the defective draft that William Rastell published in 1557, with the assurance that it emanated from his uncle's own hand. This article examines More's practices in revising both his Latin and English texts of Richard III. New evidence from Grafton's editing of his manuscript of the Chronicle of Iohn Hardyng is also adduced.

Three Disputed Shakespeare Readings: Associations and Contexts

Jackson, M. P. — 2008-04-24

Preparing a critical edition of a Shakespeare play necessarily entails selecting from among variants preserved in the earliest printed texts or later proposed as conjectural emendations. This article examines one problematic passage in Romeo and Juliet (II.ii.26–32 in The Riverside Shakespeare) and two in Hamlet (I.iv.36–8 and II.ii.174–86) and argues that in each case nearly all recent editors have made the wrong choice. The arguments for the readings supported here rest on their relevance to the immediate context and on their complex associations with similar passages in other Shakespeare plays. Special attention is paid to the nature of the imagery.

Dante and the Distraction of Lyric in Milton's 'To My Friend Mr Henry Lawes'

McDowell, N. — 2008-04-24

The question of why Milton's poems of the 1620s and 1630s were published at the end of 1645 remains to be satisfactorily answered. The sonnet that Milton sent to Henry Lawes at the beginning of 1646, probably to accompany a presentation copy of the Poems, can shed light on the political and personal reasons behind the decision to publish at this moment, even though Milton repudiated some of the poems (such as the Latin elegies) and others, such as the elegy for Lancelot Andrewes, seem to jar with the reformist image projected in the prose. Lawes was the most prominent member of the royalist literary community with whom Milton had a personal and creative connexion. ‘To My Friend Mr Henry Lawes’ signals Milton's desire for cultural rapprochement with royalist writers and artists in the aftermath of the hostile Presbyterian reaction to the divorce tracts. The sonnet adopts the style of a Jonsonian epigram and may make reference to unpublished writing by one of the royalists' favourite poets, William Cartwright. Yet the allusion to Dante in the final lines of the sonnet, which conceals a further allusion to Lucan, hints at Milton's residual suspicion of Cavalier poetics and his sense of prophetic vocation.

Michael Drayton, Literary History and Historians in Verse

Van Es, B. — 2008-04-24

In or around 1621, Michael Drayton penned his well-known assessment of fellow poet Samuel Daniel, whom he described as ‘too much Historian in verse’. This article investigates that dismissal, arguing that behind it lies a long-standing and consistent literary position. Drayton's vision was of a literature that combined both poetry and history. That vision had been presented first in the Heroicall Epistles of 1597, which opened by responding directly to Daniel's Complaint of Rosamond. The Epistles were innovative in applying the structure of Ovid's Heroides to the vernacular tradition of the Mirror for Magistrates. As a result, Drayton highlighted a newly explicit interaction between literary and historical texts. More dangerously, he also presented individual epistles as moral counsel for his patrons. These qualities made the Epistles an enormous popular success. Yet they are also likely to have caused offence, above all to the dedicatee of the first set of letters: Lucy, Countess of Bedford. Setting wider literary trends alongside Drayton's personal experience of patronage, this article offers a new perspective on the development and decline of history in verse.

'Twixt Hope and Fear': John Berkenhead, Henry Lawes, and Banishment from London during the English Revolution

Major, P. — 2008-04-24

Who sits at home too bears a loade

Greater than those that gad abroad¹

PAUL STROHM (ed.). Oxford Twenty-First Century Approaches to Literature: Middle English.

Woodcock, M. — 2008-04-24

DANIEL WAKELIN. Humanism, Reading, and English Literature 1430-1530.

Petrina, A. — 2008-04-24

IAN MUNRO. The Figure of the Crowd in Early Modern London. The City and its Double.

Newman, K. — 2008-04-24

ROBERT S. MIOLA (ed.). Early Modern Catholicism: An Anthology of Primary Sources.

Hudon, W. V. — 2008-04-24

BEATRICE GROVES. Texts and Traditions: Religion in Shakespeare, 1592-1604.

Voss, P. J. — 2008-04-24

MICHAEL WITMORE. Pretty Creatures: Children and Fiction in the English Renaissance.

Lamb, E. — 2008-04-24

MARSHALL GROSSMAN (ed.). Reading Renaissance Ethics.

Robinson, B. S. — 2008-04-24

CHRISTOPHER D'ADDARIO. Exile and Journey in Seventeenth-Century Literature.

Jowitt, C. — 2008-04-24

GINA BLOOM. Voice in Motion: Staging Gender, Shaping Sound in Early Modern England.

Folkerth, W. — 2008-04-24

REIKO OYA. Representing Shakespearean Tragedy: Garrick, the Kembles, and Kean.

Thomson, P. — 2008-04-24

ROBERTA BARKER. Early Modern Tragedy, Gender and Performance, 1984-2000: The Destined Livery.

Aebischer, P. — 2008-04-24

CAROL WATTS. The Cultural Work of Empire: The Seven Years' War and the Imagining of the Shandean State.

Lynch, J. — 2008-04-24

JAMES ROBERT ALLARD. Romanticism, Medicine, and the Poet's Body.

Darcy, J. — 2008-04-24

ANTHONY MANDAL. Jane Austen and the Popular Novel: The Determined Author.

Sutherland, K. — 2008-04-24

MARGARET SMITH (ed.). Selected Letters of Charlotte Bronte.

Stoneman, P. — 2008-04-24

FRANCIS O'GORMAN (ed.). Victorian Literature and Finance.

Bivona, D. — 2008-04-24

KENDALL JOHNSON. Henry James and the Visual.

Peters, M. — 2008-04-24

FINN FORDHAM. Lots of Fun at Finnegans Wake: Unravelling Universals.

Deppman, J. — 2008-04-24

PHILIP KITCHER. Joyce's Kaleidoscope: an invitation to Finnegans Wake.

Fordham, F. — 2008-04-24

The Review of English Studies Prize Essay 'Like a Hand in the Margine of a Booke': William Blount's Marginalia and the Politics of Sidney's Arcadia

Schurink, F. — 2008-02-19

This article examines an unusually full set of contemporary manuscript marginalia in a copy of the 1593 edition of Sir Philip Sidney's The Countess of Pembroke's Arcadia in the Folger Shakespeare Library, most likely written by William Blount, seventh Lord Mountjoy. The marginalia demonstrate a considerable interest in the political dimension of the Arcadia, particularly in relation to Tacitus's histories, which were associated with the circle of the Earl of Essex in the 1590s. Nowhere, however, do they make an explicit connection between Sidney's work and contemporary politics. Moreover, the annotations indicate that Blount's interest in the Arcadia was by no means confined to politics and that he considered other themes independently of it. The largest group of marginalia in fact concerns ethics, and many deal with love. Blount used narrative parallels, particularly from the fourth book of Virgil's Aeneid, to explore the feelings of characters, especially women, but he was also enthused by erotic passages and included some misogynist comments. This response of a contemporary of Sidney complicates and questions recent critics’ accounts of the politics of Sidney's Arcadia and suggests an interpretation that highlights the rich variety and complexity of the work.

The Ruthwell Monument Runic Poem in a Tenth-Century Context

Conner, P. W. — 2008-02-19

The goal of this essay is to test the generally accepted notion that the runic crucifixion text on the Ruthwell monument is a product of the eighth century by substituting a tenth-century context which better fits both cultural and textual considerations. The fact that this text, a long one in epigraphical terms, was written in runes, that it was written in English, and that its content can be productively read against liturgical parallels probably unavailable in England before the Regularis Concordia in the late tenth century support the inscription as a probable tenth- or eleventh-century addition to the monument. On the argument that the monument was already standing when the decision to add the runic poem was made, it is difficult to say exactly when the runic text may have been added. Surviving runic manuscripts document a very strong interest in runic writing in the late tenth and early eleventh centuries, and close attention to one of these, chosen more or less at random, confirms the details preserved in the Ruthwell runes, such as the velar and palatal allophone of /c/ and /g/. Secondly, that such material should be added in English to the cross is more likely at a late date than at an early one. Finally, prayers for the adoration of the cross are specified by incipits in the Regularis Concordia and are datable in full form and Passion liturgy arrangement only in the tenth and eleventh centuries and later. Nevertheless, they were then pervasive and offer excellent intertexts for reading with the runic composition on the Ruthwell monument.

Post-Conquest Bilingual Composition in Memoranda from Bury ST Edmunds

Lowe, K. A. — 2008-02-19

In this article I examine the sequence of eleventh- and twelfth-century memoranda that together constitute Rec. 9.4, edited by A. J. Robertson in 1956 from Oxford, Corpus Christi College MS 197. Although largely in the vernacular, these 13 texts in six main hands include one text wholly in Latin, a memorandum glossed in Latin and two translations into Latin of memoranda appearing earlier in the sequence. I examine the language of the Old English texts, revealing potential Latin influence in choice of lexis and some inflexional endings. I develop this argument in an analysis of the unusual style of the introduction to the third text in the series, an inventory of moveable goods in the foundation at the time of Abbot Leofstan's accession, and argue that it was carefully adapted from a untraced Latin text, perhaps associated with Leofstan's appointment. I also discuss the glossing practices and translation strategies in the other texts. I argue that the natural choice of language for this text type was Old English until well after the Conquest, and that the apparent switch to Latin in this sequence at the end of the eleventh century results from a complex interplay of factors and does not simply represent a distinction between pre- and post-Conquest practices.

'A Versifying Maid of Honour': Anne Finch and the Libretto for Venus and Adonis

Winn, J. A. — 2008-02-19

The anonymous libretto for John Blow's Venus and Adonis (c. 1683) may be the work of Anne Kingsmill, later Anne Finch, who was a Maid of Honour to the second Duchess of York at the time it was performed. Earlier musical dramas originating in that court, such as Ariane and Calisto, also have mythological plots, pastoral interludes, and an emphasis on female characters. While at court, Finch began a translation of Tasso's Aminto, a pastoral drama resembling Venus and Adonis. ‘The Grove’, a partially blotted manuscript poem ‘Written when I was a Maid of Honour’, has close verbal parallels with the musical work. A Maid of Honour would have reasons to conceal her authorship of this delicately erotic libretto. Finch later remarked on that she had been careful not ‘to lett any attempts of mine in Poetry shew themselves whilst I livd in such a publick place as the Court, where every one would have made their remarks upon a Versifying Maid of Honour’. Her efforts to efface or conceal later works with close resemblances to the opera suggest that she remained determined to cover her tracks. There are numerous verbal parallels between Venus and Adonis and later works by Finch, and if some of the phrases are conventional, their frequency points to Finch as the author of Venus and Adonis.

Did Fielding Write for The Craftsman?

Lockwood, T. — 2008-02-19

Martin C. Battestin's 1989 book attributing essays from The Craftsman to Henry Fielding on internal evidence appears to be widely accepted, with the essays increasingly incorporated into scholarship on Fielding. This article shows the reasons for rejecting the attributions. It gives an evaluation of Battestin's method, with representative examples, indicating also where important contrary evidence has been ignored. The system of letter-designations marking authorship of reprinted Craftsman papers is freshly analysed, with the letter ‘A’ shown to be an alternate designation for the editor Nicholas Amhurst. Battestin's treatment of parallels of style and allusion as evidence is deficient, in that parallels claimed as significantly distinctive repeatedly turn out to be part of the shared idiom of contemporary discourse and useless as markers of individual authorship. Nor do the partisan political themes of the attributed essays comport with the interests of Fielding's known work. Certain unrecognised parallels with writings by Amhurst have virtually probative quality, and the case for his authorship of No. 469 is exhibited at length. Fielding had nothing to do with the Craftsman. Many of the essays in question are undoubtedly by Amhurst, and for those which may not be there are far more plausible candidates than Fielding.

Plain Living and Ungarnish'd Stories: Wordsworth and the Survival of Pastoral

Stafford, F. — 2008-02-19

The essay reconsiders Wordsworth's preoccupation with the pastoral, and argues for the importance of attending very closely to his language. It focuses on ‘Michael’ and suggests that, far from representing a retreat from public or moral issues, Wordsworth's renewal of the pastoral is part of his larger concern with the health of the nation in 1800–1802. Nor is his criticism of poetic diction a straightforward rejection of classical pastoral; he is rather preoccupied with stripping away the false, in order to reveal truths that had become obscured. In ‘Michael’, he alerts readers to what they ‘might see and notice not’, and his own language in the poem is carefully chosen to reveal things that might not be immediately obvious. His admiration for ‘plain living’ is conveyed in language that is ‘ungarnish’d’, but its true value comes through the gradual recognition of what it is not. The pastoral, in Wordsworth's hands, is not an idle tale of the Golden Age, nor is Michael's tale one of irredeemable despair. The language of the poem counters nostalgia by directing readers to the future, to new life, and hope, even as it acknowledges the experience of profound loss unflinchingly. Wordsworth revitalises the pastoral for the new century, in a profoundly literary engagement that is also central to his political and social concerns.

RICHARD NORTH. The Origins of Beowulf: From Virgil to Wiglaf.

Owen-Crocker, G. R. — 2008-02-19

CATHERINE E. KARKOV and NICHOLAS HOWE (eds). Conversion and Colonization in Anglo-Saxon England.

Degregorio, S. — 2008-02-19

WENDY SCASE. Literature and Complaint in England, 1272-1553.

Hanna, R. — 2008-02-19

JOHN M. BOWERS. Chaucer and Langland: The Antagonistic Tradition.

Cannon, C. — 2008-02-19

MARY FLOYD-WILSON and GARRETT A. SULLIVAN, JR. (eds). Environment and Embodiment in Early Modern England.

Boehrer, B. — 2008-02-19

PAUL SALZMAN. Reading Early Modern Women's Writing.

Clarke, E. — 2008-02-19

KATHERINE A. CRAIK. Reading Sensations in Early Modern England.

Burrow, C. — 2008-02-19

REGINA BUCCOLA and LISA HOPKINS (eds). Marian Moments in Early Modern British Drama.

Woods, G. — 2008-02-19

JOHN N. KING. Foxe's Book of Martyrs and Early Modern Print Culture.

Pettegree, A. — 2008-02-19

JONATHAN P. A. SELL. Rhetoric and Wonder in English Travel Writing, 1560-1613.

Deng, S. — 2008-02-19

TONY HOWARD. Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction.

Britland, K. — 2008-02-19

ERIC RASMUSSEN and AARON SANTESSO (eds). Comparative Excellence: New Essays on Shakespeare and Johnson.

Ritchie, F. — 2008-02-19

CHRISTOPHER TILMOUTH. Passion's Triumph Over Reason: A History of the Moral Imagination from Spenser to Rochester.

Zurcher, A. A. — 2008-02-19

MARCUS NEVITT. Women and the Pamphlet Culture of Revolutionary England, 1640-1660.

Wiseman, S. J. — 2008-02-19

SHARON ACHINSTEIN and ELIZABETH SAUER (eds). Milton & Toleration.

Reisner, N. — 2008-02-19

ANGELICA DURAN. The Age of Milton and the Scientific Revolution.

Ng, S. F. — 2008-02-19

CARL THOMPSON. The Suffering Traveller and the Romantic Imagination.

Jarvis, R. — 2008-02-19

MERJA KYTO, MATS RYDEN and ERIK SMITTERBERG (eds). Nineteenth-Century English: Stability and Change.

Coleman, J. — 2008-02-19

KERRY MCSWEENEY. What's the Import? Nineteenth-Century Poems and Contemporary Critical Practice.

Holmes, J. — 2008-02-19

ROBERT C. HANNA. Dickens's Nonfictional, Theatrical, And Poetical Writings: An Annotated Bibliography, 1820-2000.

Paroissien, D. — 2008-02-19

MALCOLM ANDREWS. Charles Dickens and His Performing Selves: Dickens and the Public Readings.

Smith, G. — 2008-02-19

JANET GEZARI. Last Things: The Poems of Emily Bronte.

Newman, B. — 2008-02-19

GLENDA NORQUAY. Robert Louis Stevenson and Theories of Reading: The Reader as Vagabond.

Fielding, P. — 2008-02-19

ARCHIE BURNETT (ed.). The Letters of A.E. Housman.

Morwood, J. — 2008-02-19

DAVID BRADSHAW (ed.). The Cambridge Companion to E. M. Forster.

Wallace, J. — 2008-02-19

LEE OSER. The Ethics of Modernism: Moral Ideas in Yeats, Eliot, Joyce, Woolf and Beckett.

Hayes, P. — 2008-02-19

JOHN RODDEN (ed.). The Cambridge Companion to George Orwell.

Fenwick, G. — 2008-02-19

ANGELA LEIGHTON. On Form: Poetry, Aestheticism and the Legacy of the Word.

Reynolds, M. — 2008-02-19

The Criteria for Scribal Attribution: Dublin, Trinity College, MS 244, Some Early Copies of the Works of Geoffrey Chaucer, and the Canon of Adam Pynkhurst Manuscripts

Fletcher, A. J. — 2007-11-16

Recent palæographical research has convincingly argued that the scribe Adam, at whom Geoffrey Chaucer directed a squib berating him for shoddy copying, was Adam Pynkhurst, a professional scrivener whose hand has been detected in a number of early Chaucer manuscripts, in a copy of John Gower's Confessio Amantis, and in an important copy of William Langland's Piers Plowman. Hence Pynkhurst has emerged as a prominent literary scribe of the late fourteenth (and early fifteenth) century. His hand has also been detected in documents sponsored by the Mercers of London, and thus his copying career has been seen also to include an administrative and legal capacity. This paper argues that Dublin, Trinity College, MS 244 merits consideration as either another manuscript in which Pynkhurst's hand appears, or as one in which a scribe of Pynkhurst's ‘school’ has been active. Acceptance of Pynkhurst's involvement in the manuscript would add a radical new dimension to his copying career as currently conceived: various of the prose tracts that Trinity 244 contains resound with the hereticated theology of John Wyclif. The alternative possibility, that the manuscript is in part a product of a member of Pynkhurst ‘school’, is also not without its implications for the understanding of Chaucer's relation to the textual culture of late-fourteenth century religious radicalism.

The Double Life of Anne: John Bale's Examinations and Diue Anne Vitam (sic)

Wort, O. — 2007-11-16

Perhaps mistakenly, and governed by a critical project that requires the veracity of the female voice, the Examinations of Anne Askew has been read as part of the canon of history. Renewed engagement with this text as one forming part of the canon of saints allows us to comprehend its social construction and purpose: Askew is made a ‘saint’ for others and by others. Such a reading also sheds light on the question that has most concerned scholars of the Examinations: is Askew's word hers alone? Traces of John Bale's editorial interference in the Examinations are discernible, allowing us to explore the work as one in which there is a theoretical intersection between a social theory of the text and a concern for the ways in which a non-autonomous voice is represented. For the first time a possible analogue for Bale's re-packaging of Askew's narrative, his Diue Anne Vitam( sic), is suggested. Comparisons with this work help us to identify some techniques used by Bale in assembling fictional narratives. Rather than being an articulation of an ‘authentic, deeply personal’ voice, then, we might have to content ourselves with the sceptical assumption that Askew's Examinations are an artificial construction based on Bale's first-hand knowledge of residual hagiographic and martyriological traditions.

Who wrote The Christmas Ordinary?

Steggle, M. — 2007-11-16

The Christmas Ordinary, printed in 1682, is a raucously lively Jonsonian comedy of uncertain date and authorship, which appears to have been performed by undergraduates at Trinity College, Oxford. This article combines three sources of information: ‘W. R.’'s remarks about the identity of the author in the preface to the 1682 printing; G. E. Bentley's work establishing through internal evidence that the play appears to date from the mid-1630s; and a partial manuscript of the play in the British Library, unknown to Bentley, which attributes The Christmas Ordinary to ‘H. B.’. This article proposes that ‘H. B.’ is Dr Henry Birkhead (1617–96), a poet and dramatist best remembered today as Founder of the Oxford University Professorship of Poetry. Corroborating evidence for the attribution proposed here includes the fact that Birkhead's own Latin poetry contains hitherto unnoted translation from The Christmas Ordinary. The article pursues the consequences of this proposed attribution, which locates The Christmas Ordinary more firmly in the aspirations, fears, and resentments of the culture from which it comes, the Oxford University of the 1630s.

'Elia, the Real': The Original of Lamb's Nom De Plume

Chandler, D. — 2007-11-16

In August 1820 Charles Lamb began using the pseudonym Elia in the London Magazine, and it was as ‘Elia’ that he produced the body of work on which his reputation as one of the great English essayists largely rests. In June 1821 he revealed to his publisher, John Taylor, that there had been an ‘ELIA, the real’ from whom he ‘usurped’ the name. This ‘real’ Elia, who has–oddly, but revealingly–not been investigated by Lamb scholars, was the minor littérateur Felix Elia, or Ellia, born in London, like Lamb, in 1775. He died in 1820, approximately one month after Lamb's usurpation of his name: one of the strangest coincidences in English literary history. This article provides an account of the life and work of Felix Ellia, then proceeds to consider his relationship to the fictional ‘Elia’ of the London Magazine, and Lamb's reasons for using the name.

Who is the Alchemist in Christina Rossetti's 'The Prince's Progress'?

Humphries, S. — 2007-11-16

Recent criticism of Christina Rossetti's major fairy-tale narrative poems ‘Goblin Market’ and ‘The Prince's Progress’ has demonstrated the importance of understanding their religious symbolism. In this light, ‘The Prince's Progress’ has been read not only as an ironic tale of an individual pilgrim's progress, but also as structured upon a scheme of historical progress—from the transgression in paradise of Genesis through to the renewal of Revelation. Yet it has proved difficult to incorporate the poem's most extended episode, that of the alchemist, into this historical scheme. This article, by tracing the biblical and literary sources of this figure, argues that the alchemist is an embodiment of the old dispensation of ‘the Jews’, or of ‘the law’, in the historical scheme of Christian supersessionist theology. This provides strong support for that critical tradition in which the poem is to be understood ultimately in religious terms. But this article also argues that the supposition that the characters within the narratives of ‘Goblin Market’ and ‘The Prince's Progress’ are themselves capable of the symbolic interpretation of events—a supposition that is becoming critical orthodoxy—rests on an understanding of Rossetti's symbolic method in these poems which is wholly mistaken.

The Early Life and Later Years of Thomas Hardy: An Argument for a New Edition

Dolin, T. — 2007-11-16

This article calls for a new edition of the discredited Early Life and Later Years of Thomas Hardy (Life), written substantially by Hardy but with significant additions and deletions by Florence Hardy and J. M. Barrie, published in 1928 and 1930 under Florence Hardy's name; and makes an argument for the precedence of this edition over Michael Millgate's influential 1984 Hardy-only edition of the Life and Work of Thomas Hardy (Life and Work). The article argues that the Millgate edition mobilises two mutually validating conceptions of autonomous authorship: an editorial conception of the primacy of authorial intention; and a cultural conception of the primacy of the autobiographical subject. In response, the article retraces the history of the composition of the Life, finding that Hardy's secret effort to control the execution of his posthumous biography was not consistent with a disguised autobiographical intention. The Life declares the relational nature of the self, and represents that self formally and stylistically, as well as in its assumption of shared authorship.

MICHAEL D. C. DROUT. How Tradition Works: A Meme-Based Cultural Poetics of the Anglo-Saxon Tenth Century.

Maring, H. — 2007-11-16

MICHELLE M. DOWD and JULIE A. ECKERLE (eds). Genre and Women's Life Writing in Early Modern England.

Salzman, P. — 2007-11-16

TAKASHI KOZUKA and J. R. MULRYNE (eds). Shakespeare, Marlowe, Jonson: New Directions in Biography.

Duxfield, A. — 2007-11-16

PAUL MENZER (ed.). Inside Shakespeare.

Lopez, J. — 2007-11-16

BRIAN VICKERS. Shakespeare, A Lover's Complaint, and John Davies of Hereford.

Jackson, Macd. P. — 2007-11-16

PHILIP SCHWYZER. Archaeologies of English Renaissance Literature.

Mcculloch, L. — 2007-11-16

GAVIN ALEXANDER. Writing After Sidney: The Literary Response to Sir Philip Sidney 1586 1640.

Kinney, A. F. — 2007-11-16

STEPHEN M. FALLON. Milton's Peculiar Grace: Self-Representation and Authority.

Baumlin, J. S. — 2007-11-16

MARY C. FENTON. Milton's Places of Hope: Spiritual and Political Connections of Hope with Land.

Howard, W. S. — 2007-11-16

LUISA CALE. Fuseli's Milton Gallery: 'Turning Readers into Spectators'.

Wolfson, S. J. — 2007-11-16

SUSAN WISEMAN. Conspiracy & Virtue: Women, Writing, and Politics in Seventeenth-Century England.

Chalmers, H. — 2007-11-16

P. N. FURBANK and W. R. OWENS. A Political Biography of Daniel Defoe.

Keymer, T. — 2007-11-16

NANDINI BHATTACHARYA. Slavery, Colonialism and Connoisseurship: Gender and Eighteenth-Century Literary Transnationalism.

Dunleavy, R. — 2007-11-16

RICHARD B. SHER. The Enlightenment & the Book: Scottish Authors & Their Publishers in Eighteenth-Century Britain, Ireland, & America.

Forster, A. — 2007-11-16

MARK BLACKWELL (ed.). The Secret Life of Things: Animals, Objects, and It-Narratives in Eighteenth-Century England.

Power, H. — 2007-11-16

CHRISTOPHER R. MILLER. The Invention of Evening. Perception and Time in Romantic Poetry.

Perry, S. — 2007-11-16

IAN HAYWOOD. Bloody Romanticism: Spectacular Violence and the Politics of Representation, 1776-1832.

Shears, J. — 2007-11-16

MARGARET RUSSETT. Fictions and Fakes: Forging Romantic Authenticity, 1760 1845.

Lynch, J. — 2007-11-16

ROBERT MACFARLANE. Original Copy: Plagiarism and Originality in Nineteenth-Century Literature.

Mazzeo, T. J. — 2007-11-16

SARAH A. WILLBURN. Possessed Victorians: Extra Spheres in Nineteenth-Century Mystical Writings.

Edwards, S. — 2007-11-16

TIM KENDALL (ed.). The Oxford Handbook of British and Irish War Poetry.

Stout, J. P. — 2007-11-16

JOHN HAFFENDEN. William Empson. Volume II: Against the Christians.

Fuller, D. — 2007-11-16

CHRIS JONES. Strange Likeness: The Use of Old English in Twentieth-Century Poetry.

O'donoghue, H. — 2007-11-16

ELLEN ROONEY (ed.). The Cambridge Companion to Feminist Literary Theory.

Norton, A. V. — 2007-11-16

CORAL ANN HOWELLS (ed.). The Cambridge Companion to Margaret Atwood.

Becker, S. — 2007-11-16