By Kent Cartwright
A significant other to Tudor Literature offers a set of thirty-one newly commissioned essays targeting English literature and tradition from the reign of Henry VII in 1485 to the dying of Elizabeth I in 1603.
- Presents scholars with a worthwhile ancient and cultural context to the period
- Discusses key texts and consultant topics, and explores matters together with foreign affects, spiritual switch, shuttle and New global discoveries, women’s writing, technological recommendations, medievalism, print tradition, and advancements in track and in modes of seeing and reading
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Extra resources for A Companion to Tudor Literature
Just as May and Wolfe note that readily available paper made possible the “important Renaissance genre” of letterwriting, Seth Lerer explores the work of John Skelton at the dawn of the print age, and with Skelton the humanist importance of “letters” in both the word’s epistolary and literary senses. Taking a famous verse epistle by Sir Thomas Wyatt as his starting point, David Carlson discusses in detail the manuscript culture of Henrician poetry and the way that the corporate nature of manuscript poems turns towards individualization, and political critique towards eroticization, with the publication of “Tottel’s Miscellany” in 1557.
Mary Fuller analyzes, in travel writing from Mandeville through Hakluyt, the changing boundaries between truth and fiction, real and unreal. As Fuller notes, despite a trend toward suppressing derivative fantastical narratives and preferring first-hand accounts, the Tudor “I” can be a complicated observer who still tells anecdotes of headless men and other marvels. ” Mentz argues that The Unfortunate Traveler’s great subject is the print culture that has come into being in the course of the sixteenth century.
The Renaissance, in both literature and visual art, Fowler argues, easily moved between these shifting realisms. Next Gavin Alexander explores the relationship between visual images and language, and, more broadly, between humanist rhetorical theory and literary practice, focusing on the Renaissance idea of the speaking picture, and on that powerful but dangerous faculty, the imagination. Alexander mentions George Puttenham’s interest in poetry as music, and that aspect of Tudor literature, specifically versification and the rise of iambic pentameter, offers the subject of Jeff Dolven’s chapter.