... Never making landfall, Captain James Cook during his second voyage of discovery determined th... more ... Never making landfall, Captain James Cook during his second voyage of discovery determined that the frozen continent was much smaller than ... On July 27, both pamphlets along with a woodcut illustration and two prefatory letters from Abraham Keek in Amsterdam to his ...
To create one incongruity may be regarded as a misfortune, to create several looks like carelessn... more To create one incongruity may be regarded as a misfortune, to create several looks like carelessness; but when rafts of incongruities appear in the same illustration, the matter cannot be dismissed as mere happenstance and becomes an explanation waiting to happen.1 Late seventeenth-century interpretations of Henry Neville’s anonymously published thirty-one-page pamphlet The Isle of Pines range from a Rabelaisian fantasy to an amazingly successful and hilarious hoax.2 But then, as now, this account of an alleged Dutch discovery in the Indian Ocean of the numerous descendants of the five survivors of an Elizabethan shipwreck has rarely been read as a cleverly disguised piece of Restoration court satire. This scholarly myopia has several causes. Many modern anthologies are only lightly annotated, if at all; more critically, these texts often omit the frontispiece to the July 27, 1668, version of the pamphlet (see Figure 1).3 And in the scholarly literature, for example, neither Susan Wiseman nor Amy Boesky, both of whom reference the 1920 Ford edition, comment on the frontispiece.4 In Wiseman’s article, given her focus on a continuum of satirical sexual slanders and libels as a favored rhetorical weapon in political discourse, the omission is surprising. Within a few years raucous satires and smutty lampoons by John Wilmot, second earl of Rochester, and others will form part of this continuum. Rochester’s “Sceptre-Prick” lampoon of late 1673 comes to mind.5 Accordingly, when this rather scruffy four-panel engraving is viewed in the context of the first anniversary of the June–July 1667 Dutch raid up the Medway and their two-month-long blockade of the Thames estuary, it becomes almost worthy of Punch Magazine’s George du Maurier or John Tenniel some two hundred years later.
... Indeed, Creech was Horace's English tongue for the eighteenth century, supplanting all p... more ... Indeed, Creech was Horace's English tongue for the eighteenth century, supplanting all previous and current translations.13 ALVIN L. BAKER ... MOST recent biographies of Daniel Defoe have relied heavily on the excellent research carried out by Frank Bastian on Defoe's ...
Anq-a Quarterly Journal of Short Articles Notes and Reviews, Jul 3, 2014
Scholars will probably never know what form Macbeth took when first submitted to the Master of th... more Scholars will probably never know what form Macbeth took when first submitted to the Master of the Revels, nor the extent of any mandated revisions.1 No matter how spectacular and flattering the show of Stuart kings in act four, staging a play in which Scottish nobles explore the circumstances under which civil war to depose their reigning monarch might meet divine approval was certain to attract a Jacobean censor’s attention. But the evidence of later interpolations and cuts throughout Shakespeare’s drama reflects a much greater contemporary audience interest in Scottish demonology than in allusions to a topical late sixteenth-century and early seventeenth-century debate about the extent of subjects’ rights and the limits of kingship under a hereditary succession.2 Hence the Macbeth set into print in 1623 contains only traces of what once may have been a fully developed subplot involving an anachronistic fealty dispute between these eleventh-century Scottish nobles and their king. Some scenes or long passages from this presumed early, but no longer extant, text have been completely lost. Arguably, act two closed with a coronation scene, and the late king’s privy council assembling to investigate Duncan’s murder and to determine the lawful succession either extended or followed the porter’s scene.3 Our understanding of act three, scene six—the disaffection scene—is diminished by the cuts made to earlier scenes.4 It is here that we first learn of the conspiracy to depose Macbeth and where the rebel thanes, none of whom aspire to the throne, claim the well-being of Scotland as their sole cause and fealty to Malcolm as their just means to this end.5
... Never making landfall, Captain James Cook during his second voyage of discovery determined th... more ... Never making landfall, Captain James Cook during his second voyage of discovery determined that the frozen continent was much smaller than ... On July 27, both pamphlets along with a woodcut illustration and two prefatory letters from Abraham Keek in Amsterdam to his ...
To create one incongruity may be regarded as a misfortune, to create several looks like carelessn... more To create one incongruity may be regarded as a misfortune, to create several looks like carelessness; but when rafts of incongruities appear in the same illustration, the matter cannot be dismissed as mere happenstance and becomes an explanation waiting to happen.1 Late seventeenth-century interpretations of Henry Neville’s anonymously published thirty-one-page pamphlet The Isle of Pines range from a Rabelaisian fantasy to an amazingly successful and hilarious hoax.2 But then, as now, this account of an alleged Dutch discovery in the Indian Ocean of the numerous descendants of the five survivors of an Elizabethan shipwreck has rarely been read as a cleverly disguised piece of Restoration court satire. This scholarly myopia has several causes. Many modern anthologies are only lightly annotated, if at all; more critically, these texts often omit the frontispiece to the July 27, 1668, version of the pamphlet (see Figure 1).3 And in the scholarly literature, for example, neither Susan Wiseman nor Amy Boesky, both of whom reference the 1920 Ford edition, comment on the frontispiece.4 In Wiseman’s article, given her focus on a continuum of satirical sexual slanders and libels as a favored rhetorical weapon in political discourse, the omission is surprising. Within a few years raucous satires and smutty lampoons by John Wilmot, second earl of Rochester, and others will form part of this continuum. Rochester’s “Sceptre-Prick” lampoon of late 1673 comes to mind.5 Accordingly, when this rather scruffy four-panel engraving is viewed in the context of the first anniversary of the June–July 1667 Dutch raid up the Medway and their two-month-long blockade of the Thames estuary, it becomes almost worthy of Punch Magazine’s George du Maurier or John Tenniel some two hundred years later.
... Indeed, Creech was Horace's English tongue for the eighteenth century, supplanting all p... more ... Indeed, Creech was Horace's English tongue for the eighteenth century, supplanting all previous and current translations.13 ALVIN L. BAKER ... MOST recent biographies of Daniel Defoe have relied heavily on the excellent research carried out by Frank Bastian on Defoe's ...
Anq-a Quarterly Journal of Short Articles Notes and Reviews, Jul 3, 2014
Scholars will probably never know what form Macbeth took when first submitted to the Master of th... more Scholars will probably never know what form Macbeth took when first submitted to the Master of the Revels, nor the extent of any mandated revisions.1 No matter how spectacular and flattering the show of Stuart kings in act four, staging a play in which Scottish nobles explore the circumstances under which civil war to depose their reigning monarch might meet divine approval was certain to attract a Jacobean censor’s attention. But the evidence of later interpolations and cuts throughout Shakespeare’s drama reflects a much greater contemporary audience interest in Scottish demonology than in allusions to a topical late sixteenth-century and early seventeenth-century debate about the extent of subjects’ rights and the limits of kingship under a hereditary succession.2 Hence the Macbeth set into print in 1623 contains only traces of what once may have been a fully developed subplot involving an anachronistic fealty dispute between these eleventh-century Scottish nobles and their king. Some scenes or long passages from this presumed early, but no longer extant, text have been completely lost. Arguably, act two closed with a coronation scene, and the late king’s privy council assembling to investigate Duncan’s murder and to determine the lawful succession either extended or followed the porter’s scene.3 Our understanding of act three, scene six—the disaffection scene—is diminished by the cuts made to earlier scenes.4 It is here that we first learn of the conspiracy to depose Macbeth and where the rebel thanes, none of whom aspire to the throne, claim the well-being of Scotland as their sole cause and fealty to Malcolm as their just means to this end.5
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