Papers by Patricia Pender
Palgrave Macmillan UK eBooks, 2012
In the fourth book of the anonymous Rhetorica Ad Herennium (90s BC) — formerly attributed to Cice... more In the fourth book of the anonymous Rhetorica Ad Herennium (90s BC) — formerly attributed to Cicero and the most popular Latin rhetorical treatise of the early modern period — the author attempts to justify the unusual procedure of including excerpts of his own poetry as exempla of the rhetorical stratagems he describes. Unlike George Puttenham, who was to use this technique unabashedly in The Arte of English Poesie (1589), he must defend this decision because the authors of the Greek rhetorical handbooks that precede him typically employed conventional literary examples rather than proffering their own creative efforts: ‘And their first ground is that in doing so they are prompted by modesty, because it seems a kind of ostentation not to be content to teach the art, but to appear desirous themselves of creating examples artificially.’1 To this argument the author of the Ad Herennium provides a complex and vigorous rejoinder: First, then, let us beware lest the Greeks offer us too childish an argument in their talk about modesty. For if modesty consists in saying nothing or writing nothing, why do they write or speak at all?… It is as if some one should come to the Olympic games to run, and having taken a position for the start, should accuse of impudence those who have begun the race — should himself stand within the barrier and recount to others how Ladas used to run, or Boiscus in the Isthmian games. These Greek rhetoricians do likewise. When they have descended into the race-course of our art, they accuse of immodesty those who put in practice the essence of the art; they praise some ancient orator, poet, or literary work, but without themselves daring to come forth into the stadium of rhetoric. I should not venture to say so, yet I fear that in their very pursuit of praise for modesty they are impudent. (IV.ii.3)
The papers of the Bibliographical Society of America, Jun 1, 2015
T he works of anne bradsTreeT in prose and verse was edited by John Harvard Ellis and published b... more T he works of anne bradsTreeT in prose and verse was edited by John Harvard Ellis and published by Abram E. Cutter in 1867.1 The book-as-object is a handsome affair, running 434 royal-octavo pages, including a colored title page (in red and black) and two mezzotintstipple engravings, one of which was specially commissioned for the book. Its scholarly apparatus features facsimile reproductions of the title pages from Bradstreet’s three previous editions (1650, 1678, and 1758), a six-page preface followed by a sixty-page introduction complete with footnotes (both by the editor), and a substantial index of seventeen pages. The poems themselves are lightly annotated; the book contains a liberal quantity of type embellishments; and one of the distinctions of its typo graphy is the use of the by-then archaic long s. What was this deluxe edition—the first edition of Bradstreet in over 100 years—designed to do? How does the book as physical object encode, or allude to, the aspirations of its makers? Ellis’s wide-ranging introduction gives ample insight into his editorial strategy, but Cutter’s motivations in publishing
Early modern literature in history, 2017
Women played a variety of roles in the production of early modern literature, many of which remai... more Women played a variety of roles in the production of early modern literature, many of which remain hidden from view under a model of single, solitary authorship. The contradiction between collaboration—whether literary, material, or both—and the very idea of women’s writing make this an area of investigation prone to conflict, just as it is in canonical studies. By way of introduction to a volume of new essays on gender and early modern literary collaboration, this chapter briefly surveys these conflicts and the development of collaborative authorial models within early modern feminist scholarship. It highlights the advantages of mixed-methods approaches to this topic, arguing that both book history and literary methods have much to offer in the analysis of early modern collaborations.
Palgrave Macmillan UK eBooks, 2012
The Encyclopedia of English Renaissance Literature, Sep 22, 2017
Huntington Library Quarterly, Jun 1, 2011
Early modern literature in history, 2017
Interested as it has been in recovering the work of neglected writers, early modern women's studi... more Interested as it has been in recovering the work of neglected writers, early modern women's studies has developed an understandably equivocal relationship to conventional notions of authorship. In ways that we are by now exhaustively familiar with, the dominance of the "Dead White Male" in Renaissance literary scholarship has been seen-not without reason-as having relegated his female contemporaries to comparative oblivion. In response, however, as Danielle Clarke astutely notes, by placing women writers at the center of focus, scholars of early modern women have often sought to establish them as authors in canonical terms, even according to the same criteria that caused their neglect in the first place. 1 Introducing "collaboration" into this context is something of a critical double-edged sword. From one perspective, viewing early modern women's writing as collaborative threatens to threaten, if you will, the hard-won legitimacy
SEL: Studies in English Literature 1500-1900, 2011
While it is widely accepted that Mary Sidney played an important part in the publication of Sir P... more While it is widely accepted that Mary Sidney played an important part in the publication of Sir Philip Sidney's works, it is less well-recognized that in doing so she made a profound impact on the construction of the English author function. Through her management of her brother's corpus, her patronage activities, and through her own literary self-fashioning, Mary Sidney helped define the terms of early modern authorship and authority. Ironically, however, in cultivating the archetype of the "Dead White Male" she promoted a poetic mythology whose enduring influence would eventually obscure her own decisive role in its development.
Huntington Library Quarterly, Sep 1, 2010
... and State in Early Modern England: Identity Forma-tion and the Female Subject(Cambridge, 2004... more ... and State in Early Modern England: Identity Forma-tion and the Female Subject(Cambridge, 2004); Thomas S. Freeman and Sarah Elizabeth Wall ... of Askew is a facsimile of the first editions, edited by John King, The First Examinacyon and the Lattre Examinacyon (Aldershot, UK ...
... Buffy (and Faith) 165 Donald Keller 15 Hubble-Bubble, Herbs, and Grimoires: Magic, Manichaean... more ... Buffy (and Faith) 165 Donald Keller 15 Hubble-Bubble, Herbs, and Grimoires: Magic, Manichaeanism, and Witchcraft in Buffy 178 Tanya Krzywinska 16 ... Only in the limited number of producer-director-writer talents, like M. Night Shya-malan, does one find the script taking even ...
Palgrave Macmillan UK eBooks, 2014
As a prominent patron of humanist scholarship and Reformed religion, and the author of several de... more As a prominent patron of humanist scholarship and Reformed religion, and the author of several devotional works in her own right, Katherine Parr exerted a significant influence on the English Reformation — as several scholars have begun to explore.1 Yet to date, it is the texts that most legibly bear her authorial signature that have attracted critical attention.2 Parr’s patronage, by contrast, has long been widely celebrated as historical fact and at the same time surprisingly ignored as a social, literary and mechanical process. In the Acts and Monuments (1563), for instance, John Foxe paints a triumphal Protestant portrait of the queen as the period’s ‘only patroness of the professors of the truth’.3 And Parr’s recent biographer Susan James goes so far as to say that Katherine was ‘by conviction, by influence and by actions the first true queen of the English Reformation’.4 According to James Kelsey McConica’s 1965 portrayal of the period, Parr’s generation found appropriate patronage, not in a Machiavellian Secretary of State, but in a noble lady of irenic temperament and sincere attachment to humanist learning. … It is in her circle, which revives the traditions of her royal predecessors Margaret Beaufort and Catherine of Aragon, that the Erasmian spirit finds new shelter and influential support.5
Oxford University Press eBooks, Dec 19, 2022
By presenting the Salve Deus Rex Judaeorum as ‘the first fruits of a womans wit’ Aemilia Lanyer f... more By presenting the Salve Deus Rex Judaeorum as ‘the first fruits of a womans wit’ Aemilia Lanyer foregrounds, and trades on, the novelty of female authorship in the English literary tradition. Published almost forty years later, Anne Bradstreet’s 1650 volume of poetry, The Tenth Muse Lately sprung up in America, utilizes a similar strategy. It does so with what initially seems — given the example of Lanyer’s earlier sophisticated deployment of this concept — a perhaps surprising naivety.1 The single-author volumes of poetry by Aemilia Lanyer (1611) and Anne Bradstreet (1650) provide us with two polarized approaches to the marketing of women’s poetry, and to the cultural discourse surrounding women’s printed publication in the early modern period. While Lanyer manipulates the gendered discourses of modesty to multifarious ends in the Salve Deus, she unapologetically claims ownership of, and responsibility for, her text. In contrast, Bradstreet’s volume of poetry is notoriously held to have been published without her permission when, in 1649, her brother-in-law John Woodbridge took a manuscript copy of her poems to London and printed them at his own expense.
From her provocative public reading of the Bible in Lincoln Cathedral in the early 1540s to her e... more From her provocative public reading of the Bible in Lincoln Cathedral in the early 1540s to her execution as a heretic in 1546, Anne Askew bears witness to the pivotal roles that reading, speech, and silence played in the religious debates of the English Reformation. Her reading of 1 Corinthians 7 provided scriptural authority for separating from her husband on the grounds of religious differences. She goaded the priests of Lincoln with her public perusal of the Bible, an action she had been expressly warned against and which she maintained silently, in the face of their disapproval, for six days. And she refused to acknowledge as legitimate any part of the Catholic Mass that Christ had not ‘confirmed with hys most precyouse bloude,’ claiming that she received more value from reading ‘five lynes in the Bible’ than from hearing ‘five masses in the temple.’1 In effect, Askew died in defense of her reading practice. Her Examinations negotiate rapid shifts in the cultural, religious, and legal discourses surrounding reading, speech, and silence in the last years of Henry VIII’s reign, illuminating one woman’s trenchant engagement with the Pauline prescriptions governing women’s religious expression in the English Reformation. Moreover, by emphatically insisting on her right to interpret the sacrament of the Eucharist symbolically, Askew also offers us a unique, early example of women’s rhetorical theory. In doing so, I will argue, she provides us with a crucial framework through which to reassess women’s gendered deployments of modesty discourse in the early modern period.
Palgrave Macmillan UK eBooks, 2012
Aemilia Lanyer employs a vast array of modesty tropes in the prefatory apparatus to Salve Deus Re... more Aemilia Lanyer employs a vast array of modesty tropes in the prefatory apparatus to Salve Deus Rex Judaeorum, ostensibly to excuse her presumption in writing, but effectively to impress the reader of her 1611 book with the scale of the apparently insurmountable task she has set herself. At the same time that she draws attention to the formidable proportions of her poetic project, Lanyer also implicitly underscores the stakes and the status of the enterprise she has undertaken. Focusing on the dedicatory poems to the Salve Deus, this chapter explores the ‘inexpressibility’ topoi Lanyer employs to impress the reader with the scope of her epidiectic endeavor. I suggest that a renewed, rhetorical analysis of Lanyer’s modesty tropes helps draw attention to the dramatic, conflicted, and phantasmatic nature of the relationships she stages with literary history, with would- be female patrons, and with Christ, the subject of her title poem. Ongoing critical responses to the Salve Deus have focused on the community of ‘good women’ Lanyer celebrates throughout the volume and that she is thought to have created in her dedications to powerful aristocratic women. These debates raise important methodological questions about the types of relationship that can be constructed and construed from literary labor and evidence.
Australian humanities review, Dec 1, 2009
Cambridge University Press eBooks, Jan 15, 2018
Palgrave Macmillan eBooks, Nov 7, 2014
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Papers by Patricia Pender