The Poetics Of English Nationhood 1590 1612

The Poetics of English Nationhood is a 1996 study of the formation of English national identity during the early modern period. Claire McEachern aims to recontextualize our understanding of the term literary through an examination of Spenser, Shakespeare and Drayton. She shows how the concept of nationality in their work is always fluid; it crucially depends on a sense of intimacy that exends across and beyond hierarchies and boundaries. McEachern shows how those texts we traditionally label literary already encode and personify power, thereby sealing the intimacy which binds the nation as an imagined community. The representation of faith, fatherland and crown in Tudor texts continually personified English political institutions, promoting an enduring social order and collective unity. By focusing on the rhetorical forms of cultural unity in Tudor texts, McEachern traces a profound shift from a monarchically defined Englishness to a system based within the cultural institution of the common law.

While there is overwhelming evidence that nationalism reached its peak in the later nineteenth century, views about when precisely national thinking and sentiment became strong enough to override all other forms of collective unity differ considerably. When one looks for the historical moment when the concept of the nation became a serious – and subsequently victorious – competitor to the monarchic dynasty as the most effective principle of collective unity, one must, at least for England, go back as far as the sixteenth century. The decisive change occurred when a split between the dynastic ruler and “England” could be widely conceived of and intensely felt, a split that established the nation as an autonomous – and more precious – body. Whereas such a differentiation between king and country was still imperceptible under Henry VIII, it was already an historical reality during the reign of Queen Mary. That the most important factors in this radical change were the Reformation and the printing press is by now well known. The particular aim of this volume is to demonstrate the pivotal role of pamphleteering – and the growing importance of public opinion in a steadily widening sense – within the process of the historical emergence of the concept of the nation as a culturally and politically guiding force. When it came to the voicing of dissident opinions, above all under Queen Mary and later during the reign of King James and Charles I, the printed pamphlet proved to be a far superior form of communication. This does not mean that books played no role in the early development and dissemination of the concept of an English nation. Especially the compendious new English histories written at the time did much to support the growth of cultural identity.

The Cartographic Revolution in the Renaissance made maps newly precise, newly affordable, and newly ubiquitous. In sixteenth-century Britain, cartographic materials went from rarity to household décor within a single lifetime, and they delighted, inspired, and fascinated people across the socioeconomic spectrum. At the same time, they also unsettled, upset, disturbed, and sometimes angered their early modern readers. Early Modern English Literature and the Poetics of Cartographic Anxiety is the first monograph dedicated to recovering the shadow history of the many anxieties provoked by early modern maps and mapping in the sixteenth and seventeenth centuries. A product of a military arms race, often deployed for security and surveillance purposes, and fundamentally distortive of their subjects, maps provoked suspicion, unease, and even hostility in early modern Britain (in ways not dissimilar from the anxieties provoked by global positioning-enabled digital mapping in the twenty-first century). At the same time, writers saw in the resistance to cartographic logics and strategies the opportunity to rethink the way literature represents space—and everything else. This volume explores three major poems of the period—Edmund Spenser's The Faerie Queene (1590, 1596), Michael Drayton's Poly-Olbion (1612, 1622), and John Milton's Paradise Lost (1667, 1674)—in terms of their vexed and vexing relationships with cartographic materials, and shows how the productive protest staged by these texts redefined concepts of allegory, description, personification, bibliographic materiality, narrative, temporality, analogy, and other elemental components of literary representations.

Writing the Nation in Reformation England offers a major re-evaluation of English writing between 1530 and 1580. Studying authors such as Andrew Borde, John Leland, William Thomas, Thomas Smith, and Thomas Wilson, Cathy Shrank highlights the significance of these decades to the formation of English nationhood and examines the impact of the break with Rome on the development of a national language, literary style, and canon. As well as demonstrating the close relationship between literary culture and English identities, it reinvests Tudor writers with a sense of agency. As authors, counsellors, and thinkers they were active citizens participating within, and helping to shape, a national community. In the process, their works were also used to project an image of themselves as authors, playing - and fitted to play - their part in the public domain. In showing how these writers engaged with, and promoted, concepts of national identity, the book makes a significant contribution to our broader understanding of the early modern period, demonstrating that nationhood was not a later Elizabethan phenomenon, and that the Reformation had an immediate impact on English culture, before England emerged as a 'Protestant' nation.

The Tudor era has long been associated with the rise of nationalism in England, yet nationalist writing in this period often involved the denigration and outright denial of Englishness. Philip Schwyzer argues that the ancient, insular, and imperial nation imagined in the works of writers such as Shakespeare and Spenser was not England, but Britain. Disclaiming their Anglo-Saxon ancestry, the English sought their origins in a nostalgic vision of British antiquity. Focusing on texts including The Faerie Queene, English and Welsh antiquarian works, The Mirror for Magistrates, Henry V and King Lear, Schwyzer charts the genesis, development and disintegration of British nationalism in the sixteenth and early seventeenth centuries. An important contribution to the expanding scholarship on early modern Britishness, this study gives detailed attention to Welsh texts and traditions, arguing that Welsh sources crucially influenced the development of English literature and identity.

Using both canonical and underappreciated texts, Alien Albion argues that early modern England was far less unified and xenophobic than literary critics have previously suggested. Juxtaposing literary texts from the period with legal, religious, and economic documents, Scott Oldenburg uncovers how immigrants to England forged ties with their English hosts and how those relationships were reflected in literature that imagined inclusive, multicultural communities. Through discussions of civic pageantry, the plays of dramatists including William Shakespeare, Thomas Dekker, and Thomas Middleton, the poetry of Anne Dowriche, and the prose of Thomas Deloney, Alien Albion challenges assumptions about the origins of English national identity and the importance of religious, class, and local identities in the early modern era.

This book makes newly visible the sustained engagement of the English and the Dutch throughout a critical century in their cultural and national development. It reads a broad selection of early modern literary texts, some never before treated in Anglophone scholarship, in which the Dutch and the English wrote about each other and themselves. This interdisciplinary study brings to light the key affinities of these two nations: their embrace of liberty, turn toward Protestantism, and pursuit of commerce. It shows that as Catholic, colonial powers worked to prevent the rise of early modern Europe’s two great Protestant states, those similarities—as well as a combination of English admiration, envy, and distrust of the Dutch—produced an emulous rivalry that remade the two nations and their literature.

This 2003 book is a full-scale history of early modern English literature, offering perspectives on English literature produced in Britain between the Reformation and the Restoration. While providing the general coverage and specific information expected of a major history, its twenty-six chapters address recent methodological and interpretive developments in English literary studies. The book has five sections: 'Modes and Means of Literary Production, Circulation, and Reception', 'The Tudor Era from the Reformation to Elizabeth I', 'The Era of Elizabeth and James VI', 'The Earlier Stuart Era', and 'The Civil War and Commonwealth Era'. While England is the principal focus, literary production in Scotland, Ireland and Wales is treated, as are other subjects less frequently examined in previous histories, including women's writings and the literature of the English Reformation and Revolution. This history is an essential resource for specialists and students.

How did authors such as Jonson, Spenser, Donne and Milton think about the past lives of the words they used? Hannah Crawforth shows how early modern writers were acutely attuned to the religious and political implications of the etymology of English words. She argues that these lexically astute writers actively engaged with the lexicographers, Anglo-Saxonists and etymologists who were carrying out a national project to recover, or invent, the origins of English, at a time when the question of a national vernacular was inseparable from that of national identity. English words are deployed to particular effect – as a polemical weapon, allegorical device, coded form of communication, type of historical allusion or political tool. Drawing together early modern literature and linguistics, Crawforth argues that the history of English as it was studied in the period radically underpins the writing of its greatest poets.