Richard A. McCabe – författare

From antiquity to the Renaissance the pursuit of patronage was central to the literary career, yet relationships between poets and patrons were commonly conflicted, if not antagonistic, necessitating compromise even as they proffered stability and status. Was it just a matter of speaking lies to power? The present study looks beyond the rhetoric of dedication to examine how traditional modes of literary patronage responded to the challenge of print, as the economiesof gift-exchange were forced to compete with those of the marketplace. It demonstrates how awareness of such divergent milieux prompted innovative modes of authorial self-representation, inspired or frustrated the desire for laureation, and promoted the remarkable self-reflexivity of Early Modernverse. By setting English Literature from Caxton to Jonson in the context of the most influential Classical and Italian exemplars it affords a wide comparative context for the reassessment of patronage both as a social practice and a literary theme.

Spenser's Monstrous Regiment examines the works of Edmund Spenser within the dual, but interactive, contexts of imperial aspiration and female 'regiment' to provide a reinterpretation of The Faerie Queene as a (frustrated) colonial romance more akin to Camões' Os Lusíadas in its political and racial outlook than to the heroic verse of Ariosto or Tasso. It is the first study to contextualise Spenser's polemical response to the Irish colonial situation by reference to contemporary Gaelic literature, and particularly Bardic Poetry. The dialectical format of A View of the Present State of Ireland operates to exclude the Gaelic voice from participation in the Irish political debate, and contemporary criticism unwittingly participates in the exclusion through its concentration upon colonial tracts written by English politicians and planters. The present study constitutes a sustained attempt to reverse this tendency and thereby provide a new perspective for the understanding of his work. The enterprise is all the more significant to colonial studies in general in that Spenser virtually invented the techniques of interpretation, and denigration, that remained prevalent in colonial discourse for over two centuries. At the same time, the experience of writing from Ireland intensified Spenser's sense of alienation from female sovereignty and progressively displaced Virgilian with Ovidian perspectives as the would-be laureate became the critic in exile. The queen's apparent frustration of the colonial and expansionist aspirations of Grey, Leicester, and Ralegh led to the remarkable fusion of colonial and sexual anxieties manifest in Spenser's pervasive images of anti-heroic emasculation.Richard McCabe argues that structural incoherence of The Faerie Queene is directly related to the perceived absence of male 'regiment', of 'mans well ruling hand' (5. 5. 25). The prospect of miscegenation, and the generation of racially hybrid offspring amongst the planter community, intensified the dilemma by challenging Spenser's notions of national identity. His creation of an 'English' myth of origin coincided uneasily with the attempted discrediting of its Gaelic counterpart, as formulated, for example, in the Lebor Gábala Érenn. A View is therefore drawn to concede the fictive nature of the myth of origin upon which The Faerie Queene relies but without recognising, or admitting, the logical implications of this concession. If Spenser's 'faerie' race is intended to function as a metaphor for the successful assimilation of Briton, Saxon, Angle and Norman into a unified 'English' people, the opposite process of cultural assimilation operative in Ireland (regarded by Spenser as a process of racial degeneration) challenges the validity of that metaphor and the integrity of all political 'myth'.

Written by a team of international experts, the forty-two essays in The Oxford Handbook of Edmund Spenser examine the entire canon of Spenser's work and the social and intellectual environments in which it was produced, providing new readings of the texts, extensive analysis of former criticism, and up-to-date bibliographies. Section I, 'Contexts', elucidates the circumstances in which the poetry and prose were written, and suggests some of the major political, social, and professional issues with which the work engages. Section 2, 'Works', presents a series of new readings of the canon informed by the most recent scholarship. Section 3, 'Poetic Craft', provides a detailed analysis of what Spenser termed the poet's 'cunning', the linguistic, rhetorical, and stylistic skills that distinguish his writing. Section 4, 'Sources and Influences', examines a wide range of subtexts, intertexts ,and analogues that contextualise the works within the literary conventions, traditions and genres upon which Spenser draws and not infrequently subverts. Section 5, 'Reception', grapples with the issue of Spenser's effect on succeeding generations of editors, writers, painters, and book-illustrators, while also attempting to identify the most salient and influential strands in the critical tradition. The volume serves as both companion and herald to the Oxford University Press edition of Spenser's Complete Works. No 'agreed' view of Spenser emerges from this work or is intended to. The contributors approach the texts from a variety of viewpoints and employ diverse methods of critical interpretation with a view to stimulating informed discussion and future scholarship.

From antiquity to the Renaissance the pursuit of patronage was central to the literary career, yet relationships between poets and patrons were commonly conflicted, if not antagonistic, necessitating compromise even as they proffered stability and status. Was it just a matter of speaking lies to power? The present study looks beyond the rhetoric of dedication to examine how traditional modes of literary patronage responded to the challenge of print, as the economies of gift-exchange were forced to compete with those of the marketplace. It demonstrates how awareness of such divergent milieux prompted innovative modes of authorial self-representation, inspired or frustrated the desire for laureation, and promoted the remarkable self-reflexivity of Early Modern verse. By setting English Literature from Caxton to Jonson in the context of the most influential Classical and Italian exemplars it affords a wide comparative context for the reassessment of patronage both as a social practice and a literary theme.

This Mortal Coil examines the relationship between tragedy and embodiment, focusing on the use of psychosomatic description to inform 'character' and through character, genre. The underlying premise is that early modern English dramatists not only conceived of their characters as creatures of flesh and blood, but rendered them obsessively aware of their humoral and mental constitution and the intricate relationship between the two. They are acutely responsive to being male, female, disabled, black, old, obese, melancholic, choleric, epileptic, disabled, and generally 'mortal' in all its dimensions. Such self-consciousness is shown to be born to a large degree of prevailing social attitudes, and the tendency to assess others in terms of bodily constitution, complexion, or normative expectation. While neo-classical critics insisted on canons of semantic and somatic 'decorum' that emphasized the distinction between tragedy and comedy demanded by Aristotle, popular dramatists sought rather to explore the intersection of the two genres through the medium of its enactment, freeing themselves from the prohibition against allowing anything 'low' in diction or gesture to contaminate the supposed dignity of tragic characterization. Instead, reading tragic and comic bodies as mutual palimpsests, they allowed the inevitable indecorums of the humoral body to take centre stage, even allowing heroic protagonists to assume 'antic dispositions' and 'low' disguises. Consistent attention is paid to classical precedent, as ancient drama provides the models, and ancient criticism the theories, that informed early modern thinking and practice. The first part examines the critical and theatrical contexts in which key concepts such as body, action, character, and catharsis were understood, while the second explores these issues through the work of a wide range of popular dramatists, including Marlowe, Kyd, Middleton, Marston, Chapman, Shakespeare, Webster, and Ford. These dramatists developed to the utmost the art of finding the mind's construction not just in the face but the whole body, employing 'comic' business as an integral component of, rather than a 'relief' from, tragedy.

Written by a team of international experts, the forty-two essays in The Oxford Handbook of Edmund Spenser examine the entire canon of Spenser's work and the social and intellectual environments in which it was produced, providing new readings of the texts, extensive analysis of former criticism, and up-to-date bibliographies. Section I, 'Contexts', elucidates the circumstances in which the poetry and prose were written, and suggests some of the major political, social, and professional issues with which the work engages. Section 2, 'Works', presents a series of new readings of the canon informed by the most recent scholarship. Section 3, 'Poetic Craft', provides a detailed analysis of what Spenser termed the poet's 'cunning', the linguistic, rhetorical, and stylistic skills that distinguish his writing. Section 4, 'Sources and Influences', examines a wide range of subtexts, intertexts ,and analogues that contextualise the works within the literary conventions, traditions and genres upon which Spenser draws and not infrequently subverts. Section 5, 'Reception', grapples with the issue of Spenser's effect on succeeding generations of editors, writers, painters, and book-illustrators, while also attempting to identify the most salient and influential strands in the critical tradition. The volume serves as both companion and herald to the Oxford University Press edition of Spenser's Complete Works. No 'agreed' view of Spenser emerges from this work or is intended to. The contributors approach the texts from a variety of viewpoints and employ diverse methods of critical interpretation with a view to stimulating informed discussion and future scholarship.

In this important study of Spenser and nationhood - the first to contextualize Spenser's response to the Irish colonial situation by reference to contemporary Gaelic literature - Richard McCabe examines the poet's canon within the dual contexts of imperial aspiration and female 'regiment'. He shows how the experience of writing from Ireland, where the queen's influence repeatedly frustrated the expansionist ambitions of New English settlers, intensified Spenser's sense of alienation from female sovereignty and led to the remarkable fusion of colonial and sexual anxieties evident in The Faerie Queene's pervasive images of anti-heroic emasculation. At the same time the paradoxical attempt to impose civility through violence compromised the poem's moral vision and problematized its conception of national identity. The attempt to create an English myth of origin coincided uneasily with the need to discredit its Gaelic counterpart, as formulated in such works as the Lebor Gabála Érenn, while the perceived 'degeneration' of Old English families within the Pale confounded the ethnic distinctions upon which the colonial enterprise had come to rest and challenged the validity of all nationalist 'myth'. By drawing upon a wide range of Gaelic poets, historians, and polemicists, McCabe seeks to recover the voices that the dialectical format of A View of the Present State of Ireland is designed to exclude and to demonstrate how the Irish dimension of The Faerie Queene provides a dark, but aesthetically enhancing subtext to the poetics of national celebration.

The presentation of poetry to auditor and reader involves a complex interaction of rhetorical, orthographical and visual mediating skills. At issue are the nature of 'authority', the creation of a readership attuned to the writer's poetic resonances, and a delicate negotiation between literary tradition and individual talent. In a series of detailed readings leading scholars focus on the presentation of work by Spenser, Herbert, Milton, Dryden, Pope, Smart, Blake, Wordsworth, Browning, Yeats, Lawrence and David Jones. The wide chronological range enables unusually extensive comparison across the boundaries of generic form, and between the varying emotional, aesthetic and rhetorical emphases of specific periods: from the creation of fictitious 'persona' to the construction of autobiographical 'self', from the interaction of printed word and visual image to the arrangements and rearrangements of structure and sequence.

This is a full-length study of incest in English Renaissance and Restoration drama. Richard McCabe's comprehensive survey offers a literary history of this theme, informed by an investigation of the intellectual background, with particular emphasis on changing concepts of natural law, and consequent reassessments of classical tradition. It examines a wide range of theological, philosophical, legal and literary sources, in the context of modern psychological and sociological theories of family development. Extensive comparisons with classical models and contemporary European dramatists, from Tasso to Corneille and Racine, explore the volatile association between dramatic form and emotional content, structural experiment and sexual ambivalence. The centrality of the family to all human relationships, and the mutual reflection of familial politics and the patriarchal state make incest a powerful metaphor for the ambivalence of all concepts of 'natural' authority, and for various forms of social and political revolt.