Victoria Moul – författare

The influence of the Roman poet Horace on Ben Jonson has often been acknowledged, but never fully explored. Discussing Jonson's Horatianism in detail, this study also places Jonson's densely intertextual relationship with Horace's Latin text within the broader context of his complex negotiations with a range of other 'rivals' to the Horatian model including Pindar, Seneca, Juvenal and Martial. The new reading of Jonson's classicism that emerges is one founded not upon static imitation, but rather a lively dialogue between competing models - an allusive mode that extends into the seventeenth-century reception of Jonson himself as a latter-day 'Horace'. In the course of this analysis, the book provides fresh readings of many of Jonson's best-known poems - including 'Inviting a Friend to Dinner' and 'To Penshurst' - as well as a new perspective on many lesser-known pieces, and a range of unpublished manuscript material.

Latin was for many centuries the common literary language of Europe, and Latin literature of immense range, stylistic power and social and political significance was produced throughout Europe and beyond from the time of Petrarch (c.1400) well into the eighteenth century. This is the first available work devoted specifically to the enormous wealth and variety of neo-Latin literature, and offers both essential background to the understanding of this material and sixteen chapters by leading scholars which are devoted to individual forms. Each contributor relates a wide range of fascinating but now little-known texts to the handful of more familiar Latin works of the period, such as Thomas More's Utopia, Milton's Latin poetry and the works of Petrarch and Erasmus. All Latin is translated throughout the volume.

Victoria Moul's groundbreaking study uncovers one of the most important features of early modern English poetry: its bilingualism. The first guide to a forgotten literary landscape, this book considers the vast quantities of poetry that were written and read in both Latin and English from the sixteenth to the eighteenth century. Introducing readers to a host of new authors and drawing on hundreds of manuscript as well as print sources, it also reinterprets a series of landmarks in English poetry within a bilingual literary context. Ranging from Tottel's miscellany to the hymns of Isaac Watts, via Shakespeare, Jonson, Herbert, Marvell, Milton and Cowley, this revelatory survey shows how the forms and fashions of contemporary Latin verse informed key developments in English poetry. As the complex, highly creative interactions between the two languages are revealed, the work reshapes our understanding of what 'English' literary history means.

Latin was for many centuries the common literary language of Europe, and Latin literature of immense range, stylistic power and social and political significance was produced throughout Europe and beyond from the time of Petrarch (c.1400) well into the eighteenth century. This is the first available work devoted specifically to the enormous wealth and variety of neo-Latin literature, and offers both essential background to the understanding of this material and sixteen chapters by leading scholars which are devoted to individual forms. Each contributor relates a wide range of fascinating but now little-known texts to the handful of more familiar Latin works of the period, such as Thomas More's Utopia, Milton's Latin poetry and the works of Petrarch and Erasmus. All Latin is translated throughout the volume.

The influence of the Roman poet Horace on Ben Jonson has often been acknowledged, but never fully explored. Discussing Jonson's Horatianism in detail, this study also places Jonson's densely intertextual relationship with Horace's Latin text within the broader context of his complex negotiations with a range of other 'rivals' to the Horatian model including Pindar, Seneca, Juvenal and Martial. The new reading of Jonson's classicism that emerges is one founded not upon static imitation, but rather a lively dialogue between competing models - an allusive mode that extends into the seventeenth-century reception of Jonson himself as a latter-day 'Horace'. In the course of this analysis, the book provides fresh readings of many of Jonson's best-known poems - including 'Inviting a Friend to Dinner' and 'To Penshurst' - as well as a new perspective on many lesser-known pieces, and a range of unpublished manuscript material.

Victoria Moul's groundbreaking study uncovers one of the most important features of early modern English poetry: its bilingualism. The first guide to a forgotten literary landscape, this book considers the vast quantities of poetry that were written and read in both Latin and English from the sixteenth to the eighteenth century. Introducing readers to a host of new authors and drawing on hundreds of manuscript as well as print sources, it also reinterprets a series of landmarks in English poetry within a bilingual literary context. Ranging from Tottel's miscellany to the hymns of Isaac Watts, via Shakespeare, Jonson, Herbert, Marvell, Milton and Cowley, this revelatory survey shows how the forms and fashions of contemporary Latin verse informed key developments in English poetry. As the complex, highly creative interactions between the two languages are revealed, the work reshapes our understanding of what 'English' literary history means.

This book is the first collection of essays dedicated to the work of C. H. Sisson (1915-2003), a major English poet, critic and translator. The collection aims to offer an overall guide to his work for new readers, while also encouraging established readers of one aspect (such as his well-known classical translations) to explore others. It champions in particular the quality of his original poetry. The book brings together contributions from scholars and critics working in a wide range of fields, including classical reception, translation studies and early modern literature as well as modern English poetry, and concludes with a more personal essay on Sisson’s work by Michael Schmidt, his publisher.