Janet Wright Starner, Barbara Howard Traister's Anonymity in Early Modern England: ''What's in a name?'' PDF

By Janet Wright Starner, Barbara Howard Traister

ISBN-10: 0754669491

ISBN-13: 9780754669494

Increasing the scholarly dialog approximately anonymity in Renaissance England, this essay assortment explores the phenomenon in all its number of tools and genres in addition to its complicated courting with its modify ego, attribution reports. members tackle such questions as those: What have been the results of publishing and interpreting nameless texts for Renaissance writers and readers? What cultural constraints and topic positions made nameless booklet in print or manuscript a strategic selection? What are the potential responses to Renaissance anonymity in modern school rooms and scholarly debate? the quantity opens with essays investigating specific texts-poetry, performs, and pamphlets-and the inflection each one style provides to the difficulty of anonymity. the gathering then turns to contemplate extra summary outcomes of anonymity: its functionality in destabilizing scholarly assumptions approximately authorship, its moral ramifications, and its dating to attribution stories.

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Extra resources for Anonymity in Early Modern England: ''What's in a name?''

Sample text

Another Heer lyes on dead under this marble stone who when she liv’d lay under more then one. Another Upon her stone write this (yet, dost thou heare At the QDPHRIVWRQHVKH¶OULVHDJDLQH,IHDUH«  S A reader of Folger MS V. a. 345 appears to have been uncomfortable with this third epitaph, especially the invocation of a name in the second line. The epitaph has been scribbled through, rendering the second “stone” almost illegible. The dynamic of this series is one in which Penelope Rich’s identity is also HUDVHG (YHQ WKRXJK 3HQHORSH¶V QREOH VWDWXV PDNHV WKH DWWDFN PRUH SRLQWHG and provocative, it is precisely that noble status that the epitaphs challenge.

British Library MS Add. 25303 and other manuscripts have “Fenner” instead. This spelling encourages readers to see the imposters as popular print DXWKRUVOLNH-RKQ7D\ORUDQG:LOOLDP)HQQRUWKRXJKWKHDOOXVLRQWRRFFXSDWLRQVLV VWLOODWZRUNLQWKHVHFRPPRQQDPHV%\JXHVVLQJWKDWWKHDXWKRULVsome “Taylor or Fenner,” the libeller reads the two popular names as types, much as epitaph ZULWHUVGLGZLWKVXUQDPHVOLNH3ULFNDQG6WRQHRUZLWKRFFXSDWLRQVVXFKDVWKH Anonymity in Early Modern Manuscript Culture 35 EHOORZVPDNHU7D\ORU¶VDQG)HQQHU¶VUHDVRQVIRUFODSSLQJ&RUEHWW¶VQDPHWRWKHLU ZRUNVDUH¿QDQFLDO7KH\ZDQWWKHZRUNWRVHOO7KHXQGHUO\LQJFRPPHQWLQWKHVH lines is, of course, that Corbett has also bought and sold his name.

It was a fashion to attach elegies and epitaphs to hearses during funeral processions. Even in these actual IXQHUDU\FRQWH[WVKRZHYHUSDUWLFXODUDXWKRUVJHWORVWLQWKHÀXWWHURISDSHUVDQG when the body reaches the cathedral or graveyard, only a select number of verses Anonymity in Early Modern Manuscript Culture 23 FDQDFWXDOO\PDUNZKHUHWKHERG\OLHV7KHRWKHUYHUVHVUHPDLQSULPDULO\WH[WXDO GLVSODFHG DQG GLVWDQW IURP WKH VXEMHFW DV RQH HSLWDSK LOOXVWUDWHV PRFNLQJO\ ³+HUHO\HWK2ZHQWKDWRIODWHGLGG\H\RXGLGQRWNQRZKLPQRPRUHGLG,´ (Bodleian MS Firth H  S  10 In another, an epitaph for Mary Villiers, the JHQHUDOL]DWLRQRIWKHVXEMHFWWDNHVSODFHLQWKHHSLWDSK¶VFRQFOXGLQJDGPRQLWLRQ to the passerby: If thy self possesse a gemme, As dear to thee as shee to them Though a stranger in this place bewaile in theirs thy owne sad case For thou perhaps at thy returne 0D\VW¿QGWK\GDUOLQJLQDQ8UQH     )ROJHU069DIYOO± In this poem’s anticipation of a future loss, perhaps your FKLOGLWLVWKHVXEMHFW¶V ERG\QRWMXVWWKHQDPHWKDWWKHHSLWDSKUHIXVHVWR¿[LQSODFH7KHDXWKRUVKLSRI WKLV SRHP LV OLNHZLVH XQVHWWOHG²WRGD\¶V UHDGHU FRXOG SURYH WRPRUURZ¶V HSLWDSK DXWKRU6RPHFRPSLOHUVFUHDWHDVLPLODUHIIHFWE\OHDYLQJDVSDFHIRUDVXEMHFW¶V name in their epitaph copies.

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Anonymity in Early Modern England: ''What's in a name?'' by Janet Wright Starner, Barbara Howard Traister


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