Eros and Poetry at the Courts of Mary Queen of Scots and James VI

Dunnigan, Sarah

doi:10.1057/9781403932709

Cited by 41 publications

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“…In addition to translating Machiavelli's Principe (1590s) [9], in the 1580s, he even more freely rendered Petrarch's Trionfi into early modern Scots and adapted the latter's Canzoniere to the socio-political context of late sixteenth-century Protestant Scotland in the Tarantula of Love. Although scholars have recognized the artistic achievement of the Tarantula [10][11][12][13], Fowler's rendering of Petrarch's Trionfi has not met with general approval, having been regarded as "the work of an inexperienced and rather careless artist" ( [10], p. 486). Not until very recently has Van Heijnsbergen underscored the crucial contribution of Fowler's Triumphs to the development of "a Scottish Jacobean poetics" ( [8], p. 47).…”

Section: William Fowler and The Reasons For The Hybrid Translation Ofmentioning

confidence: 99%

Converging Ideologies in William Fowler’s Hybrid Translation of Machiavelli’s Il Principe

Mainer

2014

Humanities

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This article explores the place of William Fowler's translation of Machiavelli's Prince in the Scottish Jacobean polysystem. Even if it was never finished, Fowler may have seen his rendering of Il Principe as a way of gaining King James's favor at a time when Fowler had become a peripheral member at the sovereign's court. Consequently, the translator's hybrid deployment of three different sources, together with his own additions and suppressions, were aimed to conform to James VI's political and cultural project. The ideological convergences between the king's political thought and Fowler's manipulated Prince supported and legitimized the existing power structures of the target culture. The unfinished/unedited state of the manuscript may suggest that a total reconciliation between James's markedly idealized vision of kingship and government and Machiavelli's treatise was impossible despite the translator's intercultural and ethnocentric appropriation of the source text.

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Section: William Fowler and The Reasons For The Hybrid Translation Ofmentioning

confidence: 99%

Converging Ideologies in William Fowler’s Hybrid Translation of Machiavelli’s Il Principe

Mainer

2014

Humanities

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“…Sarah Dunnigan's complex and historically nuanced reading positions the poems as 'significant literary as well as cultural documents', but considers them in relation to 'the image of Mary' formed in opposition to that of Elizabeth: 'Unlike Elizabeth's carefully managed eroticisation (a desirability that never tolerated any breach), these sonnets seemingly enact the realisation of desire for the sovereign.' 75 The poems enact desire, by eliding erotic and sovereign selves, in ways that associate Mary with excess and disorder and Elizabeth with control and inviolability. For Dunnigan, these poems are ultimately powerful but uncontrolled, 'confessions of contradictory, violent and intense erotic desires'.…”

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confidence: 99%

Reading Mary Stuart's Casket Sonnets: Reception, Authorship, and Early Modern Women's Writing

Smith¹

2012

pgn

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The reception history of the casket sonnets attributed to Mary Queen of Scots is a rich archive of material, revealing the complex ways in which histories of reading intersect with the early modern woman writer's relationship to the institutions of authorship. By tracing the reception of these sonnets over four centuries, I argue that competing religious, historical, and geopolitical formations work to privilege or occlude Mary Stuart's authorship at different historical moments. Understanding these formations and their relationships to authorship and gender allows a new perspective on the canonical biases still at work in the field of early modern women's writing.

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“…Sarah Dunnigan and others have argued that, following the disastrous controversies over the Marian "casket sonnets," a renewed Jacobean poetics had to explicitly disassociate itself from this failed model of monarchical writing, to be purposefully reconceived, and, importantly, to be Protestantized. 48 A final point of interest is that the epithet "Phoenix king" simultaneously points forward to the "Phoenix" poem and disassociates that work from Esmé Stuart; it is the king himself, not Lennox, who figures as the self-immolating and eternally "reuiuing" mythical bird. This may appear an odd move, since James's acrostic play in the prefatory poem to the tragedy "Phoenix" itself ("esme stewart dwike") was designed not to leave interpretation of his "Metaphoricall invention" to chance.…”

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confidence: 99%

“Booke, go thy wayes”

2014

Huntington Library Quarterly

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112 sebastiaan verweij james vi/i's early poetic works 113 6. One each of the three imprints has been digitized for Early English Books Online (EEBO) from the Huntington Library at San Marino. The collection of freely available digital images at the Folger Shakespeare Library (http://luna.folger.edu) contains reproductions of a few pages of their copy of the 1584 Essayes and its distinctive binding associated with William Cecil, Lord Burghley (see further below on this copy). Libraries and copies that I have consulted are:

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Eros and Poetry at the Courts of Mary Queen of Scots and James VI

Cited by 41 publications

References 0 publications

Converging Ideologies in William Fowler’s Hybrid Translation of Machiavelli’s Il Principe

Converging Ideologies in William Fowler’s Hybrid Translation of Machiavelli’s Il Principe

Reading Mary Stuart's Casket Sonnets: Reception, Authorship, and Early Modern Women's Writing

“Booke, go thy wayes”

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