An Edition of Miles Hogarde's "A Mirroure of Myserie"

"This is the first edition of A Mirroure of Myserie (1557), a poem by the Catholic propagandist Miles Hogarde and probably presented to Queen Mary. Cast as a dream vision, this combative dialogue draws on William Langland’s widely circulating medieval poem The Vision of Piers Plowman and offers a critical assessment of sixteenth-century morality in England. The Mirroure of Myserie has been edited from Huntington Library MS 121 and is accompanied by a short introduction. This accessible edition preserves Hogarde’s original spelling but adds modern punctuation and glosses of all unfamiliar words and concepts.

An Edition of Miles Hogarde’s A Mirroure of Myserie (1557)

This will be the first edition of 'A Mirroure of Myserie', a poem influenced by 'Piers Plowman' and composed in 1557 by the Marian polemicist Miles Hogarde

Christ, The Prophesied Suffering Servant of Isaiah 53

In the following thesis it will be the writer\u27s purpose to focus the light entirely upon Christ as the subject of Isaiah 53. In so doing, he has undertaken to trace the life and work of Christ as drawn in the Gospels and the epistles to show how He is the exact reproduction of the Suffering Servant

Francis Quarles: a study of his literary ancestry and contemporary setting as a religious poet.

PhDIn his choice of biblical material, in his attitude towards biblical matter in poetry, in his efforts to supplant secular poetry with divine poetry, and in his style and metre, Francis Quarles is in an established tradition of religious poetry which dates from the mid-sixteenth century. He used this poetry to support the Established Church and a Monarchy based on Divine Right when these institutions were being attacked. He criticized particularly Roman Catholics, Arminians, Puritans, and Separatists. However, his poetry is not purely propagandist. He shared a contemporary interest in the vocabulary of the language and made many additions to it, and in his syncretizing of classical mythology with Christianity he followed contemporary practice. He favoured the Authorized Version of the Bible, and he satisfied demands for moralistic and didactic literature in his poetic renderings of biblical material, which is developed through the use of long speeches, long similes, descriptive action, and exegesis. In Emblemes, where the poems are but extended paraphrases of biblical text, the same techniques of development are used.In his invocations Quarles follows prevailing practices in addressing the Holy Spirit, God, or Christ. There was contemporary confusion concerning the muse Urania, but she retains her primary classical associations and is never more than the Christian poet's tutelary spirit or a personification of his poetic genius. The high esteem in which Quarles' works were held is shown in the comments of many of his contemporaries. In Cowley's criticism his lack of artistry in handling biblical material is pointed out. Quarles shows more poetic powers in his occasional lyrics and his satirical ability is at times suggested. Had be concentrated on these powers, quite possibly he would today hold a higher place as a poet in English literature

Chaucer’s reading list: Sir Thopas, Auchinleck, and Middle English romances in translation

Middle English romance has never attained critical respectability, dismissed as ― vayn carpynge in its own age and treated as a junk-food form of medieval literature or kidnapped for political or psychoanalytical readings. Chaucer‘s Tale of Sir Thopas has been explained as an acidly sarcastic satire of the romances‘ supposedly clichéd formulas and poetically unskilled authors. Yet such assumptions require investigation of how Chaucer and his ostensible audience might have viewed romance as a genre. Chaucer‘s likely use of the Auchinleck manuscript forms a convenient basis for examination of the romances listed in Thopas. With the aid of a modern translation, the poems turn out to form a rich interplay of symbolical, theological, and historical meanings. Viewed in a more sensitive light, the Middle English romances in turn give Thopas new meaning as a poem written affectionately to parody romance but chiefly to effect a humorous contrast. Rather than condemning romances, Chaucer uses their best examples to heighten Thopas‘ comic impotence as a knight and to provide self-deprecating carnival laughter at Chaucer the narrator‘s failed stor

Phantastes Chapter 23: The Countess of Pembroke’s Arcadia

Sir Philip Sidney (1554-1583) was an Elizabethan courtier, soldier, and poet. The quotation derives from The Countess of Pembroke’s Arcadia (1590), and sets out Sidney’s definition of a gentleman. Late in his writing career, MacDonald published a collection of excerpts from Sidney: A Cabinet of Gems, Cut and Polished by Sir Philip Sidney (1892). MacDonald lectured on Sidney as early as 1854