By Gale H. Carrithers
Booklet through Carrithers, Gale H., Hardy, James D., Carrithers, Gale H., Jr., Hardy, James D., Jr.
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Extra info for Age of iron: English renaissance tropologies of love and power
The crucial point is the centrality of concurrent universality and particularity of image. A conception, if it is to have the cultural power to define society, the individual in it, and the heaven that awaits, cannot be imageless. 9 The people would also hear of the witness expressed by signs, testified to by others, and written into the record. We thus situate this study in regard to the matter of orality and textuality. The conventionally literary texts constitute the clearest element of textuality on which we focus, for the general reasons of their historical importance and continuing (we do not say universal) human interest.
For a careful examination of the Catholic Church, see the indispensible work of Kevin Sharpe, The Personal Rule of Charles I (New Haven, 1992), Chap. VI. But see and heed Anthony Low's review article on David Cressy's Bonfires and Bells: National Memory and the Protestant Calendar in Elizabethan and Stuart England (Berkeley, 1989), in Ben Jonson Journal, I (1994), 23137. '' Two important corrective works: J. T. Rhodes, "Continuities: The Ongoing English Catholic Tradition from the 1570s to the 1630s," John Donne Journal, XII (1993), 13951, and, with reference to the sixteenth century, Dennis Flynn, John Donne and the Ancient Catholic Nobility (Bloomington, 1995).
Evans, reviewing her (New York Review of Books, February 17, 1994, pp. 2527), appositely demurs at her exclusivity and some overreading of evidence; but neither he nor she seems to have considered the factor of love, so vital to the differing currency of an Elizabeth's or a James's representing. See, in this connection and with regard to Chap. 2, below, Alvin Kernan's Shakespeare, the King's Playwright: Theater in the Stuart Court, 16031613 (New Haven, 1995), to hand as this book was substantially complete: a carefully regiocentric and court-centered canvass of Shakespeare as very much the King's man, "somewhat boldly" locating "theater among the major institutions of the state" and in ''the ultimate theater of the court" (201, 23).