The Dissidence of Despair: Rebellion and Identity in Early Modern Cornwall

1999 ◽  
Vol 38 (4) ◽  
pp. 423-444 ◽  
Author(s):  
Mark Stoyle

In May 1648 a group of Cornishmen who had rebelled against Parliament in the name of Charles I met with comprehensive defeat at “the Gear,” near Helford, and were then pursued back across the Lizard peninsula to the seacoast beyond. Surrender seemed inevitable, yet a number of the fugitives refused to submit. Instead they “joyned hand-in-hand” and hurled themselves bodily into the water: “a desperate expedient on that rocky coast,” as one later writer remarked. What can have driven them to such despair? No convincing answer can be given by looking at the events of 1648 alone. The rebels' despairing plunge can be understood only if it is seen as the final act in a long-running drama, a story of repeated popular protest in West Cornwall that spanned over 150 years. It is a story that has gone largely unrecognized by previous historians, most of whom have portrayed the Cornish revolts of 1497, 1548, 1549, 1642, and 1648 as isolated events rather than as part of a continuum. Yet it is a story that deserves to be told, not only because it provides a dramatic new explanation for many of the most important rebellions of the Tudor and Stuart periods, but also because it serves as an enduring monument to a forgotten people and their struggle to preserve a separate identity for themselves in the face of overwhelming odds.A fierce sense of distinctiveness has always characterized the inhabitants of Cornwall.

Author(s):  
Stephen D. Bowd

Renaissance Mass Murder explores the devastating impact of war on the men and women of the Renaissance. In contrast to the picture of balance and harmony usually associated with the Renaissance, it uncovers in forensic detail a world in which sacks of Italian cities and massacres of civilians at the hands of French, German, Spanish, Swiss, and Italian troops were regular occurrences. The arguments presented are based on a wealth of evidence—histories and chronicles, poetry and paintings, sculpture and other objects—which together provide a new and startling history of sixteenth-century Italy and a social history of the Italian Wars. It outlines how massacres happened, how princes, soldiers, lawyers, and writers, justified and explained such events, and how they were represented in contemporary culture. On this basis the book reconstructs the terrifying individual experiences of civilians in the face of war and in doing so offers a story of human tragedy which redresses the balance of the history of the Italian Wars, and of Renaissance warfare, in favour of the civilian and away from the din of the battlefield. This book also places mass murder in a broader historical context and challenges claims that such violence was unusual or in decline in early modern Europe. Finally, it shows that women often suffered disproportionately from this violence and that immunity for them, as for their children, was often partially developed or poorly respected.


Author(s):  
Siobhan Keenan

The Progresses, Processions, and Royal Entries of King Charles I, 1625–1642 is the first book-length study of the history, and the political and cultural significance, of the progresses, public processions, and royal entries of Charles I. As well as offering a much fuller account of the king’s progresses and progress entertainments than currently exists, this study throws new light on one of the most vexed topics in early Stuart historiography—the question of Charles I’s accessibility to his subjects and their concerns, and the part that this may, or may not, have played in the conflicts which culminated in the English civil wars and Charles’s overthrow. Drawing on extensive archival research, the book opens with an introduction to the early modern culture of royal progresses and public ceremonial as inherited and practised by Charles I. Part I explores the question of the king’s accessibility and engagement with his subjects further through case studies of Charles’s ‘great’ progresses in 1633, 1634, and 1636. Part II turns attention to royal public ceremonial culture in Caroline London, focusing on Charles’s royal entry on 25 November 1641. More widely travelled than his ancestors, Progresses reveals a monarch who was only too well aware of the value of public ceremonial and who did not eschew it, even if he was not always willing to engage in ceremonial dialogue with his people or able to deploy the power of public display to curry support for his policies as successfully as his Tudor and Stuart predecessors.


2018 ◽  
Vol 53 (1) ◽  
pp. 177-201
Author(s):  
Attila Kiss

Abstract Reformation theology induced a profound thanatological crisis in the semiotics of the human being and the body. The Protestant Reformation discontinued numerous practices of intercession and communal ritual, and the early modern subject was left vulnerable in the face of death. The English Renaissance stage played out these anxieties within the larger context of the epistemological uncertainties of the age, employing violence and the anatomization of the body as representational techniques. While theories of language and tragic poetry oscillated between different ideas of imitatio (granting priority to the model) and mimesis (with preference for the creative and individual nature of the copy), the new anatomical interest and dissective perspectives also had their effects on the rhetorical practices of revenge tragedies. In the most shocking moments of these plays, rhetorical tropes suddenly turn into grisly reality, and figures of speech become demetaphorized, literalized. In a double anatomy of body and mind, English Renaissance revenge tragedy simultaneously employs and questions the emblematic and poetic traditions of representation, and the ensuing indeterminacy and ambiguity open paths for a new mimesis.


2005 ◽  
Vol 48 (2) ◽  
pp. 555-565
Author(s):  
KATE LOVEMAN

Reading, society and politics in early modern England. Edited by Kevin Sharpe and Steven N. Zwicker. Cambridge: Cambridge University Press, 2003. Pp. ix+363. ISBN 0-521-82434-6. £50.00.The politics of information in early modern Europe. Edited by Brendan Dooley and Sabrina A. Baron. London and New York: Routledge, 2001. Pp. viii+310. ISBN 0-415-20310-4. £75.00.Literature, satire and the early Stuart state. By Andrew McRae. Cambridge: Cambridge University Press, 2004. Pp. ix+250. ISBN 0-521-81495-2. £45.00.The writing of royalism, 1628–1660. By Robert Wilcher. Cambridge: Cambridge University Press, 2001. Pp. xii+403. ISBN 0-521-66183-8. £45.00.Politicians and pamphleteers: propaganda during the English civil wars and interregnum. By Jason Peacey. Aldershot: Ashgate, 2004. Pp. xi+417. ISBN 0-7546-0684-8. £59.95.The ingenious Mr. Henry Care, Restoration publicist. By Lois G. Schwoerer. Baltimore and London: Johns Hopkins University Press, 2001. Pp. xxvii+349. ISBN 0-8018-6727-4. £32.00.In 1681 the Italian newswriter Giacomo Torri incurred the wrath of the French ambassador to the Venetian Republic with his anti-French reporting. The ambassador ordered Torri to ‘cease and desist or be thrown into the canal’. Torri, who was in the pay of the Holy Roman Emperor, responded to the ambassador's threat with a report that ‘the king of France had fallen from his horse, and that this was a judgement of God’. Three of the ambassadors' men were then found attacking Torri ‘by someone who commanded them to stop in the name of the Most Excellent Heads of the Council of Ten … but they replied with certain vulgarities, saying they knew neither heads nor councils’. Discussed by Mario Infelise in Brendan Dooley and Sabrina Baron's collection, this was a very minor feud in the seventeenth-century battles over political information, but it exemplifies several of the recurring themes of the books reviewed here. First, the growing recognition by political authorities across Europe that news was a commodity worthy of investment. Secondly, the variety of official and unofficial sanctions applied in an attempt to control the market for news publications. Thirdly, the recalcitrance of writers and publishers in the face of these sanctions: whether motivated by payment or principle, disseminators of political information showed great resourcefulness in frustrating attempts to limit their activities. These six books investigate aspects of seventeenth-century news and politics or, alternatively, seventeenth-century literature and politics – the distinction between ‘news’ and certain literary genres being, as several of these authors show, often difficult to make.


2017 ◽  
Vol 43 (2) ◽  
pp. 158-201
Author(s):  
James Nohrnberg

In the Despair episode in Spenser’s Faerie Queene i.ix, the provocative material means for self-slaughter are emblematically doubled with the psychological inducements, particularly on the models of predecessor texts in Skelton’s Magnyfycence and the Cordela story in The Mirrour for Magistrates. The pairing of means and causes is part of a tradition. So also is the despair of a Christian believer over his own sinfulness, in the face of God’s law, as voiced by a conspiratorial evil conscience, leading to a sinful “unbelief and despair of God” (Luther) and likewise unbelief in salvation—and to an unconquerable self-accusation, which doubles the sinner with tormentors, or a diabolic Accuser, and tempts him or her to cut his/her losses, relieve his/her pain, sorrows, and world-weariness, and take his/her life. Other suicidal types in The Faerie Queene and elsewhere, who are not theologically confirmed in their wanhope or assisted by it to their end, such as Phedon or Malbecco, can nonetheless illuminate the projections, temptations, demons, and motions of the Christian despair-er, and his or her adversity, depression, distress, impatience, furor, world-weariness, melancholia, and driven-ness. The despair-er’s condition, as found in Kierkegaard’s Sickness unto Death, can be further illustrated, diagnosed, and ministered to, by means of a variety of early modern and medieval moralizing and homiletic texts. And while the death of Shakespeare’s Cordelia by hanging conforms to Spenser’s account ( fq ii.x.32), her suicidal despair is only a slander bruited by the character Edmund. Rather, it is her would-be rescuer Lear who is the picture of misery and despair.


Author(s):  
Kevin Curran

Like a number of other Renaissance comedies and romances, Shakespeare’s Measure for Measure ends with a scene of judgment in which punishment and reward is distributed among a group of characters. Measure for Measure insistently links judgment to the spatial and revelatory dynamics of facing and unmasking. Adducing evidence from two early modern archives – legal writing on the theory and practice of judgment and treatises on physiology and faculty psychology – Kevin Curran addresses two related questions: (1) What can a historical understanding of the face in early modern culture tell us about the phenomenology of judgment in Measure for Measure? And (2) how does Shakespeare’s staging of judgment create a participatory experience in the playhouse grounded in sensation? The essay ultimately argues that the face in Measure for Measure functions as a hinge between the ethical relation of judgment and the ethical relation of theater, one that insists of the embodied and affective quality of both forms of interaction.


Author(s):  
Joseph Arthur Mann

After the Parliamentarian faction defeated, captured, and executed Charles I in the last years of the 1640s, their quest for political power shifted to establishing and maintaining a new cultural orthodoxy based in Calvinist morality and to solidifying their new-found political power. At the same time, the recently defeated and oppressed Royalist faction sought to maintain their own culture in the face of this new Calvinist orthodoxy. Chapter two examines and exposes how both of these groups made use of musical propaganda to support these conflicting agendas. Parliamentarians hired propagandists or otherwise sanctioned and promoted publications that endorsed psalm-singing (an integral part of the new orthodoxy) and defended it from the even more radical religious beliefs of the Quakers, who were even against psalm-singing in worship services. Royalists, on the other hand, kept the court culture of wine, pastoral imagery, and (now covert) support for the monarchy alive while also reliving their glorious antebellum period through the publication of old antebellum songs and masque libretti and the publication of new songs that comment on the current state of their community, urging perseverance and unity in the face of oppression.


PMLA ◽  
2009 ◽  
Vol 124 (1) ◽  
pp. 150-155 ◽  
Author(s):  
Roland Greene

Among the most historically fixed of art historical and literary concepts, the Baroque arises at the intersection of early modern classicism, imperialism, and science—that is, out of the high Renaissance—to become a kind of antiprogram of resistances: to the absolutist state, the rise of empirical science, the pressures of empire, and other sixteenth-century signs of the gathering regimentation of knowledge. With a flourish of forms and a play of perspectives, the baroque embodies the recoil from such regimentation and the gathering sense that all these systems for organizing human experience fall short in the face of disorder, contingency, and death. Seen from certain vantages, the specimens of the baroque often seem complicit with the projects of absolutism, empire, and late humanism; but regarded in all their dimensions, such works are often complex reactions, critical and compromised, to those projects.


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