...Thomas A. Prendergast © by Duke University Press 2002 a The Invisible Spouse: Henry VI, Arthur, and the Fifteenth-Century Subject Thomas...

...Charlotte Artese © by Duke University Press 2003 King Arthur in America: Making Space in History for The Faerie Queene and John Dee’s Brytanici...

... and Guenevere.1 But it is equally important to consider another side to his character, his maternal descent from giants.2 Galeholt’s giantess mother is a principal marker of his identity in both the precyclic Lancelot du Lac and the Lancelot-Grail. He first enters the text with his challenge to Arthur...

... point to the representation of Arthur in The Faerie Queene, arguing either that the historicity of Arthur was not what was at stake in the epic, or that Spenser clearly separated his role as a maker of fictions (even if “historical”) from the more factual work of the historiographer.5 While...

... of the body exposes the conflict between the idealized, elite male and low-status and female bodies. In canto nine of book II of The Faerie Queene, Spenser portrays the body as an embattled fortress protecting the virtue of temperance. The questing knights Guyon and Arthur come to the House...

..., members of the university’s Committee on Medieval and Renais- sance Studies, went, by appointment, to discuss our plans and hopes with Mary at her home in Durham. These representatives included Arthur Fergu- son, Professor of History (whose specialty was early modern England); Mar- cel Tetel...

... through 11. In this extended sequence, the two corresponding heroes, Arteg- all and Arthur, first liberate the damsel Samient from the power of the Soul- dan, who stands for Philip II of Spain, and his wife Adicia (Injustice), an act that represents the defeat of the Armada (canto 8). They next...

...” resting beneath London’s foundations, and the “sins and crimes of the kings who rode under the tattered banners of Arthur.” He warns Cromwell: “These are old stories . . . but some people, let us remem- ber, do believe them.”1 Outlining the legendary history of Britain through the stories of Albina...

... and depict the behaviors of invented characters. The first scene, for instance, is not part of the original Lancashire affair. In it three gallants, Arthur, Shakestone, and Bantam, are hunting a rabbit. The scene combines the high revelry of the hunt with overtones of witchery: the chase has gone awry...

... Richard Mulcaster, “The Queen's Majesty's Passage,” in Renaissance Drama: An Anthology of Plays and Performances , ed. Arthur F. Kinney (Malden, Mass.: Blackwell, 1999), 20. 15 Jonathan Goldberg, James I and the Politics of Literature (Baltimore: Johns Hopkins University Press, 1983), 31...

... their crowding prevents good trees from bearing fruit. So, too, the abolition of rape and establishment of courtly love in Perceforest is ultimately an avenue to creating advantageous marriages that will produce noble offspring, the ancestors of Arthur and his court. In his management of both land...

... centuries after Geoffrey of Monmouth began, from the late s, to popularize stories about Arthur, Guinevere, and their court, Arthurian damsels were usually benevolent actors. They admired and loved knights; they encouraged great feats of honor; and they dispensed good magic at dire moments. Healing...

... repainted in 1516  – 17 and was topped by an image of King Arthur bearing orb and imperial crown, whose face was depicted as that of Henry himself.17 King Arthur derived his imperium directly from Constantine. At the London Bridge pageant, other representations featured a dragon and two fire...

... on the occasion of Catherine of Aragon’s procession into the city in anticipation of her marriage to the young Prince Arthur, it is given a far more expansive account in the Chronicle. How Catherine was “receyved w[ith] moost Triumphe of the Mayre and the Citezeins” and honored with an elaborate pageant...

... anthologies, since it includes none of what is today consid- ered Whitney’s more “original” verse. Further citations are given parenthetically in the text. 3 Liz Arthur, Embroidery, 1600 – 1700, at the Burrell Collection (London: John Mur- ray, 1995), 27; George W. Digby, Elizabethan...

... of the Psalms of Ascent. Washington, D.C.: Catholic University of America Press, 2014. xviii, 244 pp. $65.00. Melzer, Arthur M. Philosophy between the Lines: The Lost History of Esoteric Writing. Chicago: University of Chicago Press, 2014. xviii, 453 pp. $45.00. Min, Anselm K., ed. Rethinking...

..., 1990), 11–14. 46 Christopher Hill, Economic Problems of the Church: From Archbishop Whitgift to the Long Parliament (Oxford: Clarendon Press, 1956), esp. 338–52. 47 Samuel How, The Sufficiencie of the Spirits Teaching (London, 1639), 26. 48 See the discussion of Arthur Dent...

..., and Lara Yeager-Crasselt, eds. An Inner World: Seventeenth-Century Dutch Genre Painting . Philadelphia: Arthur Ross Gallery, University of Pennsylvania, 2021. 76 pp., 20 color and 22 black-and-white illus. Paper $24.95. [Catalogue of an exhibition held at the Arthur Ross Gallery in 2021.] Nichols, Tom...

... to defeat Radi- gund and rescue Artegall.17 Canto 9 opens with a promise of a similar struc- ture: the mastery of guile, followed by a clear victory over an evil queen. Fitting this pattern, Arthur and Artegall must capture Malengin or, as the Argument calls...

... Society members to argue not only for its Saxon origins but for its international fame. When Arthur Agard, the Keeper of the Exchequer Records under Elizabeth, dismissed the name “Britain” as historically vacuous, claiming the Saxons, under Æ´ lle, first called the land “England” because...