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T h e Ox f o r d H a n d b o o k o f
E A R LY M ODE R N
WOM E N ’ S
WRITING IN
E N G L I SH ,
15 40 –1 7 0 0
The Oxford Handbook of
EARLY MODERN
WOMEN’S
WRITING IN
ENGLISH,
1540–1700
Edited by
ELIZABETH SCOTT-BAUMANN,
DANIELLE CLARKE, and SARAH C. E. ROSS
Great Clarendon Street, Oxford, OX2 6DP,
United Kingdom
Oxford University Press is a department of the University of Oxford.
It furthers the University’s objective of excellence in research, scholarship,
and education by publishing worldwide. Oxford is a registered trade mark of
Oxford University Press in the UK and in certain other countries
© the several contributors 2022
The moral rights of the authors have been asserted
First Edition published in 2022
Impression: 1
All rights reserved. No part of this publication may be reproduced, stored in
a retrieval system, or transmitted, in any form or by any means, without the
prior permission in writing of Oxford University Press, or as expressly permitted
by law, by licence or under terms agreed with the appropriate reprographics
rights organization. Enquiries concerning reproduction outside the scope of the
above should be sent to the Rights Department, Oxford University Press, at the
address above
You must not circulate this work in any other form
and you must impose this same condition on any acquirer
Published in the United States of America by Oxford University Press
198 Madison Avenue, New York, NY 10016, United States of America
British Library Cataloguing in Publication Data
Data available
Library of Congress Control Number: 2022940747
ISBN 978–0–19–886063–1
DOI: 10.1093/oxfordhb/9780198860631.001.0001
Printed and bound in the UK by
TJ Books Limited
Links to third party websites are provided by Oxford in good faith and
for information only. Oxford disclaims any responsibility for the materials
contained in any third party website referenced in this work.
For Elizabeth Clarke
Acknowledgements
We have many people to thank for their support for this book, but first and foremost
we would like to pay tribute to the enthusiasm, determination, and resilience of our
contributors who never wavered in their commitment to the project despite the very
real challenges posed by Covid-19. The project has for the most part been completed
over two years of lockdowns and travel restrictions, and the scholars represented in this
volume have been a community of conversation and a mainstay of hope through global
networks realised only electronically. We would also like to thank here the librarians and
archivists who worked so hard to enable access to collections and texts and the wider
community of early modern scholars who assisted with locating articles and primary
texts, often from their personal archives.
We have been privileged to work with Emma Rayner, Victoria Coldham-Fussell,
Emer McHugh, and Harriet Hughes, each of whom brought their insight and vision to
the project. We are grateful to them for all of their careful work on these chapters and for
their support for the Handbook’s aims and principles—it is a better piece of scholarship
because of their input.
We would like to thank Kate Chedgzoy, Jane Grogan, and Sarah McKibben for their
incisive and perceptive comments on Chapter 1, and wish to acknowledge the generosity
of Jaime Goodrich and Paula McQuade, and the contributors to the double special issue
of Criticism, ‘Beyond Canonicity: The Future(s) of Early Modern Women’s Writing’
(2021) for allowing us to read these provocative and challenging essays in advance of
publication. These framed and guided our thinking in profound ways.
At Oxford University Press, we wish to thank Jacqueline Baker for her initial interest
in this idea, and Eleanor Collins, Aimee Wright, Karen Raith, and Emma Collison for
guiding us from commissioning to submission. We would also like to thank Marilyn
Inglis, Dawn Preston, and Kayalvizli Ganesan for their copy-editing and produc-
tion work. And thank you to Francis Young for the index.
Funding for editorial assistance and indexing is gratefully acknowledged from the
College of Arts and Humanities at University College Dublin, the English Department
at King’s College London, and the Faculty of Humanities and Social Sciences at Te
Herenga Waka—Victoria University of Wellington.
We are very grateful to the following institutions for allowing us to reproduce
images: Victoria and Albert Museum London; The New York Public Library; Folger
Shakespeare Library; Royal Collection Trust; Koninklijke Bibliotheek; Rijksmuseum;
Bodleian Library, University of Oxford; National Records of Scotland; Lakeland Art
Trust—Abbott Hall Gallery and Museum.
viii Acknowledgements
To say that the editing of this book presented some domestic challenges would be
an understatement: between us we have children ranging from those on the cusp of
adulthood to those born during this book’s production, and we think that we under-
stood many of the women represented in this volume better, as we attempted to pro-
duce intellectual work in sometimes fraught and crowded domestic spaces. We would
like to thank our families: Róisín, Asher, and Annie (Danielle); Benjie, Edward, Will,
and Phoebe Way and Mike and Alison Scott-Baumann (Lizzie); and Andru, Milly, and
Henry Isac (Sarah).
Contents
List of Illustrations xv
List of Abbreviations xvii
List of Contributors xix
1. What is Early Modern Women’s Writing? 1
Danielle Clarke, Sarah C. E. Ross, And
Elizabeth Scott-Baumann
PA RT I VOIC E A N D K N OW L E D G E
2. Authorship, Attribution, and Voice in Early Modern
Women’s Writing 23
Rosalind Smith
3. How Lady Jane Grey May Have Used her Education 39
Jennifer Richards
4. Latin and Greek 53
Jane Stevenson
5. ‘At My Petition’: Embroidering Esther 67
Michele Osherow
6. Practical Texts: Women, Instruction, and the Household 83
Carrie Griffin
7. Cultures of Correspondence: Women and Natural Philosophy 97
Helen Smith
8. Libraries Not Only Their Own: Networking Women’s Books and
Reading in Early Modern England 113
Leah Knight
x Contents
PA RT I I F OR M S A N D OR IG I N S
9. The Querelle des Femmes, the Overbury Scandal, and the Politics of
the Swetnam Controversy in Early Modern England 127
Christina Luckyj
10. The Songscapes of Early Modern Women 143
Katherine R. Larson
11. Receiving Early Modern Women’s Drama 157
Ramona Wray
12. ‘Sing and let the song be new’: Early Modern Women’s
Devotional Lyrics 173
Helen Wilcox
13. Lyric Backwardness 189
Dianne Mitchell
14. ‘People of a Deeper Speech’: Anna Trapnel, Enthusiasm, and the
Aesthetics of Incoherence 203
Kevin Killeen
15. Commonplacing, Making Miscellanies, and Interpreting Literature 217
Victoria E. Burke
16. Women’s Life Writing and the Labour of Textual Stewardship 231
Julie A. Eckerle
17. Women and Fiction 245
Lara Dodds
18. Romance and Race 261
V. M. Braganza
PA RT I I I P L AC E S
19. A Place-Based Approach to Early Modern Women’s Writing 277
Paula Mcquade
20. London and the Book Trade: Isabella Whitney, Jane Anger,
and the ‘Maydens of London’ 291
Michelle O’callaghan
Contents xi
PA RT I V T R A N SL I N G UA L A N D T R A N SNAT IONA L
27. ‘Mistresses of tongues’: Early Modern Englishwomen,
Multilingual Practice, and Translingual Communication 393
Brenda M. Hosington
28. ‘The Surplusage’: Margaret Tyler and the Englishing of Spanish
Chivalric Romance 409
Jake Arthur
29. French Connections: English Women’s Writing and Préciosité 423
Line Cottegnies
30. Old England And New in Anne Bradstreet’s Poetry 437
Peter Auger
31. Early Modern Dutch and English Women Across Borders 451
Martine Van Elk
xii Contents
PA RT V N E T WOR K S A N D C OM M U N I T I E S
33. Networked Authorship in English Convents Abroad:
The Writings of Lucy Knatchbull 487
Jaime Goodrich
34. Gifts That Matter: Katherine Parr, Princess Elizabeth,
and the Prayers Or Meditations (1545) 501
Patricia Pender
35. Elizabeth Melville: Protestant Poetics, Publication, and
Propaganda 517
Sebastiaan Verweij
36. Desire, Dreams, Disguise: The Letters of Elizabeth Bourne 531
Daniel Starza Smith And Leah Veronese
37. Women’s Letters and Cryptological Coteries 547
Nadine Akkerman
38. Non-Elite Women and the Network, 1600–1700 563
Susan Wiseman
39. ‘On the Picture of Ye Prisoner’: Lucy Hutchinson and
the Image of the Imprisoned King 579
Hero Chalmers
40. The Topopoetics of Retirement in Katherine Philips and
Lucy Hutchinson 595
James Loxley
41. Early Modern Women in Print and Margaret Cavendish,
Woman in Print 611
Liza Blake
PA RT V I TO OL S A N D M E T HOD OL O G I E S
42. Editing Early Modern Women’s Writing: Tradition and Innovation 625
Paul Salzman
Contents xiii
Bibliography 749
Index 827
List of Illustrations
Figure 5.1 Esther and Ahasuerus (1665), Museum no. T.125-1937 © Victoria and
Albert Museum London. 72
Figure 22.1 Hesrer (Hester) Denbigh, Cookery and Medical Receipts. Whitney
Cookery Collection, Manuscripts and Archives Division, The New
York Public Library, Astor, Lenox and Tilden Foundations, MssCol
3318, 1700, vol. 11, fol. 1. 322
Figure 22.2 Title page to Hannah Woolley, The Queen-Like Closet; or, Rich
Cabinet (London, 1675). Used by permission of the Folger
Shakespeare Library under a Creative Commons Attribution-
ShareAlike 4.0 International License. 330
Figure 22.3 Lettice Pudsey Her Booke of Receipts, c 1675, Folger Shakespeare
Library, MS V.a.450, fol. F7v. Used by permission of the Folger
Shakespeare Library under a Creative Commons Attribution-
ShareAlike 4.0 International License. 332
Figure 24.1 Gerrit van Honthorst, Apollo and Diana (1628). Royal Collection
Trust © Her Majesty Queen Elizabeth II, 2020/Bridgeman Images. 352
Figure 31.1 Anna Maria van Schurman, Nobilis. virginis Annae Maria à
Schurman Opuscula Hebraea, Graeca, Latina, Gallica. Prosaica et
Metrica (Leiden, 1648), sig. *4v. Koninklijke Bibliotheek, The Hague.
Shelfmark KW 188 L 6. 455
Figure 31.2 Johan Tillotson, Predicatie Gedaan in de Kapel van Lincolns-Inn, tot
London, op den 10. February. 1689 (Amsterdam, 1689), title page.
Koninklijke Bibliotheek, The Hague. Shelfmark KW Pflt 13171. 460
Figure 31.3 Louis Surugue and Nicolaas Verkolje, frontispiece engraving,
Katharina Lescailje, Toneel-en mengelpoezy (Amsterdam, 1731),
volume 1. Rijksmuseum, Amsterdam. Object number
RP-P-OB-74.381. 464
Figure 32.1 John Selden, Titles of Honor (1631), 876. STC 22178, copy 3.
Photography by Mihoko Suzuki, from the collection of Folger
Shakespeare Library. 481
Figure 34.1 Elizabeth I’s gift book designs, 1544–1545. 506
xvi List of Illustrations
Figure 34.2 Elizabeth I. 1544. ‘Le miroir de l’âme pécheresse’ (‘The Mirror of
the Sinful Soul’). MS. Cherry 36, binding/upper cover. Bodleian
Library, University of Oxford. 507
Figure 34.3 Elizabeth I. 1545. Religious book written by Princess Elizabeth (later
Queen Elizabeth I of England) for her stepmother, Katherine Parr,
1545. RH13/78. National Records of Scotland. Used with permission. 509
Figure 34.4 Elizabeth I. Prayers and meditations (the ‘Prayerbook of Princess
Elizabeth’). BL Royal MS 7 D. X., embroidered back cover. © British
Library Board. 510
Figure 39.1 Eikon Basilike (1649). Bodleian shelfmark, Vet. A3 e. 316.
Frontispiece. This image is reproduced by kind permission of the
Bodleian Library, The University of Oxford. 583
Figure 46.1 Jan van Belcamp, attrib. The Great Picture (1646). Lakeland Art
Trust—Abbott Hall Gallery and Museum, Kendal. Creative
Commons—Public Domain. 695
Figure 46.2 Maximillian Colt, Monument for Margaret Clifford, Countess of
Cumberland (1617). St Lawrence’s Church, Appleby, Westmorland.
Photograph by Jessica L. Malay. Used with permission. 697
Figure 46.3 The Countess Pillar (1656). Brougham, Westmorland. Photograph
by Ian Taylor. Creative Commons Attribution-Share Alike 2.0
Generic license. 698
Figure 46.4 The Lady Pillar. Hugh Seat Morville (1664). Photograph by Michael
Graham, Creative Commons Attribution-Share Alike 2.0. 700
List of Abbreviations
GALAFRÓN
Elisa, que un tiempo fuiste
descanso de los enojos
con sólo volver los ojos
á los que en llanto volviste,
la furia perpetua y triste
de nuestras continuas quexas
no es tanto porque nos dexas
como por ver que te fuiste.
Porque, Elisa, aunque
dexarnos
sea lo mismo que irte,
sintiendo el mal de partirte
no se entiende el de
quedarnos;
y sólo en representarnos
la memoria que te has ido,
no queda libre el sentido
para de otro mal quexarnos.
Mas, dime: ¿en prisión tan
grave
por qué nos dexas con ceño,
como cautivos sin dueño,
donde esperanza no cabe?
¿qué nueva vendrá suave
á nuestra prisión y pena,
si, cerrada la cadena,
el cielo rompe la llave?
Algún alivio tenemos
en ausencia tan amarga,
y es que no puede ser larga,
aunque ya larga la vemos;
otra rienda hallaremos
que más enfrene al tormento,
y es que vives en contento
ya que nosotros penemos.
Tengo aquí, pastora cara,
una canción que decías,
con cuyos versos cubrías
de mis lágrimas mi cara,
y aunque de dulzura avara
y más que la muerte fiera,
si yo agora te la oyera
bien piadosa la juzgara.
De suerte nos igualaste,
que contra el competidor
nuestra venganza mayor
era ver que le miraste:
bien seguros nos dexaste
de memorias de contento,
porque aun de darnos
tormento,
señora, no te preciaste.
Por nuestra afición abrojos
nos diste, en lugar de palma,
y nunca sintió tu alma
lo que hicieron tus ojos;
nuestros más ricos despojos
llevaste sin pretendellos,
y este es el mal, que, á
querellos,
gloria fueran los enojos.
Baxe ya tu luz preciosa
del alto cielo á la tierra,
y venga á hacernos guerra
si no quisiere piadosa,
por el mármol do reposa
tu ceniza sepultada,
que de mi diestra cuitada
fué pruebecilla amorosa.
Vaya lexos la alegría
de nuestro monte y ribera,
cuanto se teme y se espera
pare en la ventura mía;
fálteme el postrero día
una común sepultura,
que si yo busqué ventura,
por ti sola la quería.
Húyame el contentamiento,
nada me preste favor,
conviértaseme en dolor
cualquier causa de contento,
déme el cielo sólo aliento
para conocer mi mengua,
no quiera llegar la lengua
do no alcanza el sentimiento.
Bien puede, Elisa, subir
atrás el corriente río,
y el más importuno frío
nuevas flores producir;
mas no podrán permitir
tiempo, fortuna ó estrella
que cesse nuestra querella
hasta que cesse el vivir.
SIRALVO
Ojos á gloria de mis ojos
hechos,
beldad inmensa en ojos
abreviada,
rayos que heláis los más
ardientes pechos,
hielos que derretís la nieve
helada,
mares mansos de amor,
bravos estrechos,
amigos, enemigos en celada,
volveos á mí, pues sólo con
mirarme
podéis verme y oirme y
ayudarme.
Si me miráis, veréis en mí,
primero,
cuanto con Vos Amor hace y
deshace;
si me escucháis, oiréis decir
que muero,
y que es la vida que me
satisface;
si me ayudáis, lo que pretendo
y quiero,
que es alabaros, fácil se me
hace;
en tan altas empressas
alumbradme,
mis ojos, vedme, oídme y
ayudadme.
Siendo verdad que el alma
que me ampara
es sólo un rayo dessa luz
pendiente,
cuando no me miráis, es cosa
clara
que estoy del alma con que
vivo ausente;
mas no tan presto á la
marchita cara
vuelve la vuestra, soles de mi
oriente,
cuando, el espíritu mío
renovado,
quedo vivo, contento y
mejorado.
La causa fuistes de mi
devaneo,
y podéis serlo de mi buena
andanza,
que si á vuestra beldad cansa
el deseo,
vuestra color ofrece la
esperanza,
esmeraldas preciosas, donde
veo
más perfeción que el ser
humano alcanza,
viva mi alma entre essas dos
serenas
lumbres divinas, de vitorias
llenas.
¡Cuánto mejor en vuestra
compañía
que con la lira ó con el tierno
canto,
pudiera Orfeo, el malhadado
día,
robar la esposa al reino del
quebranto!
pues la amorosa ardiente
ánima mía,
al resplandor de vuestro viso
santo
suspende tantas penas
infernales,
Ojos verdes, rasgados,
celestiales.
¿Sois celestiales, soberanos
ojos?
Si que lo sois, aunque os
alberga el suelo,
pues solas almas son vuestros
despojos,
almas que os buscan como á
propio cielo;
fundó el Amor sus gustos, sus
enojos,
estableció su pena y su
consuelo,
dejó las armas frágiles de
tierra,
y escogió vuestra luz en paz y
en guerra.
Estrellas, nortes, soles, que
á la diestra
del Sol salís, por soles
verdaderos,
si en cuanto el lugar cielo al
mundo muestra,
no hay cosa que merezca
pareceros,
¿quién verá sola una pestaña
vuestra
que presuma, aun con muerte,
mereceros?
Bástale á aquel que os ve, si
os conociere,
morir, y ver que por miraros
muere.
Pues los que os miran
quedan condenados
á arder de amores si miráis
piadosos
y á rabia eterna si volvéis
airados,
ved si los que abrasáis son
venturosos;
yo que con pensamientos
inflamados,
Ojos, os miro, y con deseos
rabiosos,
ó rabie, ó arda, ó muera, ó
viva, al menos
no dejéis de mirarme, Ojos
serenos.
Al revolver de vuestra luz
serena,
se alegran monte y valle, llano
y cumbre;
la triste noche de tinieblas
llena,
halla su día en vuestra clara
lumbre,
sois, Ojos, vida y muerte,
gloria y pena;
el bien es natural; el mal,
costumbre:
no más, Ojos, no más, que es