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Age of iron: English renaissance tropologies of love and by Gale H. Carrithers

By Gale H. Carrithers

Publication through Carrithers, Gale H., Hardy, James D., Carrithers, Gale H., Jr., Hardy, James D., Jr.

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Age of iron: English renaissance tropologies of love and power

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This early note seems the place to sketch our belief, manifest in the text to follow; and we do so with gratitude to Jonathan Crewe for his clarification of the issues in his introductory chapters to both Hidden Designs: The Critical Profession and Renaissance Literature (New York, 1986) and Trials of Authorship: Anterior Form and Poetic Reconstruction from Wyatt to Shakespeare (Berkeley, 1990). Briefly: we believe in both historicity and historiography; that Queen Elizabeth I and King Charles I died in 1603 and 1649 must be acknowledged with minimum construal (Crewe's modest word in preference to interpretation), whereas the significance of those deaths and, a fortiori, the degree to which each monarch was effectively moribund five years before physical death, or a living force ten years after, are matters of inevitable construal.

1986); J. G. A. , 1987); McGee, The Godly Man, 14449. See, still, J. H. Hexter, Reappraisals in History: New Views on History and Society in Early Modern Europe (London, 1961). Page 12 Venice had recently been forced to cancel the annual celebration of the marriage of the city to the sea. The Turks, whose navy had controlled the Mediterranean Sea since the fall of Rhodes in 1522 and whose naval power was merely checked at the siege of Malta, seemed invincible. Nonetheless, the increasingly supine Italian subjects of imperial Spain had built a fleet, while Spain herself, threatened on every front by war, bankruptcy, revolt, and heresy, led the enterprise.

The term trope also preserves the dynamism of turning, as well as its association with Augustinian retorqueo and its implications of movement in general, and dynamism is in several ways more important to our argument than taxonomy. We also mean very large senses of turn: broadly cultural and indeed ontological, as in representation by some variation. The variation can range from the minimum for accommodating divine truth to fallen perception, to amendment by total substitution, from personal change to broad cultural shifts.

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