Although the term courtier poet is widely used in discussions of Elizabethan literature, it has never been carefully defined. In this study, Steven W.May isolates the elite social environment of the court by defining the words court and courtier as they were understood by Tudor aristocrats. He examines the types of poems that these poets wrote, the occasions for which they wrote, and the nature of the poems themselves.

Model court conduct in the Renaissance shared many rhetorical features with poetry. Analyzing these stylistic affinities, Professor Javitch shows that the rise of the courtly ideal enhanced the status of poetic art. He suggests a new explanation for the fostering of poetic talents by courtly establishments and proposes that the court stimulated these talents more decisively than the Renaissance school. The author focuses on late Tudor England and considers how Queen Elizabeth's court helped poetry gain strength by subscribing to a code of behavior as artificial as that prescribed by Castiglione. Elizabethan writers, however, could benefit from the court's example only so long as their contemporaries continued to respect its social and moral authority. The author shows how the weakening of the courtly ideal led eventually to the poet's emergence as the maker of manners, a role first subtly indicated by Spenser in the Sixth Book of The Faerie Queene. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Born in 1554, Sir Philip Sidney was hailed as the perfect Renaissance patron, soldier, soldier, lover, and courtier, but it was only after his untimely death at the age of thirty-two that his literary achievements were truly recognized. This collection includes supplementary texts, such as his letters and the numerous elegies which appeared after his death, help illustrate the wide spectrum of his achievements, and the admiration he inspired in his contemporaries.

An enthralling new biography of the most exciting and charismatic adventurer in the history of the English-speaking world Tall, dark, handsome, and damnably proud, Sir Walter Raleigh was one of history's most romantic characters. An explorer, soldier, courtier, pirate, and poet, Raleigh risked his life by trifling with the Virgin Queen's affections. To his enemies—and there were many—he was an arrogant liar and traitor, deserving of every one of his thirteen years in the Tower of London. Regardless of means, his accomplishments are legion: he founded the first American colony, gave the Irish the potato, and defeated Spain. He was also a brilliant operator in the shark pool of Elizabethan court politics, until he married a court beauty, without Elizabeth's permission, and later challenged her capricious successor, James I. Raleigh Trevelyan has traveled to each of the principal places where Raleigh adventured—Ireland, the Azores, Roanoke Islands, and the legendary El Dorado (Orinoco)—and uncovered new insights into Raleigh's extraordinary life. New information from the Spanish archives give a freshness and immediacy to this detailed and convincing portrait of one of the most compelling figures of the Elizabethan era.

The Rhetoric of Courtship is about the literature of the Elizabethan period with a particular focus on the literature of the court. This book considers how writers and courtiers related to Elizabeth I within a system of patronage and how they portrayed this relationship in fictional courtship of poetry and prose.

The Thirty Years War Meets the American WayWhen Grantville, W. Va., was suddenly hurled from 2000 back to 1632, they landed in the middle of the Thirty Years War. But they brought American Freedom and Justice -- and modern guns -- along with them. Copyright © Libri GmbH. All rights reserved.

This 1999 book offers an original study of lyric form and social custom in the Elizabethan age. Ilona Bell explores the tendency of Elizabethan love poems not only to represent an amorous thought, but to conduct the courtship itself. Where studies have focused on courtiership, patronage and preferment at court, her focus is on love poetry, amorous courtship, and relations between Elizabethan men and women. The book examines the ways in which the tropes and rhetoric of love poetry were used to court Elizabethan women (not only at court and in the great houses, but in society at large) and how the women responded to being wooed, in prose, poetry and speech. Bringing together canonical male poets and women writers, Ilona Bell investigates a range of texts addressed to, written by, read, heard or transformed by Elizabethan women, and charts the beginnings of a female lyric tradition.

James Biester sees the shift in late Elizabethan England toward a witty, rough, and obscure lyric style--metaphysical wit and strong lines--as a response to the heightened cultural prestige of wonder. That same prestige was demonstrated in the search for strange artifacts and animals to display in the wonder-cabinets of the period. By embracing the genres of satire and epigram, poets of the Elizabethan court risked their chances for political advancement, exposing themselves to the danger of being classified either as malcontents or as jesters who lacked the gravitas required of those in power. John Donne himself recognized both the risks and benefits of adopting the "admirable" style, as Biester shows in his close readings of the First and Fourth Satyres. Why did courtier-poets adopt such a dangerous form of self-representation? The answer, Biester maintains, lies in an extraordinary confluence of developments in both poetics and the interpenetrating spheres of the culture at large, which made the pursuit of wonder through style unusually attractive, even necessary. In a postfeudal but still aristocratic culture, he says, the ability to astound through language performed the validating function that was once supplied by the ability to fight. Combining the insights of the new historicism with traditional literary scholarship, Biester perceives the rise of metaphysical style as a social as well as aesthetic event.