This first volume in The Complete Works of George Gascoigne, was originally published in this Cambridge edition during 1907.

Locus Amoenus provides a pioneering collection of new perspectives on Renaissance garden history, and the impact of its development. Experts in the field illustrate the extent of our knowledge of how the natural world looked and how humans related to their environment. A ground-breaking collection of new perspectives on garden history Essays demonstrate the extent of our knowledge of how the natural world looked and how humans related to their environment The book's broad coverage includes botany and herbals, literary reflections of changing ideas of landscape and nature, and human's place within it Contributors come from a wide range of experts, including archaeologists, scholars and the librarian and archivist to the Royal Horticultural Society Reflects the growing emergence of this field, which has been assisted both by archaeology and ideas from green studies and environmental criticism Richly illustrated throughout

Studying texts by Lorenzo Valla, Erasmus, Saint Jerome, George Gascoigne, and Fulke Greville, this volume explores authorial character as an instrument of textual analysis in the scholarship of early Renaissance literature.

This book is a history of love and the challenge love offers to the laws and customs of its times and places, as told through poetry from the Song of Songs to John Milton’s Paradise Lost. It is also an account of the critical reception afforded to such literature, and the ways in which criticism has attempted to stifle this challenge. Bryson and Movsesian argue that the poetry they explore celebrates and reinvents the love the troubadour poets of the eleventh and twelfth centuries called fin’amor: love as an end in itself, mutual and freely chosen even in the face of social, religious, or political retribution. Neither eros nor agape, neither exclusively of the body, nor solely of the spirit, this love is a middle path. Alongside this tradition has grown a critical movement that employs a 'hermeneutics of suspicion', in Paul Ricoeur’s phrase, to claim that passionate love poetry is not what it seems, and should be properly understood as worship of God, subordination to Empire, or an entanglement with the structures of language itself – in short, the very things it resists. The book engages with some of the seminal literature of the Western canon, including the Bible, the poetry of Ovid, and works by English authors such as William Shakespeare and John Donne, and with criticism that stretches from the earliest readings of the Song of Songs to contemporary academic literature. Lively and enjoyable in its style, it attempts to restore a sense of pleasure to the reading of poetry, and to puncture critical insistence that literature must be outwitted. It will be of value to professional, graduate, and advanced undergraduate scholars of literature, and to the educated general reader interested in treatments of love in poetry throughout history.

Selected music from the historic "March Lute Book" scored for classic guitar solo. This edition is complete with copious historic and performance notes. A scholarly book containing wonderful solo settings for classic guitar.

Dismantling Glory deals with the poetry written about the honors and horrors of battle by the very soldiers who put their lives on the line. Focusing on American and English poetry from World Wars I and II and the Vietnam War, Lorrie Goldensohn presents the move from a poetry largely bound to trench warfare to a global war poetry dominated by air power, invasion, and occupation. Civilians, prisoners, and children enter this poetry in new and compelling ways, as do issues of race and gender, changing and complicating the representation of war, and expanding the scope of antiwar thinking.

This book traces the development of the viol from its late medieval Spanish origins to the sixteenth century, when it became the most widely played bowed instrument in western Europe. Ian Woodfield examines the two most important ancestors of the instrument, the Moorish rahab and the vihuela de mano. From these two instruments emerged an early form of viol, the Valencian vihuela de arco, which spread rapidly across the Mediterranean during the papacy of Rodrigo Borgia. The viol was enthusiastically accepted by the d'Este and Gonzaga families and other Italian arbiters before migrating across the Alps and into the rest of Europe. The author discusses all aspects of the viol during its Renaissance hey-day: the growing perfection of viol design at the hands of Italian craftsmen; the gradual evolution of tuning systems; the development of advanced playing techniques and the wide range of music, both solo and consort. The final chapter examines the growth of a viol playing tradition in sixteenth-century England, in particular in the London choir-schools. Dr Woodfield brings iconographic evidence and an interesting approach to this study which will be of interest to musicologists, iconographers, organologists and viol players.