This volume contains 23 essays which aim to shed new light on the evolution of English culture between the 15th and 18th centuries. Both the English cultural manifestation and its continental sources are discussed, and so, too, is the way in which these phenomena interacted.

The 366 lyrics of Petrarch's Canzoniere exert a unique influence in literary history. From the mid-fifteenth century to the early seventeenth, the poems are imitated in every major language of western Europe, and for a time they provide Renaissance Europe with an almost exclusive sense of what love poetry should be. In this stimulating look at the international phenomenon of Petrarch's poetry, Gordon Braden focuses on materials in languages other than English--Italian, French, and Spanish, with brief citations from Croatian and Cypriot Greek, among others. Braden closely examines Petrarch's theme of love for an impossible object of desire, a theme that captivated and inspired across centuries, societies, and languages. The book opens with a fresh interpretation of Petrarch's sequence, in which Braden defines the poet's innovations in the context of his predecessors, Dante and the troubadours. The author then examines how Petrarchan predispositions affect various strains of Renaissance literature: prose narrative, verse narrative, and, primarily, lyric poetry. In the final chapter, Braden turns to the poetry of Sor Juana Inés de la Cruz to demonstrate a sophisticated case of Petrarchism taken to one of its extremes within the walls of a convent in seventeenth-century Mexico.

The turn of the seventeenth century was an important moment in the history of English criticism. In a series of pioneering works of rhetoric and poetics, writers such as Philip Sidney, George Puttenham, and Ben Jonson laid the foundations of critical discourse in English, and the English word "critic" began, for the first time, to suggest expertise in literary judgment. Yet the conspicuously ambivalent attitude of these critics toward criticism—and the persistent fear that they would be misunderstood, marginalized, scapegoated, or otherwise "branded with the dignity of a critic"—suggests that the position of the critic in this period was uncertain. In Inventing the Critic in Renaissance England, William Russell reveals that the critics of the English Renaissance did not passively absorb their practice from Continental and classical sources but actively invented it in response to a confluence of social and intellectual factors. Distributed for UNIVERSITY OF DELAWARE PRESS

In the twentieth century, the pioneering work of such art historians as Erwin Panofsky and Edgar Wind heightened our awareness of the relationship between Renaissance literature and the visual arts. By focusing on that relationship in the work of such poets as Sir Philip Sidney, John Donne, Richard Crashaw, Edmund Waller, and Robert Herrick, Norman K. Farmer, Jr., convincingly shows that they and other writers of the late sixteenth and early seventeenth centuries in England wrote with a lively and creative sense of the visual—a sense richly informed by the theory and practice of Renaissance art. Farmer begins by describing the powerful visual matrix that underlies the narrative structure of Sidney's New Arcadia. He compares the role of the visual in the poetry of Donne and Ben Jonson, and demonstrates how works by both Thomas Carew and Lord Herbert exhibit poetic invention according to familiar Renaissance pictorial themes. Herrick's Hesperides is shown to be the major seventeenth-century poetic application of the Horatian idea ut pictura poesis. A special feature of this gracefully written and enlightening volume is Farmer's discussion of Lady Drury's oratory at Hawstead Hall. Published here for the first time are photographs of this uniquely decorated oratory, in which themes from a variety of English and Continental emblem books were painted on the walls of a room apparently designed for private meditation.

This book defines the attitude of English writers between 1500 and 1625 toward the question of literary property rights, of imitation, of what today is called plagiarism.

Our present system of criminal prosecution originated in England in the sixteenth century. Langbein traces its development, which was at its most intense during the reign of Queen Mary. He shows how the common law developed a system of official investigation and prosecution that incorporated the medieval institution of the jury trial. He places equal emphasis on the role of the justices of the peace as public prosecutors. The second half of the book compares the English system with those of the Holy Roman Empire (Germany) and France. He concludes by refuting the popular opinion that the English were strongly indebted to continental models. "This is an excellent work of scholarship, exhibiting wide research, erudition and analytical ability." --Joseph H. Smith, Harvard Law Review 88 (1974-1975) 485 JOHN LANGBEIN is Sterling Professor of Law and Legal History at Yale Law School. He has held academic positions at Stanford University, Oxford University, the Max-Planck-Institut für Europäische Rechtsgeschichte and the Max-Planck-Institut für Ausländisches und Internationales Strafrecht. Langbein is a member of the American Academy of Arts and Sciences, the International Academy of Comparative Law, the International Association of Procedure Law, and other organizations in the fields of legal history and comparative law. Some of his most distinguished publications and articles include History of the Common Law: The Development of Anglo-American Legal Institutions (2009), Torture and the Law of Proof: Europe and England in the Ancient Regime (1977), and "The Supreme Court Flunks Trusts," Supreme Court Review (1991).

The Renaissance of Lesbianism in Early Modern England is the eagerly-awaited study by the feminist scholar who was among the first to address the issue of early modern female homoeroticism. Valerie Traub analyzes the representation of female-female love, desire and eroticism in a range of early modern discourses, including poetry, drama, visual arts, pornography and medicine. Contrary to the silence and invisibility typically ascribed to lesbianism in the Renaissance, Traub argues that the early modern period witnessed an unprecedented proliferation of representations of such desire. By means of sophisticated interpretations of a comprehensive set of texts, the book not only charts a crucial shift in representations of female homoeroticism over the course of the seventeenth century, but also offers a provocative genealogy of contemporary lesbianism. A contribution to the history of sexuality and to feminist and queer theory, the book addresses current theoretical preoccupations through the lens of historical inquiry.