During the seventeenth century, England was beset by three epidemics of the bubonic plague, each outbreak claiming between a quarter and a third of the population of London and other urban centers. Surveying a wide range of responses to these epidemics—sermons, medical tracts, pious exhortations, satirical pamphlets, and political commentary—Plague Writing in Early Modern England brings to life the many and complex ways Londoners made sense of such unspeakable devastation. Ernest B. Gilman argues that the plague writing of the period attempted unsuccessfully to rationalize the catastrophic and that its failure to account for the plague as an instrument of divine justice fundamentally threatened the core of Christian belief. Gilman also trains his critical eye on the works of Jonson, Donne, Pepys, and Defoe, which, he posits, can be more fully understood when put into the context of this century-long project to “write out” the plague. Ultimately, Plague Writing in Early Modern England is more than a compendium of artifacts of a bygone era; it holds up a distant mirror to reflect our own condition in the age of AIDS, super viruses, multidrug resistant tuberculosis, and the hovering threat of a global flu pandemic.

This book is about the literary culture that emerged during and in the aftermath of the Great Plague of London (1665). Textual transmission impacted upon and simultaneously was impacted by the events of the plague. This book examines the role of print and manuscript cultures on representations of the disease through micro-histories and case studies of writing from that time, interpreting the place of these media and the construction of authorship during the outbreak. The macabre history of plague in early modern England largely ended with the Great Plague of London, and the miscellany of plague writings that responded to the epidemic forms the subject of this book.

This collection offers readers a timely encounter with the historical experience of people adapting to a pandemic emergency and the corresponding narrative representation of that crisis, as early modern writers transformed the plague into literature. The essays examine the impact of the plague on health, politics, and religion as well as on the plays, prose fiction, and plague bills that stand as witnesses to the experience of a society devastated by contagious disease. Readers will find physicians and moralists wrestling with the mysteries of the disease; erotic escapades staged in plague-time plays; the poignant prose works of William Bullein and Thomas Dekker; the bodies of monarchs who sought to protect themselves from plague; the chameleon-like nature of the plague as literal disease and as metaphor; and future strains of plague, literary and otherwise, which we may face in the globally-minded, technology-dependent, and ecologically-awakened twenty-first century. The bubonic plague compelled change in all aspects of lived experience in Early Modern England, but at the same time, it opened space for writers to explore new ideas and new literary forms—not all of them somber or horrifying and some of them downright hilarious. By representing the plague for their audiences, these writers made an epidemic calamity intelligible: for them, the dreaded disease could signify despair but also hope, bewilderment but also a divine plan, quarantine but also liberty, death but also new life.

Although we are currently bombarded with numerous health scares--AIDS, West Nile virus, avian flu, and the recent swine flu, just to name a few that now fill our media reports and instill dread in the population--we can scarcely imagine the outlook that dominated the mindset of those who endured the bubonic plague in England during the sixteenth and seventeenth centuries. Between the time of the Black Death and the Great Plague, this horrifying bubonic plague struck the country at such regular intervals that it shaped the general consciousness and even produced a popular genre of plague writing. In The Plague in Print, Rebecca Totaro takes the reader into the world of plague-riddled Elizabethan England, documenting the development of distinct subgenres related to the plague and providing unprecedented access to important original sources of early modern plague writing. Totaro elucidates the interdisciplinary nature of plague writing, which raises religious, medical, civic, social, and individual concerns in early modern England. Each of the primary texts in the collection offers a glimpse into a particular subgenre of plague writing, beginning with Thomas Moulton's plague remedy and prayers published by the Church of England and devoted to the issue of the plague. William Bullein's A Dialogue, both pleasant and pietyful, a work that both addresses concerns related to the plague and offers humorous literary entertainment, exemplifies the multilayered nature of plague literature. The plague orders of Queen Elizabeth I highlight the community-wide attempts to combat the plague and deal with its manifold dilemmas. And after a plague bill from the Corporation of London, the collection ends with Thomas Dekker's The Wonderful Year, which illustrates plague literature as it was fully formed, combining attitudes toward the plague from both the Eizabethan and Stuart periods. These writings offer a vivid picture of important themes particular to plague literature in England, providing valuable insight into the beliefs and fears of those who suffered through bubonic plague but also illuminating the cultural significance of references to the plague in the more familiar early modern literature by Spenser, Donne, Milton, Shakespeare, and others. As a result, The Plague in Print will be of interest to students and scholars in a number of fields, including sixteenth and seventeenth century English literature, cultural studies, medical humanities, and the history of medicine.

Amid the religious tumult of the sixteenth and seventeenth centuries, English scholars, preachers, and dramatists examined, debated, and refashioned tales concerning Pope Joan, a ninth-century woman who, as legend has it, cross-dressed her way to the papacy only to have her imposture exposed when she gave birth during a solemn procession. The legend concerning a popess had first taken written form in the thirteenth century and for several hundred years was more or less accepted. The Reformation, however, polarized discussions of the legend, pitting Catholics, who denied the story’s veracity, against Protestants, who suspected a cover-up and instantly cited Joan as evidence of papal depravity. In this heated environment, writers reimagined Joan variously as a sorceress, a hermaphrodite, and even a noteworthy author. The Afterlife of Pope Joan examines sixteenth- and seventeenth-century debates concerning the popess’s existence, uncovering the disputants’ historiographic methods, rules of evidence, rhetorical devices, and assumptions concerning what is probable and possible for women and transvestites. Author Craig Rustici then investigates the cultural significance of a series of notions advanced in those debates: the claim that Queen Elizabeth I was a popess in her own right, the charge that Joan penned a book of sorcery, and the curious hypothesis that the popess was not a disguised woman at all but rather a man who experienced a sort of spontaneous sex change. The Afterlife of Pope Joan draws upon the discourses of religion, politics, natural philosophy, and imaginative literature, demonstrating how the popess functioned as a powerful rhetorical instrument and revealing anxieties and ambivalences about gender roles that persist even today. Craig M. Rustici is Associate Professor of English at Hofstra University.

A vivid recreation of how the governors and governed of early seventeenth-century Florence confronted, suffered, and survived a major epidemic of plague Plague remains the paradigm against which reactions to many epidemics are often judged. Here, John Henderson examines how a major city fought, suffered, and survived the impact of plague. Going beyond traditional oppositions between rich and poor, this book provides a nuanced and more compassionate interpretation of government policies in practice, by recreating the very human reactions and survival strategies of families and individuals. From the evocation of the overcrowded conditions in isolation hospitals to the splendor of religious processions, Henderson analyzes Florentine reactions within a wider European context to assess the effect of state policies on the city, street, and family. Writing in a vivid and approachable way, this book unearths the forgotten stories of doctors and administrators struggling to cope with the sick and dying, and of those who were left bereft and confused by the sudden loss of relatives.

This collection offers readers a timely encounter with the historical experience of people adapting to a pandemic emergency and the corresponding narrative representation of that crisis, as early modern writers transformed the plague into literature. The essays examine the impact of the plague on health, politics, and religion as well as on the plays, prose fiction, and plague bills that stand as witnesses to the experience of a society devastated by contagious disease. Readers will find physicians and moralists wrestling with the mysteries of the disease; erotic escapades staged in plague-time plays; the poignant prose works of William Bullein and Thomas Dekker; the bodies of monarchs who sought to protect themselves from plague; the chameleon-like nature of the plague as literal disease and as metaphor; and future strains of plague, literary and otherwise, which we may face in the globally-minded, technology-dependent, and ecologically-awakened twenty-first century. The bubonic plague compelled change in all aspects of lived experience in Early Modern England, but at the same time, it opened space for writers to explore new ideas and new literary forms—not all of them somber or horrifying and some of them downright hilarious. By representing the plague for their audiences, these writers made an epidemic calamity intelligible: for them, the dreaded disease could signify despair but also hope, bewilderment but also a divine plan, quarantine but also liberty, death but also new life.