Stephen Hamrick demonstrates how poets writing in the first part of Elizabeth I's reign proved instrumental in transferring Catholic worldviews and paradigms to the cults and early anti-cults of Elizabeth. Stephen Hamrick provides a detailed analysis of poets who used Petrarchan poetry to transform many forms of Catholic piety, ranging from confession and transubstantiation to sacred scriptures and liturgical singing, into a multivocal discourse used to fashion, refashion, and contest strategic political, religious, and courtly identities for the Queen and for other Court patrons. These poets, writers previously overlooked in many studies of Tudor culture, include Barnabe Googe, George Gascoigne, and Thomas Watson. Stephen Hamrick here shows that the nature of the religious reformations in Tudor England provided the necessary contexts required for Petrarchanism to achieve its cultural centrality and artistic complexity. This study makes a strong contribution to our understanding of the complex interaction among Catholicism, Petrachanism, and the second English Reformation.

This book provides readers with the tools to unravel the complexities of one of the most difficult sonnet sequences, introducing them to the literary tradition, themes, stylistic features and cultural contexts of the genre and the collection, and offering close readings of more than 100 sonnets. This combined approach enables readers not only to disentangle the complex relationships of the poems' characters but also to appreciate their philosophical, sensual, topical and subversive qualities. Of the book's two sections, the first, 'Contexts and Forms', includes chapters on the sonnet tradition, early publication history, the structural features of the sequence and the Shakespearean sonnet, as well as the main characteristics of the dramatis personae. The second section, 'Themes', consists of 5 chapters and explores the theme clusters that can be identified throughout the sequence (preservation, writing, desire, deception, imagination). Additional features of the book include a step-by-step approach to a Shakespeare sonnet, a model interpretation of a sonnet, as well as charts and tables identifying and summarizing the sequence's mini-narratives, groups, addressees and themes. For easy reference, the sonnets discussed in the book are cross-referenced and listed in the index, which also includes key terms and names of works and people. Suggestions for further reading are provided at the end of each chapter, and the annotated bibliography includes brief descriptions of the most useful works for further study.

This book uses theories of memory derived from cognitive science to offer new ways of understanding how literary works remember other literary works. Using terms derived from psychology – implicit and explicit memory, interference and forgetting – Raphael Lyne shows how works by Renaissance writers such as Wyatt, Shakespeare, Jonson, and Milton interact with their sources. The poems and plays in question are themselves sources of insight into the workings of memory, sharing and anticipating some scientific categories in the process of their thinking. Lyne proposes a way forward for cognitive approaches to literature, in which both experiments and texts are valued as contributors to interdisciplinary questions. His book will interest researchers and upper-level students of renaissance literature and drama, Shakespeare studies, memory studies, and classical reception.