IN the second year of the reign of Henry VII, which was the year 1486, there lived a woman called Agatha Shipton, at a place caned Knuresborougb, in Yorkshire.She came of poor parentage, who died and left her, at the age of 15, destitute. After their decease she still lived in the old house; but being now deprived of those helps she formerly enjoyed, she was obliged to seek relief from the parish; which she did, but with so much regret and grief, that she seemed in her begging rather to command alms, than in an humble manner to desire it.The Devil looked on her poverty to be great. He told her that he could pierce through the earth, and ransack its treasures and bring what precious things I please from thence to bestow on those that serve me. I know all rare arts and sciences, and can teach them to whom I please. I can disturb the elements, stir up thunders and lightnings, destroy tile best of things which were created for the use of man, find can appear in what shape or' form I please. It will take too long to describe my power, or tell you what I can do but I will only tell thee what thou shalt do. That being done, I will give thee power to raise hail, tempests, with lightning and thunder; the winds shall be at thy command. and shall bear thee whither thou art willing to go, though ever so far off, and shall bring thee back again when thou bast a mind to return. The hidden treasures of the earth shall be at thy disposal and pleasure, and nothing shall be wanting to complete thy happiness here. Thou shalt, moreover, heal or kill whom thou pleaseth; destroy or preserve either man or beast; know what is past, and assuredly tell what is to come. -Here note by the way, the Devil is a liar from the beginning, and will promise more by ten miIlions than he knows he is capable of performing, to the intent that he may ensnare and damn a soul.This so ravished Agatha, that she fell to the ground in a profound and deep trance: Doe of her neighbours coming in at this time, wondered to see Agatha laying on the floor motionless; however, out of pity, she endeavoured to awaken Agatha; but using what means she could, it all signified nothing; she shook and pinched her, yet still she lay insensible. This woman being strangely amazed, ran out amongsh the rest of the neighbours, crying out that poor Agatha Shipton was suddenly struck dead, and desired them to go into the house with her, and be eye-witnesses of the truth; whereupon several went and found what this woman said to be seemingly true; but one wiser than the rest, stooped down, and perceiving that she breathed, said, "Friends, ye are all mistaken, Agatha is not dead, but in n. trance, or else she is bewitched;" she had scarcely uttered these words, before Agatha began to stir, and soon after raising herself on her legs, cried out in a very distracted tone, "What do you here, vile wretches? cannot I enjoy my pleasures, but ye must be eaves-dropping? get ye gone, yc have nothing to do here;" and hereupon she fell a dancing, which they wondered at, because they could hear no music.At length, Agatha turned about, and seeing they were all gone, said, "If ye are resolved thus to disturb me, and will not go, I will make ye."

Revival, reinvention, and regeneration: the concept of renascence pervades Joyce’s work through the inescapable presence of his literary forebears. By persistently reexamining tradition, reinterpreting his literary heritage in light of the present, and translating and re-translating from one system of signs to another, Joyce exhibits the spirit of the greatest of Renaissance writers and artists. In fact, his writing derives some of its most important characteristics from Renaissance authors, as this collection of essays shows. Though critical work has often focused on Joyce's relationship to medieval thinkers like Thomas Aquinas and Dante, Renascent Joyce examines Joyce's connection to the Renaissance in such figures as Shakespeare, Rabelais, and Bruno. Joyce's own writing can itself be viewed through the rubric of renascence with the tools of genetic criticism and the many insights afforded by the translation process. Several essays in this volume examine this broader idea, investigating the rebirth and reinterpretation of Joyce's texts. Topics include literary historiography, Joyce's early twentieth-century French cultural contexts, and the French translation of Ulysses. Attentive to the current state of Joyce studies, the writers of these extensively researched essays investigate the Renaissance spirit in Joyce to offer a volume at once historically informed and innovative.