‘Lett none our Lombard author rudely blame for's righteous paine’: An Annotated Copy of Sir William Davenant's Gondibert (1651)
The article focuses on hostile annotations on a copy of the 1651 quarto edition of Sir William Davenant’s epic poem ‘Gondibert’, now held at the National Library of Scotland. It describes the problems of interpreting the annotations; their likely date, social context, and political stance; the secondary reading used alongside ‘Gondibert’; and their literary-critical responses to the text. The annotations can be related to the satires on ‘Gondibert’ written by the circle around Sir John Denham; one of the annotators may indeed have been Denham himself. The annotators were employing traditional humanist collaborative reading practices in a manner designed to make nonsense of Davenant’s poem, objecting to Davenant’s departures from the humanist tradition.
Used Books: Marking Readers in Renaissance England
List of Illustrations Preface PART I. OF MARKS AND METHODS Chapter 1. Introduction: Used Books Chapter 2. Toward a History of the Manicule Chapter 3. Reading the Matriarchive PART II. READING AND RELIGION Chapter 4. "The Book thus put in every vulgar hand": Marking the Bible Chapter 5. An Uncommon Book of Common Prayer PART III. REMARKABLE READERS Chapter 6. John Dee's Columbian Encounter Chapter 7. Sir Julius Caesar's Search Engine PART IV. RENAISSANCE READERS AND MODERN COLLECTORS Chapter 8. Dirty Books? Attitudes Toward Readers' Marks Afterword: The Future of Past Readers List of Abbreviations Notes Bibliography Index Acknowledgments
Shoeless Joe: Fantasy and the Humor of Fellow-Feeling
In his essay on Jean Paul Friedrich Richter, Thomas Carlyle writes of a humor that manifests itself in smile rather than laughter. "Richter is a man of mirth," says Carlyle, whose humor is "capricious . . . quaint . . . [and] heartfelt" (15). The three adjectives represent for Carlyle the essence of what he terms "true humor" because they suggest Richter's enormous respect for humanity. "True humor," he goes on to say, "springs not more from the head than from the heart; it is not contempt, its essence is love; it issues not in laughter, but in still smiles, which lie far deeper" (17). These smiles are not Hobbesian smirks of superiority1 but genuine signs of compassion for, sympathy toward, and empathy with the object of the humor. Carlyle further provides a direct link between humor and both pathos and nobility; the link is the smile of the caring man. For Carlyle, this smile is one of "fellow-feeling":