The current crop (presented alphabetically) includes article abstracts from 2018 and 2019 as the 2018 article abstracts did not appear in the Autumn 2019 issue.
Carlson, Andrew. “Monstrous Length in Spenser’s Faerie Queene.” ELH, vol. 86 no. 2, 2019, pp. 441-465.
No abstract available.
Carpenter, Andrew. “Verse in English from Spenser to Swift.” Literature Compass, vol. 15, no. 10, 2018.
Ireland was in turmoil for much of the 17th century as, slowly and painfully, English language and culture gained supremacy over the language and culture of the native Irish. The verse and poetry we have in English from this period was the work of planters, administrators and the Old English, and, on occasions, of Irish speakers seeking to influence the rulers of the country. During recent years, much exciting new work has been undertaken on the verse of the period as research on manuscripts and early printed books has led to a substantial increase in the canon. We now know of over 100 poets active in Ireland between the time of Edmund Spenser and that of Jonathan Swift. In addition, scholars have begun exploring the links between the culture of 17th‐century Ireland and that of Scotland, Wales, and England. This article surveys the work that has been accomplished on the verse and poetry of the period and indicates several areas where further research is needed.
Cong, Xiaoming. “English Common Law in Spenser’s British Chronicle.” Notes and Queries, 20 July 2019.
No abstract available.
Druzak, Courtney. “‘Scattred All to Nought’: Feminine Waters, Irish Sources, and Colonialism in Edmund Spenser’s River Mulla.” English: Journal of the English Association, vol. 68, no. 262, 2019, pp. 213-234.
This article examines Edmund Spenser’s use of Irish mythology, particularly in relation to feminized rivers, in order to conceptualize how he constructs English colonialism as necessary for Ireland via the poetically constructed river Mulla. More specifically, it examines ‘Colin Clouts Come Home Again’ and The Faerie Queene, Book IV, Canto xi through the lenses of ecofeminism and a reading of the medieval Irish text Acallam na Senórach. This article argues for understanding the reappearance of the river Mulla from ‘Colin Clouts’ to FQ IV.xi as a materialist effort to dominate the place and space of Ireland through writing. It further argues that the Acallam is a potential source text for Spenser’s own endeavours with his river Mulla. Specifically, Spenser repurposes place-names and Fenian myths from medieval Ireland in his literature, which acts as another form of colonial domination to subsume Irish identification. It is particularly important that this lens is applied to Irish waterscapes, as the ability to reconstruct Ireland rhetorically and poetically in English literature allowed Spenser to ‘map’ Ireland and bring even the finicky Irish land- and waterscapes firmly under English control in violently masculine manners, which are enacted via enforced marriages.
Espie, Jeff. “Spenser in Buskins: The Shepheardes Calender and the Tragedians.” The Review of English Studies, vol. 70, no. 295, 2019, pp. 399–417.
This essay fills a gap in existing histories of classical reception and Renaissance intertextuality, demonstrating that Edmund Spenser revises scenes of Roman tragedy in the pastoral verse of his Shepheardes Calender. Spenser’s engagement with a tragic past, I argue, moves through the drama of Seneca, finding there a model for representing the death of children, the recursivity of history, and the tragic notes of Virgil. Framed with analysis of E. K.’s glosses in ‘Julye’ and ‘Nouember’, which knowingly misrepresent Senecan texts, the argument centres on Piers’s fable of the credulous kiddie in ‘Maye’. The fable, most commonly studied for its representation of Protestantism, Puritanism, and Roman Catholicism, represents Roman literature as well, describing the goat’s perception of her kid in language recalling both Virgil and Seneca. E. K. notes the allusion to Andromache’s lament in Aeneid 3, but as I show, the goat’s situation more closely resembles Seneca’s revision of Virgil in the Trojan Women. The fable’s classical allusions develop an analogy between the kiddie’s death and the fall of Troy, and imply a confluence of modes working against the divisions of a progressive literary career: tragedy, etymologically derived from the Greek words for ‘goat song’, is absorbed in ‘Maye’ as the song about a goat. Spenser uses his intertextual play to claim his distinguished place in literary history, fashioning from his precedents, both Senecan and otherwise, his originary position in the European pastoral tradition.
Grogan, Jane. “‘Saluage soyl, far from Parnasso Mount’: Spenser and Shakespeare in contemporary Irish writing.” Literature Compass, vol. 15, no. 11, 2018.
This essay studies the literary politics of the reception of Spenser and Shakespeare in contemporary Irish writing, theatre, and public culture. Often conceived as a project of recovery or restitution, or as a niche interest for urban élites, the mixed fortunes and contrasting politics of Shakespeare and Spenser in 20th‐ and 21st‐century Ireland testify to the still sensitive politics of settlement and plantation, as well as the blind spots of nationalism and the national model of Irish literature. Focussing primarily on the current century, this essay traces crucial lines of reception back to W. B. Yeats and the Irish literary revival, pausing over Frank McGuinness’s important play Mutabilitie (1997), which dared to imagine and provocatively recast both Shakespeare and Spenser’s habitation in Ireland. That project found little support, just months before the Good Friday agreement was signed, but it stands over and guides a significant body of work in Irish drama and poetry in ways that have yet to be fully unpacked. Yet the contrast remains between the hero and the whipping boy, a congenial Shakespeare and a cruel Spenser, in literary engagements with Tudor Ireland. Although Shakespeare has generally been heralded as an enabling or emancipatory figure for Irish writers, this essay proposes that a richer and more radical politics can be accessed by the thornier route of confronting Spenser’s place in Irish culture and history. The essay concludes by outlining a recent flourishing of interest in Spenser that seeks to exploit his potential for Irish culture and politics in these new, more honest but more challenging ways.
Hadfield, Andrew. “Spenser, Raleigh, Harvey, and Nashe on Empire.” English: Journal of the English Association, vol. 68, no. 261, 2019, pp. 143-161.
This article explores the responses to early modern colonial enterprises in the writings of four major English writers: Edmund Spenser, Sir Walter Raleigh, Gabriel Harvey and Thomas Nashe. The article shows how diverse responses to such undertakings were and that there was as much hostility and indifference as there was enthusiasm, not only for political and/or moral reasons but also because expensive overseas ventures were sometimes thought of as a needless waste of money and lives. In doing so the article aims to contribute towards recent calls to ‘decolonize’ the university and the curriculum, showing that responses to colonialism in colonising societies were never monolithic and that it is important that this historical reality is recognised if we are to engage seriously with the impact of colonialism and imperialism. Harvey and Raleigh were enthusiastic proponents of the benefits of colonial settlements, and took their cue from reading Richard Hakluyt the Younger’s Principal Navigations (1589), which suggested that the English had always thrived when they had ventured overseas and expanded their dominions. Spenser was much more ambivalent, despite his status as a colonist in Ireland after 1580, and Nashe was scornful of the purpose of such grand plans. For Nashe, partly inspired by his vitriolic quarrel with Harvey, it was much more important to concentrate on the locality of England itself and he accuses others of failing to see what surrounds them because they have been misled by the prospect of plunder and profit from exotic lands.
Hao, Tianhu. “‘Wrap in Shadow’s Light’: Spenser and the Art of the Miniature.” ANQ: A Quarterly Journal of Short Articles, Notes and Reviews, 2018.
No abstract available.
Ivic, Christopher. “Bitter memories: Spenser’s’ A View of the Present State of Ireland.’” Éire-Ireland, vol. 53, no. 3-4, 2018, pp. 9-35.
This essay foregrounds memory’s place in Spenser’s A View of the Present State of Ireland (1596). Spenser’s View is an invaluable text because it challenges the dominant, upbeat model of the nation as a fraternal community, especially as posited by Benedict Anderson. Spenser’s prose dialogue forges an affective collective memory out of shared hatred and, most importantly, bitter, traumatic, and vivid memories of past bloodshed and violence: violent events as well as violent figures. This essay explores the various ways in which Spenser’s View appropriates the past in order not to forget past violence but rather to remember, indeed memorialise, it.
Lee, Anthony W. “‘Yonder Bank’: Milton’s Samson Agonistes and Spenser’s Julye.” The Explicator, vol. 77, no. 1, 2019, pp. 39-42.
No abstract available.
Li, Promise. “The Faerie Queene’s punctuations.” The Explicator, vol. 77, no. 3/4, 2019, pp. 107-111.
No abstract available.
Luis-Martínez, Zenón. “Spenser’s Fly and Miniature Poetics.” English Studies, vol. 100, no. 1, 2019, pp. 14-36.
Muiopotmos, or the Fate of the Butterflie, one of the ‘smale Poemes’ in Edmund Spenser’s Complaints (1591), is an epic-styled insect fable indebted to the aetiological tradition of Ovid’s Metamorphoses. Its enigmatic subject has encouraged allegorical interpretation along topical, moral or aesthetic lines. Drawing on previous readings of the poem as a Sidneian speaking picture, this essay analyses Spenser’s concern with smallness by looking at similar uses of this idea in the work on insects by Elizabethan naturalist Thomas Muffet and in the treatise on the miniature by painter Thomas Hilliard. Attention to the English mistranslation of the original Greek title, the lexicon and imagery describing the protagonist, and the mythological tales interwoven in the narrative enables a reading of Spenser’s poem as a vindication of the transformative powers of poetry and of the potential of small artefacts to address issues such as the moral and aesthetic functions of art.
Lyne, Raphael. “Sonnets and the First Person Plural.” The Cambridge Quarterly, vol. 48, no. 3, 2019, pp. 213-230.
This essay considers the pronoun ‘we’ in the love sonnets of Sidney, Spenser, and Shakespeare, in the light of developments in the study of social cognition. Some philosophers and cognitive scientists have developed the idea of an ‘individual we’, a state of the individual mind that is transformed by interaction with others. This idea is parsimonious, in that it does not posit, for example, a group mind, but it also allows for changes in the individual as a result of shared experience. It proves illuminating as a prompt for rethinking pronominal assertions of mutuality (some convincing, some not) in sonnets, and the poems themselves reflect back on what it is to say ‘we’. This essay is one of four appearing under the heading ‘Poetry’s We’ in The Cambridge Quarterly vol. 48 no. 3. The four essays evolved as a group and have many shared concerns.
McCabe, Richard A. “Patronage, gentility, and ‘base degree’: Edmund Spenser and Lord Burghley.” The Seventeenth Century, vol. 33, no. 1, 2018, pp. 5-21.
This essay examines the social asymmetry of Early Modern patronage by focussing on Edmund Spenser’s complex relationship with Lord Burghley. Both were anxious to validate their social credentials, the one as novus homo, and other as novus poeta. Burghley sought to offset criticism of his rise by consolidating a reputation for public service with claims of illustrious ancestry, and scores of dedicators obliged. Spenser was anxious to claim the status of gentleman through talent despite his obscure origins. In appending a dedicatory sonnet to Burghley in the 1590 Faerie Queene he endorses his public image in the hope of reciprocal acknowledgement. Apparently disappointed, he responds in Complaints (1591) by presenting Burghley as a mercenary parvenu, while for the first time claiming kinship to the “ancient” house of the Spencers of Althorp, thereby reversing the social hierarchy but problematizing his own criteria for gentility.
Miller, Andrew. “Spenser’s Shameful Shepheardes Calender.” ELH, vol. 86, no. 1, 2019, pp. 27-54.
This essay argues that the shame of stylistic primitivism is central to Edmund Spenser’s Shepheardes Calender, which explores the tension between an affiliation with England’s linguistic past as a means for shaming the present and as a shameful attachment to a superseded moment in style’s evolutionary history. This double perspective on Spenser’s conflicted archaism reveals the close bond between style and shame, the social life of style formation and reception, the affectively charged influence of humanism and its stylistic precepts on vernacular literature, and the continued relevance of anachronism as a concept for understanding Renaissance debates over stylistic historicism.
Nazarian, Cynthia. “The Outlaw-Knight: Law’s Violence in The Faerie Queene, The Man Who Shot Liberty Valance, and The Dark Knight Rises.” Cultural Critique, vol. 98, 2018, pp. 204–233.
This article identifies and defines the figure of the “outlaw knight” through Edmund Spenser’s Faerie Queene (1596) and two modern American films, John Ford’s The Man Who Shot Liberty Valance (1962) and Christopher Nolan’s The Dark Knight Rises (2012). It argues that this recurring, allegorical figure reifies both the indeterminacy of the state’s law and violence and the cost of state formation to older visions of aristocratic individualism. Through the outlaw-knight, this paper examines how the modern state legitimates itself by means of a contest between rival systems of law and violence played out through competing interpretations of symbols. By examining modern instantiations alongside a late sixteenth-century case, it argues that the outlaw-knight figure is rooted in nostalgia for premodern chivalric feudalism, through which it questions centralized state authority from the outlaw’s perspective, and uncovers the arbitrary, fictional means by which the state legitimates its justice above the older laws it seeks to overwrite.
Oram, William A. “Looking Backward: The Evolving Genre of The Faerie Queene.” Modern Philology, vol. 115, no. 3, 2018, pp. 327-347.
This article offers poetry criticism of the epic poem The Faerie Queene, by Edmund Spenser. It explores the multiplicity of genres used by Spenser including parodic versions of love-vision, comedy and epithalamion. It analyzes his treatment of warfare and development of narrative open-endedness. It also examines the shift in the treatment of the narrator.
Oram, William A. “Lyric Address and Spenser’s Reinvention of the Proem.” Studies in Philology, vol. 116, no. 2, 2019, pp. 253-279.
In The Faerie Queene Edmund Spenser establishes the form of the poetic proem for subsequent English literature. Taking models from Chaucer’s Troilus and Criseyde and the lyric addresses to muses and patrons in European epic, he transforms these prefatory lyrics in a constantly changing evolution. As he reconceives it, the form centers on an address in which the poet appeals to a figure of authority, normally Elizabeth I. The proem to book 1 is simply an invocation overgoing earlier invocations, but in the proems to books 2 and 3 he assumes the role of poet-as-courtier. Spenser’s shift toward lyric in the 1590s provides the context for his experiments with the proem in the second installment of The Faerie Queene. There he stages himself as an isolated figure, rejecting the court for an idealized past or for the pleasures of an imagined world. He reduces the importance of the appeal to the queen and, in the proem to book 4, does not address her at all. Book 6 begins with his delight in the act of creation and the delayed address to Elizabeth foregrounds his agency in making her a symbol of divine beneficence. In Paradise Lost, John Milton’s proems develop out of Spenser’s, but his substitution of God for the queen creates a characteristically public inwardness.
Pivetti, Kyle. “The Optics of Prediction in The Faerie Queene: Merlin’s Reflecting Telescope.” Explorations in Renaissance Culture, vol. 45, no .1, 2019, pp. 7-28.
A mirror or a crystal ball? That interpretive crux arises at the heart of Book iii of Spenser’s The Faerie Queene – when Britomart discovers Merlin’s “glassy globe” and first sees Arthegall in its surface. The “looking-glasse,” that is, not only reflects Britomart but also tells the future. This essay revisits the problem of Merlin’s glass by locating it in the context of rapidly developing sixteenth-century optics, and one invention in particular: the reflecting telescope. By 1590, a range of thinkers from John Dee to Leonard Digges discovered in the reflective properties of mirrors innovative ways to understand human sight, cognition, and prediction. And it is Digges that proposes a reflecting telescope, a device that Merlin employs in Book iii. These scientific advances, in turn, inform Spenser’s references to vision and reflection throughout the poem, granting his allegory the ability both to distort sight and counter-intuitively to produce the future. Indeed, The Faerie Queene uses misrepresentation to protect its queen and to protect budding projects of nationalism. To see, for Spenser, is to change “the world it self” and to bring about its British futures.
Pugh, Syrithe. “‘Gods that faine to be’: Political Euhemerism in Spenser’s Mutabilitie Cantos.” English Literary Renaissance, vol. 49, no.1, 2019, pp. 28-73.
By referring to an elder brother of Saturn named “Titan,” Spenser’s Mutabilitie Cantos diverge from the Hesiodic account of the war between the Titans and the Olympians, to follow a lesser-known version originating in Euhemerus’ Sacred History and preserved because of the pivotal role it plays in Lactantius’ Divine Institutes. Spenser places his own sequel to the Titanomachy myth in the euhemerist tradition, which presents the Greek and Roman gods as mortal kings and queens, worshipped by their subjects, in order to satirize Hellenistic and imperial ruler-cults. Identifying Jupiter’s self-deification as the moment when the inseparable twins idolatry and tyranny were born, the Divine Institutes expound a Christianized version of Cicero’s law of nature to convict the Roman Empire of both impiety and inhumanity. Inspired by Lactantius, Spenser stages a trial in which the absolutist tendencies of Elizabeth and her probable successor are judged by the law of nature, embodied in the God-like Dame Nature. Holding the conflation of politics and theology up to skeptical scrutiny, Spenser uses Euhemerism to critique civil idolatry, in a way which counters the Eusebian currents in Elizabethan literature and influences Milton’s Paradise Lost.
Rack, Melissa J. “A Song of Silence: Plaintive Dissonance and Neoteric Method in Spenser’s Daphnaida.” Studies in Philology, vol. 116, no .4, 2019, pp. 668-695.
This study offers a new paradigm for reading Edmund Spenser’s unusual elegy Daphnaïda, a poem often considered aesthetically displeasing in its unsympathetic characterization, deferred consolation, and highly rhetorical style. This essay describes Daphnaïda’s eccentricities as a product of a neoteric aesthetic unique to Spenser’s late pastorals and inspired by the poetic experiments of the Latin poet Gaius Valerius Catullus. The plaintive mode, a key element of Spenser’s neoteric method, acts as a disruptive, revisionary mechanism that prefigures formal revision, highlighting the poet’s role as master craftsman and the artistry of poetry itself. In Daphnaïda, plaintive dissonance demonstrates how the poetic expression of loss is reflexive and self-negating, engendering a silence that mimics the absence of the beloved. The force of Spenser’s psychological depiction of grief as dissonant effectively externalize Alcyon’s internal state. The poem’s lack of resolution, then, is not a failure of representation but an apt portrayal of the destructive nature of grief.
Rack, Melissa J. “‘Thou thyself likewise art lyttle made’: Spenser, Catullus, and the Aesthetics of ‘smale poemes.’” Renaissance Papers 2018, edited by Jim Pearce and Ward J. Risvold, Boydell & Brewer, 2019, pp. 105–120.
Spenser’s late-career pastorals feature several charming insectprotagonists who demonstrate lyric smallness within an epic milieu. Virgil’s Gnat (1591) frames an inset lament with a surprisingly vast allusive scope. As Ronald Bond explains, the Gnat’s complaint “touches on tragic figures such as Sisyphus and Tantalus, enduring punishment in Tartarus, various chaste women (Alcestis, Penelope, Eurydice) who epitomize heroic love, [and] military heroes from both sides of the Trojan War (Hector, Ajax, Achilles, etc.).” In Muiopotmos (1591), an equally tiny butterfly is augmented as a small-scale Achilles armed for battle in a mini-ekphrasis that, as William Oram explains, “burlesques epic convention.” Similarly, in the verses known as “the Anacreontics,” which mark the transition between the Amoretti and the Epithalamion, a “gentle Bee with his loud trumpet murm’ring” (line 25) mischievously stings baby Cupid as he slumbers. Cupid is infantilized as “little Cupid” and “Venus baby,” in lines which relate his confrontation with an equally tiny mock-epic adversary: a “beast so small” who “flyes about / and threatens all with corage stout.” As Cupid complains of this injustice, Venus reminds him of his own smallness, which stands in contrast to the vast dominion he sustains over the hearts of lovers, both human and divine: “See thou thy selfe likewise art lyttle made / … And yet thou suffrest neyther gods in sky, / nor men in earth to rest” (lines 35, 37–38).
Spenser’s attention to smallness in these poems indicates a curious preoccupation with the miniature. In this essay, I propose that this impulse to miniaturize is a Neo-Alexandrian or neoteric signature, and Spenser’s revision of a distinctly Catullan stylistic, formerly manifest in its original Latin context as a fondness for diminutives. As the Catullan diminutive in turn evokes the Alexandrian epic miniature, this strategic miniaturization sheds particular light on the seeming aesthetic disjunction in Spenser’s late career shift from epic to lyric composition. Alongside these tiny tropes, the lyric impulse to miniaturize is similarly manifest via narrative and paratextual framing. Indeed, Spenser’s paratextual apparatus often disrupts narrative continuity, miniaturizing as it reframes the narrative sequentially (as in the “Anacreontics,” Astrophel, and The Shepheardes Calender), as a self-conscious unfinished fragment (as in The Cantos of Mutabilitie), or as one of several “smale poemes” or “parcels” (as in The Complaints).
Rao, Namratha. “Fearful Symmetry in Spenser’s Muiopotmos.” Essays in Criticism, vol. 69, no. 2, 2019, pp. 136–156.
No abstract available.
Roychoudhury, Suparna. “Forms of Fantasy: Psychology and Epistemology in the House of Alma, De la force de l’imagination, and Othello.” Philological Quarterly , vol. 98, no. 1/2, 2019, pp. 47-71.
Using Spenser, Montaigne, and Shakespeare, this essay explores the formal variegation of early modern representations of phantasia (imagination, or fantasy). In different ways, The Faerie Queene, the Essais, and Othello show how literary form provided a means of reviewing premodern cognitive theory—Aristotelian faculty psychology, and the faculty of imagination in particular—in light of early modern epistemologies and epistemes. In these literary treatments of the fantasy, we find allegory fused with anatomy, the essay with the medical case study, the dichotomy of script and performance with that of theory and practice. Individually, these texts offer nuanced insights into mental representation that are inspired by their sixteenth-century moment; collectively, they point to the period’s pluralistic and open-ended assessment of the image-making faculty. The subtle inventiveness of early modern forms of fantasy warrants a reconsideration of the place of Renaissance poetics in the intellectual history of imagination.
Sircy, Elisha. “Dying with Speed and Felicity: Humor and Death in Book 3 of the Faerie Queene.” Renaissance Papers 2017, edited by Jim Pearce and Ward J. Risvold, Boydell & Brewer, 2018, pp. 73–88.
Humor’s ability to halt or interrupt a given interpretive or ideological flow can be observed in the poetry of late sixteenth- and early seventeenth-century England. Specifically, episodes in Spenser’s Faerie Queene show how humorous treatments can arrest what may be premature or overly selfish responses to perceived death and point towards alternative assessments of the situation. The effects created by this interruption can range from strategic bathos (in the local lines of the poem) to a general reconsideration of thematic elements. In pairing humor with death, Spenser’s poetry critiques the self-aggrandizement and ego glorification of the victim’s discourse, questioning the assumptions of a would-be martyr.
While the disruptive power of humor can be a tool for reifying class distinction (and a sort of status quo in terms of social set ups), humor essentially serves to arrest particular linguistic or cultural equations. In poetry, this effect can problematize strict equivalence connections or culturally conditioned links. Specifically, the well-worn linguistic/cultural bonds between death and sex can be mocked, reversed, reconsidered, or even expanded in unlikely ways if humor is injected. In Edmund Spenser’s Faerie Queene, a few passages show how an overly self-involved perspective on death actually ends up conflating sexual love with physical annihilation. The poem presents an outside perspective (be it the narrative set up or the view of another character) interjecting itself into the proceedings, making this conflation obviously specious and ultimately self-defeating. These outside perspectives utilize humorous devices to halt or undercut the grandiose claims of the lamenting or overlyserious figure.
While this period is not without its acknowledged wits and humorists, notes on Spenser’s humor are a more recent addition to the scholarly conversation. Long billed as “our sage and serious Poet,” borrowing Milton’s phrase, Spenser has begun to be seen as more than a dour moralizer or a humorless Protestant zealot. In the Faerie Queene, and especially in book 3 (the legend of chastity), Spenser sets up situations where death is bemoaned or threatened or effectively invoked, only for another perspective to intrude and interrupt the course of grief or fear or despair. This outside perspective belongs ultimately to the reader of the poem, but it can also belong to a character who intrudes on the insularity of the lamenting figure.
Taylor, Amanda. “The Compounded Body: Bodily Knowledge Production in the Works of Andreas Vesalius and Edmund Spenser.” Journal of Medieval and Early Modern Studies, vol. 48, no.1, 2018, pp. 153-182.
The sixteenth century witnessed the publication of landmark texts on anatomy and allegory: De humani corporis fabrica or On the Fabric of the Human Body by Andreas Vesalius in 1543 and The Faerie Queene by Edmund Spenser, published first in 1590. Each of these texts has received considerable attention in regard to the human body. Vesalius’s illustrations provided new information about human anatomy accessible to a much wider audience, and in book II of The Faerie Queene, Spenser allegorizes the body in relation to the question of temperance. The question of temperance is fundamentally a medical one because it interrogates the body’s humoral composition and how that composition is changed — and the body literally remade — as a result of external influences. In spite of these shared thematic and medical aspects, comparative approaches to these masterpieces by the chief anatomist and chief allegorist of the sixteenth century are scarce. Through an examination of these texts, this article argues that both works share an identifiable bodily epistemology that positions knowledge production in the bodies of all, including women and lower-status men. Even as this bodily epistemology offers an idealized representation of the presumably male body, that idealization is also inextricably linked to nonidealized, even abject bodies, so that these early modern notions of bodily knowledge production both undergird and challenge assumptions about gender and class.
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