Divided Conquerors: the Rump Parliament, Cromwell's Army and Ireland

This article reassesses the relationship that existed in the period 1649–53 between war in Ireland and politics in England. Drawing upon a largely overlooked Irish army petition, it seeks to remedy an evident disconnect between the respective historiographies of the Cromwellian conquest of Ireland on the one hand and the Rump Parliament on the other. The article reconstructs some of the various disputes over religion, authority and violence that undermined the unity of the English wartime regime in Ireland. It then charts the eventual spilling over of these disputes into Westminster politics, arguing that their impact on deteriorating army-parliament relations in the year prior to Oliver Cromwell’s expulsion of the Rump in April 1653 has not been fully appreciated. The key driver of these developments was John Weaver, a republican MP and commissioner for the civil government of Ireland. The article explains how his efforts both to place restraints on the excessive violence of the conquest and to exert civilian control over the military evolved, by 1652, into a determined campaign at Westminster to strengthen the powers of Ireland’s civil government and to limit the army’s share in the prospective Irish land settlement. Weaver’s campaign forced the army officers in Ireland to intervene at Westminster, thus placing increased pressure on the Rump Parliament. This reassessment also enables the early 1650s to be viewed more clearly as a key phase in the operation of the longer-term relationships of mutual influence that existed between Dublin and London in the seventeenth century.

Lay Catholicism and Religious Policy in Cromwellian Ireland

The conquest of Ireland between 1649 and 1653 created almost as many problems as it solved for the English government of the country. Not least of these was how, if at all, the majority Catholic population was to be won over to Protestantism. This article reassesses Cromwellian religious policy towards the Catholic laity and traces its evolution up to the end of the decade, taking account also of Catholic responses to official measures. It argues that the supposed leniency of government policy has been overstated and that Catholics who refused to conform to Protestantism in fact risked heavy penalties.

Oliver Cromwell and the 'Cromwellian' Settlement of Ireland

Oliver Cromwell remains a deeply controversial figure in Ireland. In the past decade, his role in the conquest has received sustained attention. However, in recent scholarship on the settlement of Ireland in the 1650s, he has enjoyed a peculiarly low profile. This trend has served to compound the interpretative problems relating to Cromwell and Ireland which stem in part from the traditional denominational divide in Irish historiography. This article offers a reappraisal of Cromwell's role in designing and implementing the far-reaching ‘Cromwellian’ land settlement. It examines the evidence relating to his dealings with Irish people, both Protestant and Catholic, and his attitude towards the enormous difficulties which they faced post-conquest. While the massacre at Drogheda in 1649 remains a blot on his reputation, in the 1650s Cromwell in fact emerged as an important and effective ally for Irish landowners seeking to defeat the punitive confiscation and transplantation policies approved by the Westminster parliament and favoured by the Dublin government.

The Transplanters' Certificates and the Historiography of Cromwellian Ireland

This article is concerned with a key source for the transplantation to Connacht known as the 'transplanters' certificates'. It explores how those documents were used and interpreted by scholars both before and after their destruction in 1922 and employs the surviving evidence to reassess their significance.

Doing Kyd: Essays on The Spanish Tragedy

Doing Kyd reads Thomas Kyd's The Spanish Tragedy, the box-office and print success of its time, as the play that established the revenge genre in England and served as a 'pattern and precedent' for the golden generation of early modern playwrights, from Marlowe and Shakespeare to Middleton, Webster and Ford. Interdisciplinary in approach and accessible in style, this collection is crucial in two respects: firstly, it has a wide spectrum, addressing readers with interests in the play from its early impact as the first sixteenth-century revenge tragedy, to its afterlife in print, on the stage, in screen adaptation and bibliographical studies. Secondly, the collection appears at a time when Kyd and his play are back in the spotlight, through renewed critical interest, several new stage productions between 2009 and 2013, and its firm presence in higher-education curriculum for English and drama.

Una planta sin clásicos. La berenjena en la farmacología medieval y renacentista

La berenjena (Solanum melongena L.) es una planta solanácea de múltiples variedades, cuyos ancestros salvajes se sitúan en Indochina y el este de África. Su cultivo fue muy temprano en zonas de China e India. Aun así, no se extendió al Occidente antiguo ni apenas se conoció, de ahí su ausencia en los textos clásicos de botánica y farmacología. Fueron los árabes quienes llevaron el cultivo de la planta por el Norte de África y Al-Andalus, de donde pasó ya a Europa. Los primeros testimonios occidentales de la berenjena aparecen en traducciones latinas de textos árabes, para incorporarse luego a la literatura farmacológica medieval y, más tarde ya, a la del Renacimiento, que empezó a tratar de ella por su posible parecido con una especie de mandrágora. Pese a que se le reconocían algunas virtudes medicinales, siempre se la tuvo bajo sospecha por ser de sabor poco agradable, indigesta y causante de algunas afecciones. Solo los botánicos de finales del Renacimiento describirían la planta y sus variedades con criterios más «científicos» y botánicos, ya sin apenas intereses farmacológicos.

La fortuna de la "Artificiosa memoria sive Phoenix" de Pedro de Rávena: entre el éxito y la retractatio

La Artificiosa memoria siue Phoenix de Pedro de Rávena tuvo una amplia difusión en la Europa del siglo XVI. Dos son las claves de su éxito: la fama de ilustre memorioso que consiguió forjarse con sus exhibiciones de memoria y el uso de las emociones en la formulación de reglas mnemotécnicas basadas en el humor y el erotismo. Sin embargo, poco antes de morir, en 1508, publicó unas breves Additiones quaedam ad artificiosam memoriam en las que añade algunas reglas nuevas y, sobre todo, renuncia a la norma que aconseja usar la imagen de jóvenes hermosas para elaborar escenas mnemotécnicas. Esta suerte de retractatio se explica en el contexto de la polémica mantenida con algunos teólogos de Colonia

La inevitable inconsistencia del Zeus/Júpiter épico

Durante años la investigación literaria ha encontrado fruición en buscar y encontrar inconsistencias narrativas en la Tebaida de Estacio. Concretamente, hay cierto grado de consenso respecto a que las incongruencias en que incurre Júpiter son debidas a negligencia o incuria por parte del poeta. De hecho, no se puede negar que el soberano del cielo se contradice en las ocasiones en que alude a su relación con el Destino. No obstante, no será únicamente el poeta flavio el objeto de mi atención en este artículo. Hoy día se continúa acudiendo a la autoridad filosófica de Séneca (fundamentalmente a Dial. 1.5.8) siempre que el Zeus/Júpiter poshomérico (también el virgiliano) incurre en lo que hemos dado en considerar «incoherencias». Sin embargo, excepción hecha de las composiciones hesiódicas, el estatuto teológico de Zeus/Júpiter es altamente inestable en toda la tradición literaria griega y romana. Quizá deberíamos aceptar, entonces, que durante siglos los que estudiamos literatura antigua hemos tendido a prescindir de la voz autorial y de su autoridad omnímoda para manipular el material literario preexistente con el objeto de generar nuevos significados y nuevas cosmovisiones. En definitiva, nos hemos mostrado proclives a calificar de inconsistencias todo aquello que no se adecua a nuestras expectativas o prejuicios.

Deep into fragile memory: the other secretaries of the Holy Office.

The secretaries of the secret were an essential element of the Holy Office’s district courts. They were in charge of record-ing and writing all of the official documents of these tribunals, but also of keeping the archive in order. And not only of these, so they were not the simple bureaucrats that the traditional historians wrote about. In fact, their long working hours turned a unique and much defined office into a complex taxonomy of professionals who shared the secretaries of the secret’s concerns but not their privileges. This paper aims to go in depth into these profession-als’ current life. They were not officials, but they take care of some important duties even if they were not getting paid for it.

”By my Lords comand, I am to acquainte you”: An Edition of the Seventeenth-Century Correspondence of the Wentworth Family in the Folger Shakespeare Library

This thesis is an edition of the correspondence of the Yorkshirean Wentworth family. The aim of the edition is to provide these handwritten manuscripts to a wider audience by transcribing them. The material has been acquired from the Folger Shakespeare Library, and the transcriptions presented in this thesis are a part of their database called Early Modern Manuscripts Online. My material consists of fifteen documents from the early modern period which have been sent to or sent by members of the Wentworth family. Fourteen of these documents are letters, and one is a warrant written in the form of a letter. In the Folger Shakespeare Library the documents form the section 2.1. Correspondence of the Wentworth family in a larger collection called Papers of the Cavendish-Talbot family. The documents have been transcribed diplomatically in order to retain the character of the original manuscripts. In addition to the transcriptions, background chapters on letter writing, the historical and linguistic context, and palaeography are provided. Furthermore, each text includes a commentary containing a brief summary of the text and a description of the manuscript. Notes concerning specific words or concepts are also provided to make the texts easier to understand. Additionally, the transcriptions are encoded in XML for the purposes of the Folger Shakespeare Library. These earlier unedited manuscripts reassert the status of the Wentworth family in the early modern English society and provide information about letter writing conventions, language, and palaeographical conventions in early modern England. This edition can be used in further studies, for example as part of a larger corpus.

A Better Place to Be: Republicanism as an Alternative to the Authoritarianism-Democracy Dichotomy

ABSTRACT Title of Dissertation: A BETTER PLACE TO BE: REPUBLICANISM AS AN ALTENATIVE TO THE AUTHORITARIANISM-DEMOCRACY DICHOTOMY Christopher Ronald Binetti, Doctor of Philosophy, and 2016 Dissertation directed by: Dr. Charled Frederick Alford, Department of Government and Politics In this dissertation, I argue that in modern or ancient regimes, the simple dichotomy between democracies and autocracies/dictatorships is both factually wrong and problematic for policy purposes. It is factually wrong because regimes between the two opposite regime types exist and it is problematic because the either/or dichotomy leads to extreme thinking in terms of nation-building in places like Afghanistan. In planning for Afghanistan, the argument is that either we can quickly nation-build it into a liberal democracy or else we must leave it in the hands of a despotic dictator. This is a false choice created by both a faulty categorization of regime types and most importantly, a failure to understand history. History shows us that the republic is a regime type that defies the authoritarian-democracy dichotomy. A republic by my definition is a non-dominating regime, characterized by a (relative) lack of domination by any one interest group or actor, mostly non-violent competition for power among various interest groups/factions, the ability of factions/interest groups/individual actors to continue to legitimately play the political game even after electoral or issue-area defeat and some measure of effectiveness. Thus, a republic is a system of government that has institutions, laws, norms, attitudes, and beliefs that minimize the violation of the rule of law and monopolization of power by one individual or group as much as possible. These norms, laws, attitudes, and beliefs ae essential to the republican system in that they make those institutions that check and balance power work. My four cases are Assyria, Persia, Venice and Florence. Assyria and Persia are ancient regimes, the first was a republic and then became the frightening opposite of a republic, while the latter was a good republic for a long time, but had effectiveness issues towards the end. Venice is a classical example of a medieval or early modern republic, which was very inspirational to Madison and others in building republican America. Florence is the example of a medieval republic that fell to despotism, as immortalized by Machiavelli’s writings. In all of these examples, I test certain alternative hypotheses as well as my own.

Modeling the Network of Dutch and Flemish Print Production, 1550-1750

The production of artistic prints in the sixteenth- and seventeenth-century Netherlands was an inherently social process. Turning out prints at any reasonable scale depended on the fluid coordination between designers, platecutters, and publishers; roles that, by the sixteenth century, were considered distinguished enough to merit distinct credits engraved on the plates themselves: invenit, fecit/sculpsit, and excudit. While any one designer, plate cutter, and publisher could potentially exercise a great deal of influence over the production of a single print, their individual decisions (Whom to select as an engraver? What subjects to create for a print design? What market to sell to?) would have been variously constrained or encouraged by their position in this larger network (Who do they already know? And who, in turn, do their contacts know?) This dissertation addresses the impact of these constraints and affordances through the novel application of computational social network analysis to major databases of surviving prints from this period. This approach is used to evaluate several questions about trends in early modern print production practices that have not been satisfactorily addressed by traditional literature based on case studies alone: Did the social capital demanded by print production result in centralized, or distributed production of prints? When, and to what extent, did printmakers and publishers in the Low countries favor international versus domestic collaborators? And were printmakers under the same pressure as painters to specialize in particular artistic genres? This dissertation ultimately suggests how simple professional incentives endemic to the practice of printmaking may, at large scales, have resulted in quite complex patterns of collaboration and production. The framework of network analysis surfaces the role of certain printmakers who tend to be neglected in aesthetically-focused histories of art. This approach also highlights important issues concerning art historians’ balancing of individual influence versus the impact of longue durée trends. Finally, this dissertation also raises questions about the current limitations and future possibilities of combining computational methods with cultural heritage datasets in the pursuit of historical research.

King of the Renaissance: Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494

In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.

Delito y moral en el Coloquio de los perros

[es] En virtud del pensamiento jurídico de la Edad Moderna los conceptos de delito y pecado estaban interrelacionados. Asimismo, las Novelas ejemplares, entre otras obras literarias, reflejan la ideología imperante y concerniente a la necesaria salvaguarda del orden público y religioso. A la luz del derecho criminal castellano, el principal propósito de este ensayo es el análisis de los comportamientos heterodoxos y de los delitos perpetrados por los personajes del Coloquio de los perros. Algunas prácticas ilícitas contempladas son el robo, el amancebamiento y la brujería. [en]In the Early Modern legal thought the concepts of crime and sin were interconnected. Furthermore Exemplary Novels, amongst other literary works, reflect the prevailing ideology concerning to necessary maintenance of public and religious order. In the light of the Castilian criminal law, the main purpose of this essay is the analysis of the heterodox behaviors and the offences perpetrated by the characters in The dialogue of the dogs. Some narrated crimes are theft, concubinage and sorcery.

Reproducing Women: Female Bodily Narratives and English Patriarchies, 1600-1660

During the early Stuart period, England’s return to male monarchal rule resulted in the emergence of a political analogy that understood the authority of the monarch to be rooted in the “natural” authority of the father; consequently, the mother’s authoritative role within the family was repressed. As the literature of the period recognized, however, there would be no family unit for the father to lead without the words and bodies of women to make narratives of dynasty and legitimacy possible. Early modern discourse reveals that the reproductive roles of men and women, and the social hierarchies that grow out of them, are as much a matter of human design as of divine or natural law. Moreover, despite the attempts of James I and Charles I to strengthen royal patriarchal authority, the role of the monarch was repeatedly challenged on stage and in print even prior to the British Civil Wars and the 1649 beheading of Charles I. Texts produced at moments of political crisis reveal how women could uphold the legitimacy of familial and political hierarchies, but they also disclose patriarchy’s limits by representing “natural” male authority as depending in part on women’s discursive control over their bodies. Due to the epistemological instability of the female reproductive body, women play a privileged interpretive role in constructing patriarchal identities. The dearth of definitive knowledge about the female body during this period, and the consequent inability to fix or stabilize somatic meaning, led to the proliferation of differing, and frequently contradictory, depictions of women’s bodies. The female body became a site of contested meaning in early modern discourse, with men and women struggling for dominance, and competitors so diverse as to include kings, midwives, scholars of anatomy, and female religious sectarians. Essentially, this competition came down to a question of where to locate somatic meaning: In the opaque, uncertain bodies of women? In women’s equally uncertain and unreliable words? In the often contradictory claims of various male-authored medical treatises? In the whispered conversations that took place between women behind the closed doors of birthing rooms? My dissertation traces this representational instability through plays by William Shakespeare, John Ford, Thomas Middleton, and William Rowley, as well as in monstrous birth pamphlets, medical treatises, legal documents, histories, satires, and ballads. In these texts, the stories women tell about and through their bodies challenge and often supersede male epistemological control. These stories, which I term female bodily narratives, allow women to participate in defining patriarchal authority at the levels of both the family and the state. After laying out these controversies and instabilities surrounding early modern women’s bodies in my first chapter, my remaining chapters analyze the impact of women’s words on four distinct but overlapping reproductive issues: virginity, pregnancy, birthing room rituals, and paternity. In chapters 2 and 3, I reveal how women construct the inner, unseen “truths” of their reproductive bodies through speech and performance, and in doing so challenge the traditional forms of male authority that depend on these very constructions for coherence. Chapter 2 analyzes virginity in Thomas Middleton and William Rowley’s play The Changeling (1622) and in texts documenting the 1613 Essex divorce, during which Frances Howard, like Beatrice-Joanna in the play, was required to undergo a virginity test. These texts demonstrate that a woman’s ability to feign virginity could allow her to undermine patriarchal authority within the family and the state, even as they reveal how men relied on women to represent their reproductive bodies in socially stabilizing ways. During the British Civil Wars and Interregnum (1642-1660), Parliamentary writers used Howard as an example of how the unruly words and bodies of women could disrupt and transform state politics by influencing court faction; in doing so, they also revealed how female bodily narratives could help recast political historiography. In chapter 3, I investigate depictions of pregnancy in John Ford’s tragedy, ‘Tis Pity She’s a Whore (1633) and in early modern medical treatises from 1604 to 1651. Although medical texts claim to convey definitive knowledge about the female reproductive body, in actuality male knowledge frequently hinged on the ways women chose to interpret the unstable physical indicators of pregnancy. In Ford’s play, Annabella and Putana take advantage of male ignorance in order to conceal Annabella’s incestuous, illegitimate pregnancy from her father and husband, thus raising fears about women’s ability to misrepresent their bodies. Since medical treatises often frame the conception of healthy, legitimate offspring as a matter of national importance, women’s ability to conceal or even terminate their pregnancies could weaken both the patriarchal family and the patriarchal state that the family helped found. Chapters 4 and 5 broaden the socio-political ramifications of women’s words and bodies by demonstrating how female bodily narratives are required to establish paternity and legitimacy, and thus help shape patriarchal authority at multiple social levels. In chapter 4, I study representations of birthing room gossip in Thomas Middleton’s play, A Chaste Maid in Cheapside (1613), and in three Mistris Parliament pamphlets (1648) that satirize parliamentary power. Across these texts, women’s birthing room “gossip” comments on and critiques such issues as men’s behavior towards their wives and children, the proper use of household funds, the finer points of religious ritual, and even the limits of the authority of the monarch. The collective speech of the female-dominated birthing room thus proves central not only to attributing paternity to particular men, but also to the consequent definition and establishment of the political, socio-economic, and domestic roles of patriarchy. Chapter 5 examines anxieties about paternity in William Shakespeare’s The Winter’s Tale (1611) and in early modern monstrous birth pamphlets from 1600 to 1647, in which children born with congenital deformities are explained as God’s punishment for the sexual, religious, and/or political transgressions of their parents or communities. Both the play and the pamphlets explore the formative/deformative power of women’s words and bodies over their offspring, a power that could obscure a father’s connection to his children. However, although the pamphlets attempt to contain and discipline women’s unruly words and bodies with the force of male authority, the play reveals the dangers of male tyranny and the crucial role of maternal authority in reproducing and authenticating dynastic continuity and royal legitimacy. My emphasis on the socio-political impact of women’s self-representation distinguishes my work from that of scholars such as Mary Fissell and Julie Crawford, who claim that early modern beliefs about the female reproductive body influenced textual depictions of major religious and political events, but give little sustained attention to the role female speech plays in these representations. In contrast, my dissertation reveals that in such texts, patriarchal society relies precisely on the words women speak about their own and other women’s bodies. Ultimately, I argue that female bodily narratives were crucial in shaping early modern culture, and they are equally crucial to our critical understanding of sexual and state politics in the literature of the period.