Harvey’s 1593 ‘To Be and Not To Be’

2019 ◽  
Vol 31 (1-2) ◽  
pp. 87-100
Author(s):  
Dennis McCarthy
Keyword(s):  
Present Article ◽  
Ben Jonson ◽  
Title Page ◽  
Thomas Nashe ◽  
Gabriel Harvey

Ever since the discovery of the first quarto of Hamlet (Q1) in 1823, it has generated fierce debate among scholars about its origin. Recently, Terri Bourus has written a powerful book-length argument that Q1 was indeed by Shakespeare, as its title page states, and that he wrote it by 1589. The present article bolsters Bourus’s conclusion with a careful look at its title page claims as well as the literary satires of Thomas Nashe, Gabriel Harvey and Ben Jonson. Specifically, Q1’s title page and apparent allusions to Hamlet in the early 1590s pamphlet war of Nashe and Harvey independently confirm an earlier chronology for the tragedy. Jonson also attributes a line exclusive to Q1 to his caricature of Shakespeare in Every Man Out of His Humor (1600). The evidence suggests Shakespeare had written Q1 much earlier than conventionally assumed and that there was no ‘lost Hamlet’.

‘Maymd soldiours or poore schollers’

2018 ◽  
Vol 95 (1) ◽  
pp. 62-73
Author(s):  
Per Sivefors
Keyword(s):  
Present Article ◽  
Social Reality ◽  
War And Peace ◽  
Thomas Nashe ◽  
Complex Interplay ◽  
Gabriel Harvey ◽  
War Metaphor

The present article suggests that war and peace are explored in the works of Thomas Nashe as figures for the condition of the writer. Throughout his career, including his troubles with the authorities and his conflict with Gabriel Harvey, Nashe makes use of the war metaphor in order to elaborate on the condition of authorship. However, war is also a literal presence in Nashe’s texts, which frequently reference events like the Spanish Armada or the campaign in Ireland. Thus, the article examines the complex interplay between social reality and self-referential metaphor that characterizes Nashe’s use and descriptions of warfare.

Thomas Nashe On and Off the Page

2019 ◽  
pp. 230-282
Author(s):  
Jennifer Richards
Keyword(s):  
Material Objects ◽  
Live Performance ◽  
Role Performance ◽  
Thomas Nashe ◽  
Direct Address ◽  
Gabriel Harvey ◽  
The University ◽  
Last Will And Testament

This chapter shifts attention from the literariness of Thomas Nashe’s style to its performability. It recalls the role performance played in his education, and his links to the theatre. It considers what was so meaningful about live performance that he tried to recreate its effect in printed prose. It explores the theatricality of his prose: his use of the rhetorical sentence to represent live thinking; his use of direct address in Summers last will and testament and The Unfortunate Traveller; and his imitation of the university play Pedantius in Have with you to Saffron Walden. Nashe’s attempt to bring the flat page to life with thought, wit, and emotion explains his criticism of Gabriel Harvey, whose pamphlets he represents as material objects that can be reduced to their constituent parts with no loss.

Ben Jonson and Gabriel Harvey

1903 ◽  
Vol s9-XII (301) ◽  
pp. 263-265
Author(s):  
H. C. Hart
Keyword(s):  
Ben Jonson ◽  
Gabriel Harvey

scholarly journals Thomas Nashe and Popular Conformity in Late Elizabethan England

2001 ◽  
Vol 37 (4) ◽  
pp. 25-43
Author(s):  
Jennifer L. Andersen
Keyword(s):  
Present Article ◽  
Thomas Nashe ◽  
Nous Permet

Le présent article propose que la participation de Thomas Nashe à la controverse «Marprelate» du côté des évêques élisabéthains nous permet de mieux comprendre l’attitude anti-puritaine qui se manifeste à travers son œuvre. Bien que la critique ait eu tendance à représenter Nashe comme proto-journaliste séculaire et amoral, vendant ses services de manière cynique, on peut maintenir que ses écrits font preuve d’une connaissance approfondie de la position polémique des conformistes. Ses attaques contre les Puritains le montrent conscient de ce que les conformistes craignaient dans les revendications puritaines réformatrices, tandis que ses œuvres plus tardives suivent la rhétorique et l’argumentation conformistes comme ces dernières évoluaient d’une campagne négative contre les Puritains vers une défense de l’état actuel des choses.

Spenser, Raleigh, Harvey, and Nashe on Empire

2019 ◽  
Vol 68 (261) ◽  
pp. 143-161
Author(s):  
Andrew Hadfield
Keyword(s):  
Early Modern ◽  
Edmund Spenser ◽  
Moral Reasons ◽  
Thomas Nashe ◽  
Historical Reality ◽  
Gabriel Harvey ◽  
Sir Walter Raleigh ◽  
The University ◽  
The Impact ◽  
Richard Hakluyt

Abstract 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.

Hostile Makeovers

2021 ◽  
pp. 173-193
Author(s):  
Pamela Allen Brown
Keyword(s):  
Ben Jonson ◽  
Thomas Nashe ◽  
Italian Women

Not every playwright appreciated the diva’s gifts. When the actress-driven innamorata entered the scene, some saw her as a threat that challenged their hold over the stage. The most common countertactic was to equate actresses with whores and common courtesans, as Thomas Nashe does in Pierce Penniless. Others wrote plays that figured amorous Italian women as dangerous Circes, as Anthony Munday does in The Two Italian Gentlemen. When a play directly represents an Italian actress, the authors marginalize and silence her, as did Day, Wilkins, and Rowley with “Harlakin’s Wife” in The Travailes of the Three English Brothers. In Volpone, Ben Jonson turned his satire on Englishwomen like Fine Lady Would-Be, bent on imitating Italian courtesans and actresses. He excised all the resourcefulness from the virtuous Celia, who resembles the virgo as she falls victim to a violently venal husband and cynical lecher who strive to cast her as a flexible player-whore.

Ben Jonson and Gabriel Harvey

1903 ◽  
Vol s9-XII (296) ◽  
pp. 161-162
Author(s):  
H. C Hart
Keyword(s):  
Ben Jonson ◽  
Gabriel Harvey

Aretino and the Harvey-Nashe Quarrel

PMLA ◽  
1969 ◽  
Vol 84 (6) ◽  
pp. 1551-1559 ◽  
Author(s):  
David C. McPherson
Keyword(s):  
Thomas Nashe ◽  
Gabriel Harvey ◽  
Pietro Aretino ◽  
Prevailing View

Gabriel Harvey and Thomas Nashe disagreed violently about Pietro Aretino, the Italian polemicist and pornographer (1492-1556), and their differences about him help to explain why Nashe was able to make a laughingstock of Harvey in their literary quarrel. During Harvey's youth (in the 1570's), he held the then prevailing view that Aretino was a gifted polemicist and politician (only in the 1590's did English writers begin to think of the Italian almost exclusively as a pornographer). In 1592 Harvey attacked Aretino just as violently as he had earlier praised him. His change of opinion must have occurred because he had had his fingers burned writing satire in 1580 and because Nashe, now his opponent, was praising Aretino extravagantly as the Scourge of Princes. Harvey, because of his distaste for Aretino and indeed for all satirists, was now writing as a man of reason above scurrility. Nashe, with Aretino as one of his models, cultivated an opposite pose, that of the lashing modern prose satirist, long on hyperbole and short on sober seriousness. Harvey, with his ponderous irony, was no match for Nashe, the “true English Aretine.“ (DCMcP)

scholarly journals THE RELEVANCE OF REMORSE IN SENTENCING: A REPLY TO BAGARIC AND AMARASEKARA (AND DUFF)

2005 ◽  
Vol 10 (2) ◽  
pp. 760 ◽  
Author(s):  
STEVEN TUDOR
Keyword(s):  
Present Article ◽  
Title Page ◽  
Mitigating Factor

<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>[</span><span>In their 2001 article </span><span>“Feeling Sorry? — Tell Someone Who Cares: The Irrelevance of Remorse in Sentencing”</span><span>, Bagaric and Amarasekara argue that offender remorse should be abandoned as a mitigating factor in sen- tencing because it lacks adequate doctrinal support. The present article argues that Bagaric and Amarasekara’s survey of reasons for remorse be- ing a mitigating factor is not wide enough, and, moreover, that their ar- guments against the reasons that they do consider are, at least, controversial. In the course of this reply, the present article also replies to arguments against remorse as a mitigating factor put forward by R. A. Duff.</span><span>] </span></p></div></div></div>

scholarly journals Underemployed Elizabethans: Gabriel Harvey and Thomas Nashe in the Parnassus Plays

Early Theatre ◽  
2018 ◽  
Vol 21 (2) ◽  
Author(s):  
P. B. Roberts
Keyword(s):  
Thomas Nashe ◽  
Cambridge University ◽  
Gabriel Harvey

The Parnassus comedies appeared at Cambridge University between 1598 and 1601. Since they make multiple allusions to topical events, texts, and personalities, scholars have conventionally read them as personal satire, with characters representing luminaries such as the recent Cambridge graduate Thomas Nashe. This article, however, demonstrates that speeches given to several characters in the last two plays are previously untraced quotations from another Cambridge alumnus, Nashe’s antagonist Gabriel Harvey. While the plays evoke Harvey and Nashe, they do this because the two men’s post-Cambridge experiences illustrate the plays’ theme, the struggles of the scholar in the late-Elizabethan world.

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