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n.1.See Lanier.
Webster's Revised Unabridged Dictionary, published 1913 by G. & C. Merriam Co.
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I do not think it is a coincidence that we have the first printed drama by a female playwright, Elizabeth Cary, the first substantial collection of poetry written for a patron by a female poet, Aemilia Lanyer, and the first printed prose romance written by a woman, Mary Wroth, all published during Anna's reign or just after her death.
Focusing on relatively short poems, typically but not invariably in the first person, composed in English roughly during the period 1200 to 1645, he explores vernacular eloquence: reading older poetry rhetorically, what a lyric poem was, anonymous Middle English lyrics on the Virgin Mary, the love complaint ballade: Chaucer and Wyatt, the love sonnet from Wyatt to Shakespeare, the country house poem: Lanyer and Jonson, and the pastoral elegy: Milton's "Lycidas." ([umlaut] Ringgold, Inc., Portland, OR)
Larson's discussion of Amelia Lanyer's rewriting of Salve Deus Rex Judaeorum demonstrates how women created and used safe spaces to engage in literary discourse.
Estok discusses ecocriticism in relation to queer theory, meat-eating, and masculinity in Timon of Athens; the country house poems of Aemilia Lanyer and Ben Jonson are examined in two complementary essays by Louise Noble and Amy Tigner; and Edward J.
In 1597 Amelia Lanyer visited the astrologer and physician Simon Forman several time at his practice on Philpot Lane in Westminster.
The third chapter, by Susannah Mintz, offers a fascinating interpretation of Collins' invocation of disability in several of her poems within the context of other writers' treatments of the same, including Traherne and Aemilia Lanyer. Unlike these other two poets, Collins, in Mintz's argument, "figures disablement less as encumbrance than as an opportunity to rethink the grounds of identity" (68).
Hodgdon, "Prophecy and Gendered Mourning in Lanyer's Salve Detts Rex Judaeorum," Studies in English Literature 43 (2003): 101-16.
Early Modern Women on the Fall includes relatively well-known voices, such as Aemelia Lanyer (selections from Salve Deus Rex Judaeorum), Katherine Philips ("To Antenor, on a Paper of Mine"), and Mary Astell (A Serious Proposal to the Ladies) alongside texts that have never before appeared in a modern edition, including Dorothy Calthorpe's "A Description of the Garden of Eden" and selections from Mary Roper's The Sacred History.
It might also have been worth considering figures such as Anne Boleyn and Elizabeth Woodville, who aimed to be queen consort rather than royal concubine; court mistresses such as Aemilia Lanyer and Lady Martha Penistone (mistress to Richard Sackville, 3rd Earl of Dorset); women who traded sex work not only for trinkets and finery but also for basic necessities of food and shelter--sometimes as a primary occupation but perhaps as often as a supplement to inadequate means of sustenance; and shopkeeping wives "pimped out" by husbands to attract customers.
favorite Charles Lanyer, along with newcomers Joan McMurtrey and William Converse-Roberts) intrigued our subscribers, even if the play was for some more of an appetizer than a full meal.
Following an examination of the architectural closet's cultural roles, including its location on the threshold between private and public as well as its associations with inner physiological and mental chambers, Larson highlights Aemelia Lanyer's creation of closet spaces in the dedicatory epistles to Salve Deus Rex Judaeorum and her set-up of her text as itself a closet space that her readers may enter to interact with Christ.