By Randy Robertson
Censorship profoundly affected early glossy writing. Censorship and clash in Seventeenth-Century England deals a close photo of early sleek censorship and investigates the pressures that censorship exerted on seventeenth-century authors, printers, and publishers. within the 1600s, Britain witnessed a civil battle, the judicial execution of a king, the recovery of his son, and an unremitting fight between crown, parliament, and folks for sovereignty and the correct to outline liberty and estate. This conflict, occasionally refined, occasionally bloody, entailed a fight for the keep an eye on of language and illustration. Robertson deals a wealthy examine of this censorship contest and of the craft that writers hired to outflank the licensers. He argues that for many events, victory, now not international relations or consensus, was once the last word aim. This e-book differs from newest works in reading either the mechanics of early sleek censorship and the poetics that the licensing procedure produced the types and pressures of self-censorship. one of the concerns that Robertson addresses during this booklet are the workings of the licensing equipment, the designs of artwork and obliquity less than a regime of censorship, and the involutions of authorship attendant on anonymity.
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Additional resources for Censorship and Conflict in Seventeenth-Century England: The Subtle Art of Division (Penn State Studies in the History of the Book)
The ‘‘social contract’’ model that Patterson espouses is particularly problematic, as the very idea of a social contract provoked controversy in early modern England. 87 Indeed, even indirect political commentary fell within the sweep of the censorship laws. Debora Shuger, endorsing Patterson’s position, has recently argued that ‘‘[f]rom the mid-sixteenth to the mid-seventeenth century English defamation law operated with the hermeneutic rule known as mitior sensus (literally, the milder sense).
There’s your perpetual pattern, matter enough to deal with any king in Europe. ’’138 The pretension that ‘‘Amsterdam’’ was the letter’s source was apposite: Puritans of Marvell’s stripe regarded the Dutch as their political and spiritual kindred, and ‘‘Amsterdam’’ was the false imprint of choice among London printers (Marvell’s Account of the Growth of Popery bore an Amsterdam imprint). The Letter’s very anonymity was parodic, a satiric jab at the shady politics of anonymous publication. Charles’s laureate John Dryden also deployed anonymity in an arch fashion.
Though Pulpiteers can’t do it, yet ’tis fit Poets have more success, because more wit. ’’ Lucasta’s delicate ‘‘art’’ was, then, not simply tact, it was deceit. In Chapter 3 I turn to Milton’s handling of censorship during the war and interregnum. Milton was capable of attaining the soft tones and airy quality of INTRODUCTION w 23 Lovelace’s lyrical verse, but during the civil wars he famously renounced poetry for prose. Like Prynne, Milton clamored for change in both church and state, yet he was a far more dexterous writer and a far more radical reformer than Prynne.
Censorship and Conflict in Seventeenth-Century England: The Subtle Art of Division (Penn State Studies in the History of the Book) by Randy Robertson