English Literary Translation

Recent Studies in the English Renaissance
ELR bibliographic essays are intended to combine a topical review of research with a reasonably complete bibliography. Scholarship is organized by authors or titles of anonymous works. Items included represent combined entries listed in the annual bibliographies published by PMLA, YWES, and MHRA from 1971 through, in the present instance, 2008 with additional items through 2009.The format used here is a modied version of that used in Recent Studies in English Renaissance Drama, ed. Terence P. Logan and Denzel S. Smith, 4 vols. (University of Nebraska Press, 197378). The ELR series in edited by Elizabeth H. Hageman, Professor of EnglishEmerita, University of New Hampshire.
RECENT STUDIES IN ENGLISH TRANSLATION, c. 1590 c. 1660: PART 2: TRANSLATIONS FROM VERNACULAR LANGUAGES
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This essay follows on from my Recent Studies in English Translation, c. 1590c. 1660, Part 1: General Studies and Translations from Greek and Latin, ELR 39 (2009), 197227, which includes sections on General Studies (I) and Studies of Translation from Greek and Latin (II). It should be used in conjunction both with Part 1 and with my earlier Recent Studies in English Translation, c. 1520c.1590, ELR 37 (2007), 274316. Throughout these essays, issues of inuence, loose imitation, and adaptation are covered only exceptionally, and biblical translation (including Psalm translation) is excluded. Recent is generally understood as dating after 1980. A few items omitted from the 2007 essay are introduced here among studies of particular authors or topics. Items already given in Part 1 are cited in full on their rst occurrence in this part of the essay. III. Studies of Translation from Modern Vernaculars A. General. Warren Boutcher, Vernacular Humanism in the Sixteenth Century, in The Cambridge Companion to Renaissance Humanism, ed. Jill Kraye (1996), 189202, emphasizes the availability of vernacular translations of classical texts as well as the uses of modern vernacular literature. Boutchers A French Dexterity, & an Italian Condence: New Documents on John Florio,
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Learned Strangers and Protestant Humanist Study of Modern Languages in Renaissance England from c. 1547 to c. 1625, Reformation 2 (1997) 39109, recreates out of small documentary details the cultural milieu of the Protestant intellectual immigrant community in London, especially as it gathered around the Earl of Essex. Boutchers Humanism and Literature (III, C, 5, below) is also relevant. Andrew Hiscock, John Florio, in The Encyclopedia of Literary Translation into English, ed. Olive Classe (2000), 45356, outlines Florios career as lexicographer and translator of Montaigne. Items listed in II, A and II, D, 2, of Part 1 (see headnote to the present essay) often treat indiscriminately Latin and vernacular works. For example, Quentin Skinner, Visions of Politics, 3 vols (2002),Vol. II, 39596, sets Richard Knolles 1606 version of Jean Bodins Six Bookes of a Common-weale (translated out of the French and Latine copies) in the context of mainly Latin anti-republican writing. The Latin social and political theorists treated in Markku Peltonen, Classical Humanism and Republicanism in English Political Thought, 15701640 (1995), work alongside the vernacular writers on social manners and courtly behavior. Among the vernacular treatises treated by Peltonen are Furi Ceriols El concejo translated through an Italian intermediary by Thomas Blundeville (1570); Guazzos La Civil conversatione translated through a French intermediary by George Pettie (1581) and enlarged from the Italian by Bartholomew Yong (1586); Duccis Arte Aulica translated from Italian by Edward Blount (1607); Sansovinos Propositioni translated from Italian by Robert Hitchcock (1590); a succession of versions, starting with Robert Johnsons in 1601, of Boteros Relazioni; Du Refuges Trait de la Cour translated by John Reynolds (1622); and Lucinges De la Naissance, Dure, et Cheute des Estats translated by John Finet (1606). Along with manuals strictly related to duelling such as I.G.s 1594 Grassi and the anonymous 1595 Vincentio Sauiolo his Practise translated from Muzio, Peltonens The Duel in Early Modern England: Civility, Politeness, and Honour (2003) treats translated manuals of courtesy and civility beginning with Sir Edward Hobys 1561 Castiglione and continuing with Robert Petersons 1576 Della Casa, John Kepers 1598 Romei, Edward Grimestones 1632 Farat, William Styles 1640 Gracin Dantisco, and George Norths 1575 Philibert de Vienne. There is a useful bibliography of courtesy literature in Anna Bryson, From Courtesy to Civility: Changing Codes of Conduct in Early Modern England (1998), which treats the difcult vocabulary of civility and the prestige of Continental manners that made translation attractive. J. H. M. Salmon, Stoicism and Roman Example: Seneca and Tacitus in Jacobean England, JHI 50 (1989), 199225, treats William Jones (translator of Guicciardini), Thomas James (translator of Du Vair), and Samuel Lennard (translator of Charron), as part of a network of translators supported by the patronage rst of Essex and then of Prince Henry. Andrew Shifett, Stoicism,
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Politics, and History in the Age of Milton: War and Peace Reconciled (1998), 135, adduces Andrew Courts 1622 Buckler against Adversitie (translated from Du Vair) to insist on the politically active character of Stoicism. Gilles D. Monsarrat, Light from the Porch: Stoicism and English Renaissance Literature (1984), 6069, describing the Stoic revival as transmitted through French sources, notes some confusing details of translation in Thomas Jamess 1598 version of Du Vairs The Moral Philosophie of the Stoicks and in Samson Lennards 1608 translation of Charrons Of Wisdom. Andrew Hadelds anthology Amazons, Savages, and Machiavels: Travel and Colonial Writing in English, 15501630 (2001) includes selections from Richard Edens translation of Peter Martyr, M.M.Ss of Las Casas, John Porys of Leo Africanus, and a translation of Diego de Pantoia on China from Purchas His Pilgrimes. Hadelds Literature,Travel, and Colonial Writing in the English Renaissance, 15451625 (1998), 69133, treats Edward Grimestones much-adapted versions of Pierre DAvity and Joseph Acosta (related to specically English concerns). James P. Helfers, The explorer or the pilgrim? Modern critical opinion and the editorial methods of Richard Hakluyt and Samuel Purchas, SP 94 (1997), 16086, surveys the contexts (practical for Hakluyt, aesthetic for Purchas) for the collecting and translating of travel material. Anthony Payne, Strange, remote, and farre distant countreys: The Travel Books of Richard Hakluyt, in Journeys through the Market: Travel, Travellers and the Book Trade, ed. Robin Myers (1999), 138, analyzes the travel books available to Richard Halkuyt and his network of translators, as well as the commercial interests that supported his enterprise. William H. Sherman, Bringing the World to England: The Politics of Translation in the Age of Hakluyt, Transactions of the Royal Historical Society 14 (2004), 199207, explores Hakluyts context in a culture of translation from classical and Continental sources. His Stirrings and Searchings (15001720), in The Cambridge Companion to Travel Writing, ed. Peter Hulme and Tim Youngs (2002), 1736, is a lucid overview of the eld. Linda McJannet, History Written by the Enemy: The Reception of Eastern Sources About the Ottomans on the Continent and in England, ELR 36 (2006), 396429, examines the transmission of texts originally in Greek, Arabic, and Turkish, mainly through Latin or vernacular intermediary translations. John N. King and Mark Rankin, Print, Patronage, and the Reception of Continental Reform: 15211603, YES 38 (2008), 4967, is a statistical survey of the English publication (mainly in translation from Latin, but also from vernaculars) of Continental reformist literature. See also items by Tedeschi and Overell, III, D, 1, below. B. Dutch and German. Nigel Smith, Perfection Proclaimed: Language and Literature in English Radical Religion, 16401660 (1989), 10743, surveys the
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motives behind the translations of German mystical writing by John Everard (including an unprinted Theologia Germanica and a version of Sebastian Francks Forbidden Fruit) and Giles Randall (including another version of the Theologia Germanica, 1646). Smith notes that, despite working through Latin intermediaries, they effected a modication of the affective and expressive capacity of the English language in the direction of German.Writing on the revival of Familist literature in the 1640s, Smith (14484) distinguishes Niclaes prose in translation from the supercially similar rhetoric of midcentury English sectarians, treated at length in his account (185225) of the dissemination of Behmenist doctrine. The activity of Niclaes chief early translator Christopher Vitell (working in the 1570s) is described in Christopher W. Marsh, The Family of Love in English Society, 15501630 (1994). Catherine Greenbury and Mary Percy, ed. Jos Blom and Frans Blom (2006), includes Catherine Greenburys version of Franois van den Broeckes Dutch A Short Relation, of the Life of S. Elizabeth (St Omer 1628). Michael Haldane, The Translation of the Unseen Self: Fortunatus, Mercury and the Wishing Hat, Part I, Folklore 117 (2006), 17189, analyzes the themes of invisibility and secrecy as they surface in the German Fortunatus and its English versions. Haldanes The Date of Thomas Combes Fortunatus and its Relation to Thomas Dekkers Old Fortunatus, MLR 101 (2006), 31324, identies the translator of The right Pleasant and variable Tragicall Historie of Fortunatus (1640) as Thomas Combe (following the 1676 titlepage in reading T.C. for the 1640 title-pages T.G.), argues for his dependence on Dekkers play, and dates the translation to 16101615. Haldanes The Moral Voice in T.C.s Fortunatus, Neophil 91 (2007), 31932, reassigns the attribution to Thomas Churchyard and assumes a date before 1604 for the translation; Haldane also argues that the version is compromised by its clumsy attempt at moralization. Michael Bath, Anglo-Dutch Relations in the Field of the Emblem, in Emblems in Glasgow: A Collection of Essays Drawing on the Stirling Maxwell Collection in Glasgow University Library, ed. Alison Adams (1992), 2546, describes the versions of Jacob Cats by Joshua Sylvester and Thomas Heywood, and of Vaenius by Richard Verstegan. Karel Porteman introduces a facsimile edition of Otto van Veens polyglot 1608 Amorum Emblemata (1996). C. French 1. Corneille. Elizabeth Woodrough, Corneille et la Grande-Bretagne: LIntrt que suscite loeuvre de Pierre Corneille outre-Manche au XVIIe sicle, in Pierre Corneille, ed. Alain Niderst (1985), 7382, demonstrates the vigor of Corneilles reputation outside France, from Joseph Rutters 1638 Le Cid through William Popples in 1691; she remarks the contemporary neglect, despite the boost she gave to couplet drama, of Katherine Philips version of
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Pompe and also of her unnished Horace. A. Blanc, Les Traductions anglaises de Corneille, in France et GrandeBretagne de la chute de Charles Ier celle de Jacques II (16491688), ed. C. N. Smith and E.T. Dubois (1990), 17796, surveys translations from Rutter to Popple, notes Lowers tendency to Gallicism, and (while demurring at the interpolated songs in Pompey) commends Philips mastery of Corneilles metrical pacing. Derek Hughes, English Drama, 1660 1700 (1996), associates the popularity of Corneille after 1660, and Pompey in particular, with the themes of rebellion and restoration. Paula Loscoccos facsmile version of Katherine Philips Printed Publications, 16511664 (2007) includes the 1663 Pompey; her facsimile of The 1667 Poems (2007) includes Pompey, Horace, and Philips translations of one Italian song and four French poems. The Collected Works of Katherine Philips, The Matchless Orinda,Vol. III: The Translations, ed. Germaine Greer and R. Little (1993), gives edited texts for Philipss translations from Pompey and Horace and the shorter poems. RWO (http://www.wwp.brown.edu/index.html) offers texts with introductions, for Pompey by Joyce Green MacDonald, for Horace by Andrea Sununu. Elizabeth H. Hageman and Andrea Sununu, New Manuscript Texts of Katherine Philips, the Matchless Orinda, EMS 4 (1993), 174216, give details of a manuscript version of Pompey, more literal and less elegant than the printed version. Elizabeth H. Hageman, Recent Studies in Women Writers of the English Seventeenth century, 16041674 (19451986), ELR 18 (1988), 13867; rpt. and updated with Recent Studies in Women Writers of the English Seventeenth Century, 16041674 (1987-April 1990), in Women in the Renaissance: Selections from English Literary Renaissance, ed. Kirby Farrell, Elizabeth H. Hageman, and Arthur F. Kinney (1990), 269309, describes or lists work on Katherine Philips translations by Catherine Mambretti, Nancy Cotton, and Maureen E. Mulvihill: see especially III, Z in the rst essay, and the supplementary III, K. Hageman, Katherine Philips: The Matchless Orinda, in Women Writers of the Renaissance and Reformation, ed. Katharina M. Wilson and Frank J. Warnke (1987), 566608, describes Philips concern over the competition between her Pompey and Pompey the Great by Waller and his collaborators. See also Hagemans Katherine Philips, DLB 131 (1993), 20214. Michel Adam, Katherine Philips, traductrice du thtre de Pierre Corneille, Revue dHistoire Litteraire de la France 85 (1985), 84151, questions Philips choice of plays and demurs at her use of rhyme. Paulina Kewes, French Literature: Drama, in The Oxford History of Literary Translation in English,Vol. III, ed. Stuart Gillespie and David Hopkins (2005), 21727, commends Philips management of the couplet. Shifett, Stoicism (III, A), 75106, reads Philips Pompey as vindicating Cornelias republican ideals and the Stoic modes of preserving those ideals; see also his How Many Virtues Must I Hate: Katherine Philips and the Politics of Clemency, SP 94 (1997), 10335. Hero
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Chalmers, Royalist Women Writers, 16501689 (2004), 86104, reads the politics of Philips Pompey as informed by a generous even-handedness, and the smoothness of the verse as asserting authorial independence of her original. Joyce Green MacDonald, Women and Race in Early Modern Texts (2002), 12443, nds in Philips representation of Cornelia (dened against the representation of Cleopatra) an analogue of her own ideas about her position as a writer. R. S. Willmott, Corneilles Horace Englished: Translations of the Heroic Dilemma, Seventeenth-Century French Studies 9 (1987), 23346, offers an extended comparison of the translations by Philips and Cotton of a crucial speech in Horace. 2. Du Bartas. The Divine Weeks and Works of Guillaume de Saluste, Sieur du Bartas, ed. Susan Snyder (1979), with a full introduction, is the standard edition of Josuah Sylvesters translation. Stanley Wells, Shakespeares First Serious Critic Revealed, TLS January 26, 2003, reports an incomplete and damaged manuscript translation from Du Bartas La Semaine attached to William Scotts [The Model] of Poesy or the Art of Poesy drawn into a short or summary discourse (now British Library Add. MS 81083). Yvonne Bellinger, Du Bartas auteur europen, in Horizons europens de la littrature franaise au XVIIe sicle, ed. Wolfgang Leiner and Roger Duchne (1988), 1525, outlines the fortunes of Du Bartas in Britain and on the Continent.Yvonne Bellenger and Jean-Claude Ternaux, Bibliographie des crivains franais: Du Bartas (1998), supply an annotated bibliography charting studies of Du Bartas reception. Anne Lake Prescott, Du Bartas and Renaissance Britain: An Update, in Oeuvres et Critiques 29.2 (2004), 2738, pleads for Du Bartas promotion from the status of Protestant minence grise and commends John Lepages discovery of Du Bartas intervention in the procedures of English metaphysical poetry. She cites Lepages Eagles and Doves in Donne and Du Bartas: The Canonization, N&Q 30 (1983), 42728, which describes Donnes reworking of a conceit in the Divine Weeks, and his Sylvesters Du Bartas and the Metaphysical Androgyny of Opposites, ELH 51 (1984), 62144, which argues for Sylvesters taste for antithesis and paradox as metaphysical. Henri Durel, Du Bartas, Jacques I et Francis Bacon, Cahiers de lEurope Classique et No-Latine, srie A, 39.3 (1987), 75110, contrasts Jamess enthusiasm for Du Bartas with his coolness toward Bacons Advancement. Frances Malpezzi, Josuah Sylvester, DLB 121 (1992), 24654, presses the crucial importance of Sylvesters rendering of LUranie; in her Du Bartas LUranie, The Devotional Poets Handbook, Allegorica 8 (1983), 18598, Malpazzi proposes LUranie as central to the sensibility of a whole generation. James Doelman, King James I and the Religious Culture of England (2000), 1727, puts Du Bartas at the center of Jamess literary culture. Archie Burnett, Sylvesters Du Bartas, Marvell and Pope, N&Q 227 (1982), 41819,
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identies a striking borrowing from Sylvester in Marvells Horatian Ode and others in Pope. 3. Garnier. The Collected Works of Mary Sidney Herbert, Countess of Pembroke, ed. Margaret P. Hannay, Noel J. Kinnamon, and Michael G. Brennan (1998),Vol. I, includes an old-spelling edition of the 1592 text of Pembrokes Antonius with a full commentary, qualifying the consensus that the translation is slavishly literal and relating its Stoic elements to her translation of Mornay. Mary Sidney Herbert, ed. Gary Waller (1996), prints a facsimile Antonius along with Mornays Discourse from the 1592 volume. Diane Purkiss, Three Tragedies by Renaissance Women (1998), includes a old-spelling edition of the 1595 Tragedie of Antonie. Modernised versions of the 1595 text are also given in Renaissance Drama by Women, Texts and Documents, ed. S. P. Cerasano and Marion Wynne-Davies (1996), and Renaissance Drama, ed. Arthur F. Kinney, 2nd ed. (2008). Josephine A. Roberts, Recent Studies in Women Writers of Tudor England: Mary Sidney, Countess of Pembroke, ELR 14 (1984), 42639; rpt. and updated in Women in the Renaissance (III, C, 1), 24558 (her II, B), and 26569 (her II, B), describes or lists earlier work on Pembrokes Antonie by Nancy Cotton and Elaine V. Beilin. Mary Ellen Lamb, Gender and Authorship in the Sidney Circle (1990), 11541, takes all Pembrokes secular translations together as arts of dying, stressing in Antonie the desexualization of Cleopatra and the promotion of a heroics of constancy. Danielle Clarke, The Politics of Translation and Gender in the Countess of Pembrokes Antonie, T&L 6 (1997), 14966, insists on the politically urgent utility of Pembrokes choice of a text which represents relationships between gender, sexuality, and politics reecting critiques of Elizabethan government in the 1590s. Victor Skretkowicz, Mary Sidney Herberts Antonius, English Philhellenism, and the Protestant Cause, WoWr 6.1 (1999), 725, understands Pembrokes tragedy, along with her translation of Du Plessis-Mornays Discourse, as pleas for the Huguenot cause. Anne Russells The Politics of Print and The Tragedy of Antonie, RORD 42 (2003), 92100, contextualizes the publication of the translation in 1592, remarking that the plays political agenda is attuned to current anxieties. Richard Hillman,De-Centring the Countess Circle: Mary Sidney Herbert and Cleopatra, Ren&R 28 (2004), 6179, argues the improbability of Cleopatras history being the vehicle for any contemporary political point. Anne Lake Prescott, Mary Sidneys Antonius and the Ambiguities of French History, YES 38 (2008), 21633, teases out the ironies that come from the plays production during the French civil and religious wars, and their reshaping at the hands of an English translator little more than a decade later. Prescotts Mary Sidneys French Sophocles: The Countess of Pembroke Reads Robert Garnier, in Representing France and the French in Early Modern English Drama, ed. Jean Christophe Mayer (2008), 6892, argues that the
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paratexts of the 1585 edition of Garnier that Pembroke used gave her access to his Greek antecedents. Lukas Erne, Beyond the Spanish Tragedy: A Study of the Works of Thomas Kyd (2001), includes a chapter on Kyds relatively free version of Cornelia, taking it as written to emulate Pembrokes Antonie and arguing that Kyds Spanish Tragedy and Cornelia exercise a mutual inuence on each other. 4. La Perrire, De Montenay, Estienne. The English Emblem Tradition, 2 vols, ed. Peter M. Daly, Leslie T. Duer, and Mary V. Silcox (1993), Vol. II, includes a facsimile of the Glasgow copy, putatively of a 1593 rst edition, of Thomas Combes Theater (translated from La Perrires Thetre), along with P. S.s Heroicall Devises translated from Paradin and Simeoni. There is a Huntington Library facsimile of the 1614 edition of Combes Theater, ed. John Doebler (1983); and see Doeblers Thomas Combes The Theater of Fine Devices: A Renaissance English Emblem Book, Early Drama, Art, and Music Review 12.2 (1990), 3444. Peter M. Daly, The Case for the 1593 Edition of Thomas Combes Theater of Fine Devices, JWCI (1986), 25557, argues the case for a pre-1614 printing of Combes translation; the argument is supported by R.S. Luborsky, Further Evidence for the 1593 Edition of Combes Emblems:The Title Page of Greenes Arbasto, Emblematica 8 (1994), 17980. Mary V. Silcox, The Translation of La Perrires Le Thtre des bons engins into Combes The Theater of Fine Devices, Emblematica 2 (1987), 6194, offers a biography of Combe, noting that his free and moralizing adaptation is less courtly than his original. Alison Saunders, The Theatre des bons engins through English Eyes (La Perrire, Combe and Whitney), Revue de Litterature Compare 64 (1990), 65373, contrasts Combes simplications and Whitneys elaborations of La Perrire. Alison Adams, Webs of Allusion: French Protestant Emblem Books of the Sixteenth Century (2003), 10207, includes an account of J.H.s translation of Georgette de Montenay in the 1619 polyglot edition of Georgette de Montenays Emblemata. Alan R. Young, The Translation of Authority: Henri Estiennes LArt de faire les devises and Thomas Blounts The Art of Making Devises, in Aspects of Renaissance and Baroque Symbol Theory, ed. Peter M. Daly and John Manning (1999), 20128, traces Blounts appropriation of authority for his translation by way of his thorough anglicization of his source in the service of his royalist politics. Douglas W. Hayes, Thomas Blount, DLB 236 (2001), 4758, describes Blounts career as philologist, antiquary, and political commentator. 5. Montaigne. Warren Boutcher, Humanism and Literature in Late Tudor England: Translation, the Continental Book, and the Case of Montaignes Essais, in Reassessing Tudor Humanism, ed. Jonathan Woolfson (2002), 24368,
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describes the breakdown of the hegemony of Latin that allowed (typically in Montaigne) the undiscriminating exploitation of the epic Vergil and the romantic Ariosto; the Italian Guicciardini and the Roman Tacitus; the Latin Seneca and (noting the pervasive use for serious purposes of classical texts in vernacular translation) Amyots French version of Plutarch. Boutchers Montaignes Legacy, in The Cambridge Companion to Montaigne, ed. Ullrich Langer (2005), 2752, further considers the place of literary composition in the culture of the English aristocracy and how Montaignes essayistic writing played to its preferences. Christopher Johnson,Florios Conversion of Montaigne, Sidney, and Six Patronesses, CahiersE 64 (2003), 918, argues that the Petrarchan distortions and hybrid excesses of Florios courtly style betray the spirit of Montaigne for his patronesses sake. Joshua Philips, Th Intertrafque of the Minde: Publishing John Florios Translation of the Essais, MontS 11 (1999), 20932, foregrounds the anxieties about printing, patronage, class, and gender behind Florios translation and views Florios reformation of the Essais as a kind of ction to which his stylistic excesses are appropriate. Tom Conley, Institutionalizing Translation: On Florios Montaigne, in Demarcating the Disciplines: Philosophy, Literature, Art, ed. Samuel Weber (1986), 4558, argues that Florios indifference to the protocols of natural English and of language difference forces his readers into comparing the translated text with the original. Roger Pooleys English Prose of the Seventeenth Century, 15901700 (1992), 17479, remarks the varying degree of Florios engagement with his original. Margaret Tudeau-Clayton, Scenes of Translation in Jonson and Shakespeare: Poetaster, Hamlet, and A Midsummer Nights Dream, T&L 11 (2002), 123, takes Florios habit of doubling to be an analogue of the necessary doubleness of translation, which itself always repeats an original text. Marcel Tetel, Idologie et traductions de Girolamo Naselli John Florio, MontS 7 (1995), 16982, treats Florios passion for accumulations of words and lexical innovation as a reex of his lexicographical activity. Quentin Skinner in Visions (III, A),Vol. III, 87141, notes how paradiastole (rhetorical redescription) is made available for English political writing by Montaignes habitual recourse to it. Massimiliano Morini, Tudor Translation in Theory and Practice (2006), 8389, writes on bravura effects in Florios Montaigne, the stylistic (and sometimes more than stylistic) transformations achieved by multiplication of details, turning cool report (exemplied by the essay on cannibals) into something heart-felt or partisan. 6. Mornay. Pembrokes Collected Works (III, C, 3) gives an annotated text of A Discourse of Life and Death based on the 1592 edition; the headnote (20828) treats Mornays own debts to Seneca and others and Pembrokes attention to the rhetorical detail of Mornays French: comparison demonstrates that she
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had read Aggas 1576 version critically. The appropriation of Pembrokes translation by Lownes in 1607 printing of Mornays Six Excellent Treatises is treated at 31015. Waller (III, C, 3) presents a facsimile edition of Pembrokes translation of the Discourse. Lamb (III, C, 3) stresses the secular character of Pembrokes translation and its ungendered (or even male) cast. For recent work on Pembrokes translation, notably Diane Bornsteins edition, see Roberts in Farrell, Hageman, and Kinney (III, C, 1), 24558, 26569. James Finn Cotter, The Inshape of Inscape, VP 42 (2004), 195200, pursuing Hopkins debt to Sidney and Golding in the use of the word inshape (to translate ide) in their 1587 version of Trew Religion, remarks their typically innovative recourse to compound forms in the translation. G. D. Monsarrat, Samuel Daniel, Seneca, and Mornay, N&Q 227 (1982), 420 22, shows that Daniels Letter Written to a Worthy Countess (possibly Pembroke) quotes Senecas De Providentia from a fresh version of Mornays French translation and not from the available English translations of Mornay in Edward Aggas Defence of Death (1576) or in the anonymous Six Excellent Treatises (1607). 7. Rabelais. Anne Lake Prescott, Imagining Rabelais (1998), animates the hinterland of Rabelais reception in England in networks of allusions to him.This is ground earlier prepared: Prescotts The Stuart Masque and Pantagruels Dreams, ELH 51 (1984), 40730, describes the penetration of Jonsons and later masques by a collection of grotesque pseudo-Rabelaisian prints; her Reshaping Gargantua, in LEurope de la Renaissance. Cultures et civilisations. Mlanges offerts Marie-Thrse Jones-Davies, ed. Jean-Claude Margolin and Marie-Madeleine Martinet (1989), 47791, describes how Gargantua was reshaped as a conventional giant in successive English allusions to him, and her Intertextual Topology: English Writers and Pantagruels Hell, ELR 23 (1993), 24466, examines a small cluster of allusions (in writers from John Eliot to King James, and including Shakespeare) to Epistemons vision of Hell (Pantagruel, ch.30). Alex L. Gordon,Rabelais en anglais: bonheurs et malheurs de la traduction, in Margolin and Martinet, 46376, describes how three translators (Urquhart and two moderns) approach characteristic difculties. Emmy E. Kraaijveld, Les Premiers Traducteurs de Gargantua: Urquhart lecteur de Fischart, Etudes Rabelaisiennes R 25 (1991), 12530, complicates Rabelais well-known debt to Cotgraves Dictionary by pointing to Urquharts taking over the amplications of Rabelais from Joann Fischarts 1573 Geschichtklitterung. Nicholas McDowell, Urquharts Rabelais: Translation, Patronage, and Cultural Politics, ELR 35 (2005), 273303, reconstructs the personal and political context of Urquharts translation, situating the appeal of the translation with a literary elite typied in the anti-Presbyterian but republican John Hall of Durham.
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R. J. Craik, Sir Thomas Urquhart (1993), 115210, sets Urquharts translation of Rabelais within a full account of his literary career; while attentive to Urquharts departures from his original, Craik pleads his essential delity to it. Some materials specic to issues of translation are developed in Craiks The Pioneer Translators of Rabelais: Sir Thomas Urquhart and Pierre Motteux, Translation Review 5152 (1996), 3142, focused on challenging lexical items, and treating Urquharts adaptations of entries in Cotgraves Dictionary. Developments of this material with variant emphases are found in Craiks The Triumph of Exuberance over Inhibition: Sir Thomas Urquharts Translation of Rabelais, Lamar Journal of the Humanities 22 (1996), 4164, and in his Sir Thomas Urquharts Translation of Rabelais, SSL 31 (1999), 15168. Paul Coleman, The Taylors Stitch: Sir Thomas Urquharts Translation of Rabelais, CQ 32 (2003), 299309, understanding the Taylors stitch as a visible piece of alteration, probes the Anglophone background noise of Urquharts translation by way of an elaborate reading of the opening of Gargantua, chapter 5. Michael Spiller, Pioneers of Prose, in Literature of the North, ed. David Hewitt and Michael Spiller (1993), 2641, ties Urquharts translation of Rabelais to his other literary interests. David Reid, Prose after Knox, in The History of Scottish Literature, Vol. I, ed. R. D. S. Jack (1987), 18398, notes Urquharts exceptional quality as a stylist, even in a Scottish context estranged from English norms. 8. Religious Prose. Pudentiana Deacon, ed. Frans Blom and Jos Blom (2002), gives Deacons version of Delicious Entertainments of the Soule, a collection of transcripts of conversations with Franois de Sales. William C. Marceau, C. S. B., Recusant Translation of Saint Francis de Sales, Downside Review 114 (1996), 22133, surveys the fortunes (with a full bibliography) of John Yakesleys translation of the Introduction to a Devout Life and Thomas Carres of the Treatise of the Love of God. N. W. Bawcutt, A Crisis of Laudian Censorship: Nicholas and John Okes and the Publication of Saless An Introduction to a Devout Life in 1637, Library 1 (2000), 40338, treats in detail the case of Yakesleys usually Protestantized version of de Saless Introduction, published in 1637 with the purged passages restored, and called in for its Popish and unsound passages. A. F. Allison, The Mysticism of Manchester al Mondo: Some Catholic Borrowings in a Seventeenth-Century Anglican Work of Devotion, in Studies in Seventeenth-Century English Literature, History, and Bibliography, ed. G. A. M. Janssens and F. G. A. M. Aarts (1984), 111, traces the inuence of De Saless Trait de lamour de Dieu on the Earl of Manchesters English Contemplatio mortis, et immortalitatis. Dorothy L. Latz, The Building of Divine Love as Translated by Dame Agnes More (1992), edits from manuscript Mores translation of the Augustinian Jeanne de Cambrys mystical treatise. Erica Veevers, Images of Love and Religion: Queen Henrietta Maria and Court
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Entertainments (1989), treats the blend of Salesian piety with Platonic romance prevailing in the 1630s. Reid Barbour, English Epicures and Stoics: Ancient Legacies in Early Stuart Culture (1998), 10105, with a focus on its antiEpicurean sections, takes Sir Thomas Hawkins translations (from 1626 to 1638) of the successive parts of Caussins La Cour Sainte as a challenging model for the court of Charles I and HenriettaMaria. Frances Teague, Princess Elizabeths Hand in The Glass of the Sinful Soul, EMS 9 (2000) 3348, reads the Bodleian MS of the work, with its mitigations of Maguerite de Navarres eroticism and the careful embroidery of its binding, as a suitable token for suitors of a marriageable princess. Micheline White, The Dedication and Prayers from Anne Gawdy Jenkinsons Translation of Guillaume Du Vairs Meditations vpon The Lamentations of Ieremy [with text], ELR 37 (2007), 3446, identies Jenkinsons 1609 Meditations on Lamentations and on the Song of Hezekiah as translations from Du Vair, and includes an account of Anne Jenkinson and her family, and reects on the liberation of Du Vairs text from its French and Catholic origins. Recusant Translators: Elizabeth Cary and Alexia Grey, ed. Frances E. Dolan (2000), brings together Alexia Greys Rule of Saint Benedict (1632) and Elizabeth Carys The Reply of the most illustrious Cardinall of Perron (1630) to Isaac Casaubons vindication of the Anglican Church. On Carys Perron, see Karen L. Nelson, To informe thee aright: Translating Du Perron for English Religious Debates, in The Literary Career and Legacy of Elizabeth Cary, 16131680, ed. Heather Wolfe (2007), 14764, which sees the translation as responding to English anxieties about the increasing inuence of Roman Catholics in centers of power. Heather Wolfes Elizabeth Cary, Lady Falkland: Life and Letters (2001) includes material relevant to the apologetic intentions of the Reply and to its reception. Smith, Perfection Proclaimed (III, B), 13643, sets Giles Randalls translation of the mystical third part of the Capuchin Benet Canelds Rule of Perfection as A Bright Star (1646) in the context of Neoplatonic religious radicalism. Brian G. Armstrongs Bibliographia Molinaei: An Alphabetical, Chronological, and Descriptive Bibliography of the Works of Pierre Du Moulin (15681658) (1997) is a guide to the complicated history of translation from Du Moulins controversial and other work in French and Latin. 9. Prose Fiction. Jane Collins has edited Susanne DuVergers 1639 version of Jean-Pierre Camus collection of stories, Admirable Events, along with a version (of uncertain authorship) of his Certain Moral Relations (1996). The Epistle Dedicatory of Admirable Events, to the ladies of Henrietta Marias court, is also available in RWO (http://www.wwp.brown.edu/index.html). Erin Henriksen and Desma Polydorou, in Fiction of Unknown or Questionable Attribution (2004), present what is only possibly Susanne Du Vergers version of Diotrophe.
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Daniel A. Gajda has prepared A Critical Edition of The Comical History of Francion1655 (2005) with a modernized text; the commentary marks the anonymous translators assimilation of Charles Sorels original to a Royalist and Anglican context. Annabel Patterson, Censorship and Interpretation (1984), 18590, locates the popularity for English readers of French romances (notably Scudrys) in the closet intrigues that supplied a role for women both in political life and in the new literature and in their making available the ready transfer of remote actions to the fraught condition of a dispossessed English aristocracy. Following E. Kuehn, France into England, 1652: The Cotterell Translation of La Calprendes Cassandre, RomN 18 (1977), 10514, Patterson cites the case of La Calprendes Cassandre to make the point. Margaret Anne Doody, The True Story of the Novel (1997), 25273, situates an account of the translation of French romance in a chapter on the ideological and cultural conicts surrounding the early novel. Jennifer Birkett, French Literature: Prose Fiction: Courtly and Popular romance, in Gillespie and Hopkins (III, C, 1), 33948, points to English Royalist concerns in the translations of Madeleine de Scudry by Henry Cogan and Francis Gifford, doubly masked by their exotic settings and their foreign origins. Lukas Erne, Throughly ransackt: Elizabethan Novella Collections and Henry Wottons 1578 Courtlie Controversie of Cupids Cautels, CahiersE 4 (2003), 18, situates Wottons translation of Jacques Yvers collection in the history of the short story and as a source for other writers from Lyly to Shakespeare. 10. Miscellaneous Prose. Randall Martin, Anne Dowriches The French History, Christopher Marlowe, and Machiavellian Agency, SEL 39 (1999), 6987, makes a case for Dowriches intelligent use of a range of translated French histories, which he usefully surveys. Howard Weinbrot, Menippean Satire Reconsidered: From Antiquity to the Eighteenth Century (2005), considers T.W.s A Pleasant Satyre (1595) as an adjustment of the Satyre Menippe to an English Protestant readership, stylistically homogenized, and turned from a satire on aberrant sects into an assault on Catholicism; see the account in Eugene Kirk, Menippean Satire: An Annotated Catalogue of Texts and Criticism (1980), item 355. Anne Lake Prescott, Pierre de la Primaudayes French Academy: Growing Encyclopaedic, in The Renaissance Computer: Knowledge Technology in the First Age of Print, ed. Neil Rhodes and Jonathan Sawday (2000), 15769, is concerned with the changing shape and scale of Acadmie, and of its English reception in the translations by Thomas Bowes, Richard Dolman, and William Phillip (15861618). Karl Josef Hltgen, An unknown Manuscript Translation by John Thorpe of du Cerceaus Perspective, in England and the Continental Renaissance: Essays
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in Honour of J. B. Trapp, ed. Edward Chaney and Peter Mack (1990), 21528, draws attention to two manuscript copies of a translation of Jacques Androuet du Cerceaus Leons de persepective positive, written c.1603 and revised later in the century. Philippe-Joseph Salazar, The author writes like a Briton: La Rception de Balzac en Angleterre, Littratures Classiques 33 (1998), 24762, surveys English translations of Guy de Balzacs letters and treatises from William Tyrwhit and Robert Codrington in 1634 into the early eighteenth century: the burden of the title quotation (from Basil Kennet) is political and not stylistic. Gilles Banderier, William Whiteway, traducteur de lHistoire universelle dAgrippa dAubign, FSB 98 (2006), 1619, describes what survives of Whiteways version of dAubigns Universal History in a Bodleian MS of 1629. G. A. J Rogers, Descartes and the English, in The Light of Nature, ed. J. D. North and J. J. Roche (1985), 281302, notes the conventional English skepticism in the face of Descartes, evident already in the anonymous 1649 A Discourse of a Method. 11. Miscellaneous Verse. Susie Speakman Sutch and Anne Lake Prescott, Translation as Transformation: Olivier de la Marches Le Chevalier dlibr and Its Hapsburg and Elizabethan Permutations, CLS 25 (1988), 281317, tracks the deformation of a La Marches poem into Batemans Travayled Pylgrime (1569) and, through Acuas Spanish version, Lewkenors Resolved Gentleman (1594). There are accounts of both those works by Marco Nievergelt in the EEBO Introductions series. In the Spenser Encyclopaedia, ed. A. C. Hamilton (2000), 12223, s.v. Burgundy, Prescott presses the afnity of Spensers Faerie Queene and La Marches urbane and nostalgic combination of allegorical quest with dynastic homage. William Roberts, Saint-Amant: Plaque tournante de lEurope au XVIIe sicle, in Horizons europens de la littrature franaise au XVIIe sicle: LEurope: Lieu dchanges culturels? La Circulation des oeuvres et des jugements au XVIIe sicle, ed. W. Leiner and R. Duchne (1988), 7179, surveys English translators of Saint-Amant (Sir Edward Sherburne, Thomas Stanley, Sir Edward Fairfax), which he nds typically aristocratic and escapist in tone; the essay is attentive to matters of form. Hugh Richmond, Puritans and Libertines: Anglo-French Literary Relations in the Reformation (1981), 34071, concludes with the impact of Agrippa DAubigns Tragiques on Shakespeare and of Thophile de Viau on Marvell. Jason Lawrence,Who the Devil taught thee so much Italian?: Italian Language Learning and Literary Imitation in Early Modern England (2006), 6291, describes Samuel Daniels debts to the Italianizing French poets (Desportes, Du Bellay,
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Ronsard) and his versions of Italian poets contaminated by intermediate French translations. D. Italian 1. General. Soko Tomita, A Bibliographical Catalogue of Italian Books Printed in England, 15581603 (2009), describes the 291 Italian books (451 editions) published in England during the reign of Elizabeth I, with a commentary on the professional and cultural milieux that produced them. Michael Wyatt, The Italian Encounter with Tudor England: A Cultural Politics of Translation (2005), treats Italians in and on early modern England, centering on Florio as a lexicographer and language teacher, the transmission of liberated Italian manners along with the language, and a liberal view of the possibilities of literature (as exemplied in Florios use of Aretino, Machiavelli, and Bruno). Wyatt includes (18599, 26264) an outline of Wolfes career as a printer of Italian books. Wolfes career is treated more amply in Sonia Massai, John Wolfe and the Impact of Exemplary Go-Betweens on Early Modern Print Culture, in Renaissance Go-Betweens: Cultural Exchange in Early Modern Europe, ed. Andreas Hfele and Werner von Koppenfels (2005), 10420. Italian immigrant culture and its importance are described in John Tedeschi, I contributi culturali dei riformatori protestanti italiani nel tardo Rinascimento, Italica 64 (1987), 1961, updated from The Cultural Contributions of Italian Protestant Reformers in the Late Renaissance, Schifanoia 1 (1986), 12751. Anne Overell, Italian Reform and English Reformations, c.1535c.1585 (2008), investigates the activity and inuence of Italian reformers such as Vermigli and Ochino in early Elizabethan England. Lawrence, Who the Devil (III, C, 11), describes how programs of language learning involved with the attempt to familiarize English readers with Italian literary culture impinge on English literary imitation of Italian models. Items listed for Boutcher (III, A; III, C, 5), particularly as they bear on Florio as a lexicographer, are relevant here. Manfred Pster, Inglese ItalianatoItaliano Anglizzato: John Florio, in Hfele and Koppenfels, Renaissance Go-Betweens, 3254, writes on Florio as a cultural mediator and facilitator of enterknowing. Florios opening up of England to Italian cultural realities is the subject also of William E. Engels Knowledge that Counted: Italian PhraseBooks and Dictionaries in Elizabethan England, Annali dItalianistica 14 (1996), 50722. David O. Frantzs Negotiating Florios A Worlde of Wordes, Dictionaries 18 (1997), 132, assesses Englands complex engagement with multiple worlds (notably the marketplace). Franzs Florios Use of Contemporary Italian Literature in A Worlde of Wordes, Dictionaries 1 (1979), 4756, indicates the range of reading (some of it on the Papal Index) that went into Florios 1598 dictionary. Carmine G. Di Biase, Introduction:The Example of the Early Modern Lexicographer, in his edited collection Travel and Transla 2009 English Literary Renaissance Inc.
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tion in the Early Modern Period (2006), 930, offers Florio as exemplifying the anxieties of exile, travel, and translation and notes the development of his linguistic purism in the course of his dictionary writing. Brysons From Courtesy to Civility and both Classical Humanism and The Duel by Peltonen (III, A) are relevant to the importation of Italian literary as well as ideological norms. Louise George Clubb, Italian Drama in Shakespeares Time (1989), tracks common responses to a common textual heritage in the experimental drama of Italy and England. Three collections of essays edited by Michele Marrapodi concern Anglo-Italian cultural relations generally and include essays that touch more particularly on issues of translation: The Italian World of English Renaissance Drama: Cultural Exchange and Intertextuality, with A. J. Hoenselaars (1998), on the English re-imagination of Italy, half-fascinated and half-repelled; Shakespeare, Italy, and Intertextuality (2005), which explores Shakespeares exploitation of the early modern textual heritage and of the circulation of on non-literary discourses; and Italian Culture in the Drama of Shakespeare and his Contemporaries: Rewriting, Remaking, Refashioning (2007). More immediately relevant contributions are cited below. Ronald D.S. Jack, Scottish Literatures Debt to Italy (1986), briey repeats the arguments for the Italian penetration of Scottish literary culture set out in his own 1972 The Italian inuence on Scottish literature. 2. Ariosto. David Bevington, Cultural Exchange: Gascoigne and Ariosto at Grays Inn, in The Italian World, ed. Marrapodi (III, D, I), 2540, argues that the rst Inns of Court audience of Gascoignes Supposes was comfortable with the novelties of Italianate comedy. Jill Phillips Ingram, Gascoignes Supposes: Englishing Italian Error and Adversarial Reading Practices, in Italian Culture, ed. Marrapodi (III, D, 1), 8385, pressing the conceits built around notions of supposing in the Prologue, argues that Gascoigne encourages his audience into engagement with the plays undeclared signicances. 3. Castiglione, Della Casa, Nenna, Nannini. Peter Burkes The Fortunes of the Courtier (1995) is the fullest treatment of Castigliones reception, setting Sir Thomas Hobys translation in the context of Castigliones European reception, giving extended attention to the translation of key terms, and describing known or surmised readerships. Burke,The Courtier Abroad: Or, the Uses of Italy; rpt. from Die Renaissance im Blick der Nationen Europas, ed. Georg Kaffmann (1991), 114, in The Book of the Courtier, ed. Daniel Javitch (2002), 388400, emphasizes ways in which Italian culture was assimilated to indigenous cultures and probes the associations of Hobys vocabulary. Carmela Nocera Avila, Translation as Enrichment of Language in Sixteenth Century England: The Courtyer (1561) by Sir Thomas Hoby, in Language History and Linguistic Modelling, ed. Raymond Hickey and Stanislaw Puppel (1997), 543
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59, concerns principally Hobys management of register. Nocera Avilas The Formation of New Words in Hobys Translation of The Courtier (1661), in Historical English Word-Formation, ed. R. Bacchielli (1994), is concerned with the Englishness of Hobys coinages. Lucy Gent, Picture and Poetry, 15601620: Relations between Literature and the Visual Arts in the English Renaissance (1981), 1516, deals with Hobys difculties with Castigliones technical vocabulary for painting. John R. Woodhouse, The Tradition of Della Casas Galateo in English, in The Crisis of Courtesy: Studies in the Conduct-Book in Britain, 16001900 (1994), 1126, draws attention to Walter Darrells 1578 theft of Robert Petersons 1576 translation and its garbled and truncated paraphrase in Thomas Gainsfords 1616 Cabinet of Riches. John Huntington, This Ticklist Title: Chapman, Nennio, and the Critique of Nobility, ELR 26 (1996), 291312, argues that William Joness 1595 version of Nennas Treatise of Nobility was attractive in the mid-1590s, and to Chapman in particular, as an assault on courtly notions of nobility and virtue. Louis Adrian Montrose, Spenser and the Elizabethan Political Imaginary, ELH 69 (2002), 90746, notes Spensers endorsement, not just by way of his complimentary verses in Joness translation, of Nennas promotion of an aristocracy of talent. Jan Simko, Who Was the Translator W. T.? N&Q 226 (1981) 52021, conrms the identication of Nanninis translator W.T. with William Traheron. His Two Versions of the 1601 English Translation of Nanninis Civill Considerations and on an Unnoticed Posthumous Portrait of Queen Elizabeth I, N&Q 228 (1983), 41720, describes a rare case of Elizabethan (self-) censorship in variant versions of W.T.s translation; W.T. works from the original Italian as well as an advertised intermediary French version. 4. Guarini. Elizabeth Story Donnos Three Renaissance Pastorals:Tasso, Guarini, Daniel (1993), with a wide-ranging introduction on the English reception of Italian culture, collects Henry Reynolds 1628 version of Tassos Aminta, the 1602 version of Guarinis Pastor Fido (by Tailboys Dymoke, as Donno argues), and Samuel Daniels Italianate Queenes Arcadia (1606). Christine Sukic, Samuel Daniel et les traductions anglaises du Pastor Fido au XVIIe sicle en Angleterre: du voyage dItalie la naturalization, Etudes Epistm 4 (2003), 1829, starting out from Daniels sonnet on Dymockes Pastor Fido, demonstrates the assimilation of Italian pastoral to the requirements of English manners. Line Cottegnies, La traduction anglaise du Pastor Fido de Guarini par Richard Fanshawe (1647): Quelques reections sur la naturalization, Etudes Epistm 4 (2003), 3049, notes the politicization of the dramas import in the paratextual material, the spiritualizing of its erotic interest, and the ination of its rhetoric. Raphael Lyne, English Guarini: Recognition and
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Reception, YES 36 (2006), 90102, describes the shortcomings of attempts by Dymoke and the Latin translator of the Pastor Fido to accommodate Guarinis effects of improbability. Robert Thomas Fallon, Sir Richard Fanshawe, DLB 126 (1993), 10915, emphasizes the political relevance of Fanshawes translation of the Pastor Fido. Jason Lawrence, Re-make / Re-model: Marstons The Malcontent and Guarinian Tragicomedy, in Italian Culture, ed. Marrapodi (III, D, I), 15566, argues that Marstons play, in advance of Fletchers Faithful Shepherdess, exploits the possibilities for tragicomedy opened up by the Pastor Fido. Frank Fabry, Richard Crashaw and the Art of Allusion: Pastoral in A Hymn to . . . Sainte Teresa, ELR 16 (1986), 37382, argues for Crashaws Hymn as consciously parodic of erotic madrigals, in particular Guarinis Tirsi morir volea. David Greer, Sir Robert Aytons Translation of a Poem by Guarini, N&Q 253 (2008), 22527, draws attention to Aytons translation of the same lyric, already translated in Nicholas Yonges Musica Transalpina (1588). 5. Machiavelli. Sydney Anglo, Machiavelli, The First Century: Studies in Enthusiasm, Hostility, and Irrelevance (2005), offers the fullest treatment of Machiavellis early European reception, but its focus restricts its interest in English translations. Whitehornes 1562 Arte of Warre is generously treated, and there are extensive accounts of the impact on English readers of the distortions and simplications of Machiavellis ideas in Jacques Gohorys French translation and Innocent Gentillets Contre-Machiavel. Giulano Procacci, Machiavelli nella cultura europea dellet moderna (1995), 21354, treating Machiavellis role in opening up constitutional options, puts his English reception in a European context.Victoria Kahn, Machiavellian Rhetoric: From the Counter-Reformation to Milton (1994), 12431, notes how Machiavellis translators are often uncomfortable with their author, with Dacres particularly anxious to rebut Machiavellis recommendations on the use of force in the Discourses (1636) and of ambidexterity in the Prince (1640). Peltonen, (III, A), 30206, writes on Dacres distrust of the Discorsi (translated 1636), for its demotion of religion to an instrument of policy and its advocacy of dishonesty. Jack, Scottish Literatures Debt (III, D, 1), 1011, remarks Fowlers self-censorship or respect for his king in his unpublished translation of the Prince. Robert Hariman, Composing Modernity in Machiavellis Prince, JHI 50 (1989), 329, highlights the difculties of Machiavellis rhetoric, contrasting them with those of Dacres 1640 version. Skinner, Visions (III, A), Vol. III, 4756, observes that terms such as Machiavellis virt and repubblica acquire their meanings from their situation within an extensive network of beliefs, the liations of which must be fully traced if the place of any one element within the structure is to be properly understood.
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In Machiavelli and Belfagor in Seventeenth-Century English Drama, in Machiavelli: Figure-Reputation, ed. J. Leerssen and M. Spiering (1996), 11130, and in The Politics of Prose and Drama: The Case of Machiavellis Belfagor, in Marrapodi and Hoenselaars, The Italian World (III, D, 1), 10621, A. J. Hoenslaars explores the metamorphoses of Machiavellis novella, arguing that Elizabethan and Jacobean dramatists constructed their image of Machiavelli from the portrait of the mischievous and cynical devil in the novella. 6. Marino. D. R. M Wilkinson, Sospetto dHerode: A Neglected Crashaw Poem, in Janssens and Aarts, Studies (II, D, 1), 23344, writes on rhetoric in Crashaws version of the Sospetto, more an interpretation than a translation. A. OConnor, Marino in English: Crashaws Sospetto dHerode, in The Sense of Marino: Literature, Fine Arts and Music of the Italian Baroque, ed. F. Guardiani (1994), 26787, demonstrates Crashaws refusal of what is typically mannerist in Marino. W.A.L. Stull, Sacred Sonnets in Three Styles, SP 79 (1982), 7899, uses Drummonds translations of two sonnets by Marino to exhibit features of the middle style:Drummonds translation [of Felice notte] is a Marinists textbook piece. 7. Petrarch. Thomas Roche, Petrarch in English (2006), includes samples of translations of the Trionfi by the Countess of Pembroke, Elizabeth I, and Anna Hume; he includes seventeenth-century adaptations (rather than translations) of the Rime. Pembrokes Collected Works (III, C, 3), Vol. I, provides the standard text of her translation of the Triumph of Death; outlines the English fortunes of Petrarchs Trion; and considers Pembrokes motives in translating it, her use of a range of editions, her closeness to Petrarch and her distance from Morleys earlier version. See also Gavin Alexander, The Triumph of Death: A Critical Edition in Modern Spelling of the Countess of Pembrokes Translation of Petrarchs Trionfo della Morte, SiJ 17.1 (1999), 218 (and http:// www.english.cam.ac.uk/ceres/sidneiana/triumph2.htm). Roberts, in Farrell, Hageman, and Kinney (III, C, 1), 24558, 26569, describes or lists earlier work on Pembrokes Triumph of Death by Robert Googan, Gary Waller, and Joan Rees. Lamb, Gender and Authorship (III, C, 3), nds disturbing Pembrokes acceptance of Petrarchs perspective. Jonathan Goldberg, Desiring Women Writing: English Renaissance Examples (1997), 11431; rpt. from The Countess of Pembrokes Literal Translation, in Subject and Object in Renaissance Culture, ed. Margreta de Grazia, Maureen Quilligan, and Peter Stallybrass (1996), 32136, contests the view of translation as secondary and feminine and relates Pembrokes drastically literal Triumph of Death to a struggle to position
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herself against her brother. Ilona Bell, Elizabethan Women and the Poetry of Courtship (1998), 10108, focuses on perceived mistranslations in the Triumph of Death to open up the possibility of Pembrokes entering a corrective dialogue with Petrarch. Louise Schleiner, Tudor and Stuart Women Writers (1994), 5281, deplores Pembrokes attempts to replicate Petrarchan syntax. Thomas P. Roche, Jr. presents a facsimile edition of Anna Humes The Triumphs (2006), with an appendix of related texts including Elizabeth Is Triumph of Eternitie and Pembrokes Triumph of Death. Sarah Dunnigan, Daughterly Desires: Representing and Re-imagining the Feminine in Anna Humes Triumphs, in Women and the Feminine in Medieval and Early Modern Scottish Writing, ed. Sarah M. Dunnigan, C. Marie Harker, and Evelyn S. Newlyn (2004), 12035, represents Hume as loyal to Petrarch, but anxious to probe the Petrarchan feminine, unexplored in her Italian original. Dunnigans Scottish Women Writers c.1560c.1650, in History of Scottish Womans Writing, ed. Douglas Gifford and Dorothy Macmillan (1997), 1543 (esp. 3437), sets Humes tight version of the Trion in the context of her own life and work, and contrasts it with William Fowlers diffuse earlier version: Jack, Scottish Literatures Debt (III, D, 1), 910, describes Fowlers version as fatuously embellished. Lawrence, Who the Devil (III, C, 11), 3236, takes the translations from Petrarch by both Princess Elizabeth and Elizabeth Bess Carey (daughter of Lady Hunsdon) as mere pedagogical exercises, comparing both unfavourably with Pembrokes; Robert Tofte is cast as inuential, for Daniel in particular, in reviving the possibilities of the Italian sonnet tradition (6971). Robert C. Melzi, A Contribution to the History of Petrarchism in England: Robert Tofte and The Blazon of Jealousy, Rivista di Studi Italiani 15 (1997), 132, promotes Toftes Blazon of Jealousy as a vehicle not only of translations from a range of Petrarchs work, but of Italian culture more generally. Christopher Martin, Retrieving Jonsons Petrarch, SQ 45 (1994), 8992, reports Jonsons ownership of the Folger Library copy of the 1581 Basle edition of Petrarchs Opera Omnia. 8. Tasso. Godfrey of Bulloigne: A Critical Edition of Edward Fairfaxs Translation of Tassos Gerusalemme liberata, together with Fairfaxs Original Poems, ed. Kathleen M. Lea and T. M. Gang (1981), includes an introduction outlining Tassos reputation in England, Fairfaxs reputation, Fairfaxs debts to English poets and debts to him of succeeding ones, and his language, style, and versication. Richard Carews 1594 Godfrey of Bulloigne is edited with an introduction by Werner von Koppenfels (1980). Patricia Thomson, Carews Tasso, Neophil 65 (1981), 14447, describes the metaphrastic and metrically faithful character of Richard Carews version of the Gerusalemme and notes Fairfaxs debts to it. Massimiliano Morini, Tudor
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Translation (III, C, 5), 11835, contrasts the (enthusiastically described) literalism of Carew and Fairfaxs too easy enhancements of his original. D.N.C.Wood, Tasso in England in Spenser Encyclopedia (III, C, 12), 67980, focuses on the translations by Carew and Fairfax, one inuenced by Spensers linguistic experimentalism, the other by his uency. Colin Burrow, Epic Romance: Homer to Milton (1993), 16880, argues that Fairfaxs erotic, moral, and sentimental biases lead him away from literalism into a more Spenserian version of Tasso. Lawrence, Who the Devil (III, C, 12), 4654, treats Drummond as exemplary in his acquisition of Italian from bilingual handbooks or from reading texts in parallel (in the case of Tassos Gerusalemme, in Latin, French, and English, as well as Italian). Richard Hatchwell,A Francis Davison / William Drummond Conundrum, Bod. Lib. Record 16 (1996), 36467, reports on the marginalia in a copy of a 1593 Goffredo that passed through the hands of both Davison and Drummond. Glyn Pursgloves edition of Henry Reynolds:Tassos Aminta and Other Poems (1991) includes a bio-bibliographical introduction and commentary. Donnos Three Renaissance Pastorals (III, D, 4) includes Henry Reynoldss 1628 version of Aminta. Jason Lawrence, The Whole Complection of Arcadia Changd: Samuel Daniel and Italian Lyrical Drama, MARDE 11 (1999), 14371 (and see his Who the Devil [III, C, 12], 91106), focused on Aminta, contributes to the larger treatment of Daniels naturalization of Italian literary forms and his negotiations with an eclectic range of Italian pastoral drama, some mediated by neo-Latin versions. Lynn Sermin Meskill, Aminta, Thou art translated!: Deux versions anglaises de lAminta du Tasse, Etudes Epistm 6 (2004), 7292, contrasts Fraunces Englishing of Tassos text (alliterating hexameters and interpolated compliments) with Reynolds more respectful account of it. William Barker, Abraham Fraunce, in DLB 236 (2001), 14056, describes Fraunces conation in The Countesse of Pembrokes Yvychurch, of versions of Tassos Aminta and Watsons Amyntas. 9. Religious Prose. Massimo Sturiale, I Sermons di Anne Cooke: Versione riformata delle Prediche di Bernardino Ochino (2003), the fullest account of Anne Cooke, deftly contextualized, is focused on how Cooke made the Sermons her own, notably in an intensied vocabulary of obligations; it is summarized and supplemented in his Lady Anne Cooke Bacon: Elizabethan Translatress of Ochino Prediche: Challenging Gender Boundaries, in Rites of Passage: Rational, Irrational, Natural, Supernatural, Local, Global, ed. Carmela Nocera, Gemma Persico, and Rosario Portale (2003), 21732. Elaine V. Beilin, Redeeming Eve: Women Writers of the English Renaissance (1987), 5561, describes how Anne Cooke Bacons versions of Ochino and of Jewels Apologie are presented as works of Protestant feminine piety. See also the item by King and Rankin in III, A, and those by Tedeschi and Overell in III, D, 1.
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Catherine Greenbury and Mary Percy, ed. Jos Blom and Frans Blom (2006), includes Mary Percys An Abridgment of Christian Perfection (1612), a translation through a French version of Isabella Bellingzagas mystical Breve compendio. 10. Prose Fiction. Peter Stallybrass,Dismemberments and Re-Memberments: Rewriting the Decameron, 4.1, in the English Renaissance, Studi sul Boccaccio 20 (1991), 299324, traces the fortunes of the story of Ghismunda, whose dismemberment supplies an analogue to the use by the 1620 translator of the complete Decameron (probably Florio), of an expurgated Italian version along with a fuller French translation, and whose dishonor supplies an analogue of the writers entering the marketplace. Guyda Armstrong, Paratexts and Their Functions in Seventeenth-Century English Decamerons, MLR 102 (2007), 4057, argues that the framework for the interpretation of the 1620 translation (and of its reprintings) is constituted by its apparatus of rubrics, dedications, and illustrations. Boccaccio in English from 14941620, ed. Guyda Armstrong, forthcoming as Vol.1 of the New Tudor Translations, includes material translated from Boccaccio between the printing of Lydgates Fall of Princes and Florios Decameron. Jason Lawrence, The story is extant and writ in very choice Italian: Shakespeares Dramatizations of Cinthio, in Shakespeare, Italy, and Interextuality, ed. Marrapodi (III, D, 1), 91106, diagnoses the complicated crosscontaminations of original and English versions of Cinthios novelle that inform the reading behind Measure for Measure and Othello. Antonio Ziosi, Seneca tragico nel rinascimento euopeo: tiranni, vendetta, tombe e fantasmi tra novella e tragedia, Matteo Bandello: Studi di letteratura rinascimentale, 2 (2007), 91154, argues that Shakespeare and Webster contaminate their novelistic sources with material from Seneca. Gent, Picture and Poetry (III, D, 3), suggests that Dallingtons 1592 translation of the Hypnerotomachia Poliphili is responsible for the transformation in late Elizabethan appreciation of the pictorial. Karl J. Hltgen,Sir Robert Dallington (15611637): Author, Traveler, and Pioneer of Taste, HLQ 47 (1984), 14777, outlining Dallingtons career as an importer of easy attitudes to Continental culture, conrms and elaborates Gents point, pointing to his difculties with the books technical vocabulary but also to the wide inuence of the Strife of Love in a Dream. L. E. Semler, Robert Dallingtons Hypnerotomachia and the Protestant Antiquity of Elizabethan England, SP 103 (2006), 20842, engages with the detail of mistranslation of this difcult text and ties its interest to militant Protestantism and the cause of Essex. Michael Leslie, The Hypnerotomachia Poliphili and the Elizabethan Landscape Entertainments, Word & Image 14 (1998), 13044, describes Dallingtons painful failure to domesticate the Hypneromachia as a consequence of his
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uncomfortable and unElizabethan over-identication with its motives. Donald A. Beecher, The Tudor Translation of Colonnas Hypnerotomachie, CahiersE 15 (1979), 116 (with a French version in Quaderni dItalianistica 1 [1980], 18299) gives a general account of Dallingtons book. 11. Miscellaneous other Prose. Margherita Giulietti,Il Gelli in Inghilterra: Due dialoghi orentini nel rinascimento inglese, Studi di Letteratura Francese 19 (1992), 26578, treats the involvement in Reformation politics of Henry Idens 1557 translation of Gellis Circe and William Barkers of his Fearfull Fansies of the Florentine Couper (1568). The Moral Philosophy of Doni by Anton Francesco Doni, ed. Carmine Di Biase, Donald Beecher, John A. Butler (2003), is an edition, supplied with contextualising material for the various stages of its migration from India to England, of Thomas Norths 1570 translation of Donis collection of moral fables. Richard Dutton, Volpone and Beast Fable: Early Modern Analogic Reading, HLQ 67 (2004), 34770, nds a thread of hostility to the duplicity of the Cecils, father and son, in Norths dedication of the collection to Leicester in 1570 and the books reprinting in 1601. Sergio Rossi, Vincentio Saviolo his Practise (1595): A Problem of Authorship, in England and the Continental Renaissance: Essays in Honour of J.B. Trapp, ed. Edward Chaney and Peter Mack (1990), 16576, argues that Florio orchestrated the translation of this work, one part practical and probably original with with Saviolo, the other part theoretical and essentially a translation of Muzio, and both together designed to promote the honor code in favor with Essex; see also Peltonen (III, A).Takau Shimada, The Authorship and Date of Harl. MS. 6249, ff. 106v-110, BLJ 16 (1990), 18791, identies this fragment as from Robert Johnsons translation of Boteros Relazoni (rst printed 1601, and augmented in successive reprintings). The English Emblem Tradition (III, C, 4), Vol. I, gives a facsimile text of Daniels 1585 translation of Giovios Worthy Tracte; another is supplied in the Scholars Facsimiles & Reprint series (1985). John Mulryan, Translations and Adaptations of Vincenzo Cartaris Imagini and Natale Contis Mythologiae: The Mythographic Tradition in the Renaissance, CRCL 8 (1981), 27283, describes Richard Linches 1599 abridgement of Cartari, derived from the unillustrated 1556 rst edition. Karl Josef Hltgen,Richard Haydocke:Translator, Engraver, Physician, Library 22 (1978), 1532, is the fullest account available of Haydocke and his Tracte. Rita Severi, Translating Art: Lomazzo and Haydocke, in English Diachronic Translation, ed. Giovanni Iamartino (1998), 16774, in a brief but bibliographically useful survey, presses Shakespeares knowledge of the Tracte (1598); see also her Richard Haydocke traduttore di Giovan Paolo Lomazzo, Quaderni di Lingue e Letterature 16 (1991), 22745. Gent (III, D, 3), deals passim with Haydockes difculties with Lomazzos technical vocabulary.
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Mordechai Feingold, A Friend of Hobbes and an Early Translator of Galileo: Robert Payne of Oxford, in North and Roche (III, C, 10), 26580, draws attention to Paynes unpublished translations of Galileos 1632 Dialogo and his Scienza mecanica (printed 1649). 12. Other Italian Verse. Glyn Pursglove, Robert Tofte, Elizabethan Translator of Boiardo, The Renaissance in Ferrara and Its European Horizons, ed. J. Salmons and W. Moretti (1984), 11122, in a mainly biographical essay, surveys Toftes engagement with Italian literature generally. Jack, Scottish Literatures Debt (III, D, 1), 49, describes Stewart of Baldynneis mediation of Ariostos Furioso through the French of Desportes and Jean Martin, and (1321) also treats the accommodation of Italian lyric to native norms in Ayton and Drummond. Lawrence, Who the Devil (III, C, 11), 6986, argues for exclusively Italian debts followed by Tofte and Samuel Daniel (where French mediation is usually assumed). J. D. McClure, Drummond of Hawthornden and Poetic Translation, in The European Sun, ed. Graham Caie et al. (2001), 494506, compares Drummonds variant versions of sonnets by Bembo and Tebaldeo (see also Lawrence, 3738) and applies Drydens hierarchy (metaphrase, paraphrase, imitation) to Drummonds translations of a selection of madrigals and sonnets by Marino and Tasso. Robert Cummings, Langlicizzazione del madrigale: il caso di William Drummond di Hawthornden, LAsino doro, 4.7 (1993), 14563, argues that Drummond turns to Italian madrigal verse as a model for deliberately unlyrical effects. Jonathan Nauman, A New Poem Is New Evidence: Henry Vaughan and James Howell Reconsidered, N&Q 237 (1992), 46062, reports the identication of Henry Vaughan as author of a manuscript translation of Sannazaros epigram on Venice. The Complete Works of Thomas Watson (15561592), ed. Dana F. Sutton, Vol. II (1997), includes an edited text with commentary of The First Sett of Italian Madrigals.
E. Spanish and Portuguese 1. Alemn. J. R. Yamamoto-Wilson, James Mabbes Achievement in His Translation of Guzmn de Alfarache, T&L 8 (1999), 13756, explains Mabbes moral motives in translating The Rogue (1622) by way of comparison with his translation of Cristbal de Fonsecas mystical Contemplations (1629). Isabel Verdaguer, Traduccines inglesas del Guzman de Alfarache, in De clsicos y traducciones: versiones inglesas de clsicos espaoles (s. XVIXVII), ed. Julio Csar Santoyo and Isabel Verdaguer (1987), 11528, describes Mabbes version, though inuenced by French and Italian versions, as faithful in substance and style; she notes that the 1655 version is an abridgement not of the Spanish original but of Mabbes translation.
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Hendrik van Gorp, Translation and Literary Genre: The European Picaresque Novel in the 17th and 18th Centuries, in The Manipulation of Literature: Studies in Literary Translation, ed. Theo Hermans (1985), 13648, with a bias to French translations, supplies a context for the English translations of Lazarillo, Alemns Guzmn, and Quevedos Buscn. 2. The Anonymous Amadis and other Romances. Alex Davis, Chivalry and Romance in Renaissance England (2003), 139, surveys the moral and cultural context for the reception of romance in England. Amadis de Gaule, translated by Anthony Munday, ed. Helen Moore (2004), based on the 16181619 printing, includes notice of Mundays idiosyncracies of translation: his de-Romanization and de-eroticization, his curtailing of formulaic battle scenes, his augmenting of rhetorical decoration and introduction of English detail. Donna B. Hamilton, Anthony Munday and the Catholics, 15601633 (2005), 73113, presents Mundays forty-year enterprise of translating Iberian romances, offering an alternative Romanizing view of the world, whose motivation is analogous to other Catholic translations of the period; she supplies (199206) a chronological index of all Mundays works. Hamiltons Anthony Mundays Translations of Iberian Romances: Palmerin of England, Part 1 as Exemplar, in Catholic Culture in Early Modern England, ed. Ronald Corthell et al. (2007), 281303, excerpts from her Anthony Munday and the Catholics a case-study of the operation of Catholic loyalism. David Bergeron has a lucid account of Mundays translating career in ODNB (2004). Louise Schleiner, Margaret Tyler, Translator and Waiting Woman, ELN 29 (1992), 18, situates Tylers Mirrour in the Duchess of Norfolks household. Helen Hackett, Women and Romance Fiction in the English Renaissance (2000), 5762, qualies the notion that there was a ready female audience for Tylers translation. Deborah Uman and Beln Bistu, Translation as Collaborative Authorship: Margaret Tylers The Mirrour of Princely Deedes and Knighthood, CLS 44 (2007), 298323, argues for Tylers simultaneous identication of herself as both translator and author. 3. Cames. The standard edition of Fanshawes translation of the Lusiads is Peter Davidson, Poems and Translations of Sir Richard Fanshawe,Vol. II (1999); it includes an essay by Roger Walker on the motives of Fanshawes translation: attachment to the old Anglo-Portuguese alliance and shared distress at the collapse of feudal values. The same Roger M. Walker, Sir Richard Fanshawes Lusiad and Manuel de Faria e Sousas Lusadas Comentadas: New Documentary Evidence, Portuguese Studies 10 (1994), 4464, argues for Fanshawes working through Farias Spanish prose version; in A Rediscovered Seventeenth-Century Literary Friendship: Sir Richard Fanshawe and Dom Francisco Manuel de Melo, SCen 7 (1992), 1526, Walker records a
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letter from Melo fulsomely thanking Fanshawe for the sight of his translated Lusiads. 4. Celestina. Celestine: or,The Tragick-Comedie of Calisto and Melibea, ed. Guadalupe Martnez Lacalle (1972), includes a full account of James Mabbes career and translation methods. Celestina, ed. Dorothy Sherman Severin (1987), offers Mabbes 1631 pseudonymous translation en face with a Spanish text for which Mabbe suppresses Fernando de Rojas only cryptically acknowledged authorship. Celestina, 2 vols, ed. Miguel Marciales (1985), Vol. I, 25862, focuses on the whimsies of Mabbes version. Patrizia Botta and Elisabetta Vaccaro, Un esemplare annotato della Celestina e la traduzione inglese di Mabbe, CN 52 (1992), 353419, analyze the copy used by Mabbe for his revisions. Nicolas Round, What makes Mabbe so good? BHS (2001), 14566, argues from manuscript and printed versions that Mabbes translation, targeted on rightness, not accuracy, is an antidote for critics hostile to uency. Pedro Guardia, The Spanish Bawd, Londres, 1631, in De clsicos y traducciones (III, E, 1), 12946, describes Mabbes puritanization of the Spanish. Mara Luz Celaya and Pedro Guardia Mass Celaya, The Spanish Bawd: traduccin y mitologizacin, Livius 2 (1992), 13948, describes Mabbes omission or adjustment of the religious references; J. G. Ardila, Una traduccin polticamente correcta: Celestina en la Inglaterra puritana, Celestinesca: Boletn Informativo Internacional 22.2 (1998), 3348, also deals with Mabbes suppression of oaths in his printed revision. Morini, Tudor Translation (III, C, 5), 7177, details Mabbes elimination of supposed blasphemies and his so-called paganization of the Spanish, but also his importation of Rabelaisian effervescence. Jos Mara Prez Fernndez, El impacto de La Celestina en Inglaterra isabelina, in La Celestina, V Centenario (14991999): Actas del congreso internacional, ed. Felipe B. Pedraza Jimnez et al. (2001), 44555, treats the interest in realistic effects that Rojas shares with late Elizabethan writers. D.S. Severin, Celestinas Courtly Lyrics and James Mabbes English Translation, in Courtly Literature: Culture and Context, ed. K. Busby and E. Kooper (1990), 52329, demonstrates Mabbes untypically sensitive restraint in the translation of Rojas lyrics. 5. Cervantes. A Facsimile Edition of the First English Translations of Miguel de Cervantes Saavedras El Ingenioso Hidalgo Don Quixote de la Mancha (1605 1615), ed. Anthony G. Lo R (2002), presents Thomas Sheltons Part I (1612), and (as he argues) Leonard Diggess Part II (1620). His Essays on the Periphery of the Quijote (1991) argues that Lodge instigated the translation of Part I (929) and (2944) challenges Sheltons claims on the authorship of Part II, advancing the claim for Digges; see also his The Second Edition of Thomas Sheltons Don Quixote, Part I: A Reassessment of the Dating Problem,
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Cervantes 11 (1991), 99118. Sandra Forbes Gerhard, Don Quixote and the Shelton Translation: A Stylistic Analysis (1982), treats in her central chapter Sheltons talent for the right emphasis, described in detailed accounts of tumult scenes in both original and translation; a nal chapter compares Sheltons achievements with those of later translators. Carmelo Cunchillos Jaime, La primera traduccin inglesa del Quijote de Thomas Shelton (1612 1620), Cuadernos de Investigacion Filologica 9 (1983), 6389, offers a forgiving account of Sheltons version, and again in Traduccines del Quijote (1612 1800), in De clsicos y traducciones (III, E, 1), 89114. Joo Ferreira Duarte, Uncrowning the Original: Carnivalised Translation, Trans 4 (2000), 918, describes the strategies informing John Phillips 1687 carnivalised translation of Don Quijote (misdated in the abstract, though not the text, to 1657). G. Ungerer, Recovering Unrecorded Quixote Allusions in Ephemeral English Publications of the late 1650s, Bod. Lib. Record 17 (2000), 6569, supplements E. B. Knowless list of allusions in PQ (1941). In Cervantes in Seventeenth-century England: The Tapestry Turned (2009), Dale B.J. Randall and Jackson Campbell Boswell supply an annotated catalogue of more than a thousand allusions, chronologically arranged, with a contextualising introduction. Lee Bliss, Don Quixote in England: The Case for The Knight of the Burning Pestle, Viator 18 (1987), 36180, is partly an account of Cervantes English reception, partly an argument for Cervantes substantive, conceptual inspiration of Beaumont. Davis, Chivalry and Romance (III, E, 2), 11932, suggests that Beaumont and Cervantes have no more in common than their preoccupation with anti-romantic themes. Frances Luttikhuizen, Traduccines inglesas de las Novelas Ejemplares, in De clsicos y traducciones (III, E, 1), 14764, describes the stylistic features of Mabbes 1640 version of the Exemplarie Novells and details his consultation of French and Italian versions. 6. Las Casas. E. Shaskan Bumas, The Cannibal Butcher Shop: Protestant Uses of Las Casas Brevsima relacin and the Case of the Apostle Eliot, EAL 35 (2000), 10736, argues that the 1583 Spanish Colonie of M. M. S (confused here with the intermediate French translator Jacques de Miggrode) denes the virtuous nascent English empire against the cruel Spanish empire at its height and argues that the 1656 version by James Phillips offers its dedicatee Cromwell as a scourge of Spanish interests. Susan Castillo, Colonial Encounters in New World Writing: Performing America (2006), 14756, takes Phillips version with Davenants Cruelty of the Spaniards in Peru (1658) as manifestations of the same anti-Spanish impulse. 7. Montemayor. Luis Chamosa, Bartholomew Yong: la traduccin inglesa de las Dianas (1598), in De clsicos y traducciones (III, E, 1), 5980, treats the amplications, corrections, and yet generally faithful character of the
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translations. Michael Haldane, Doubling in Bartholomew Yongs Diana, T&L 14 (2005), 120, focuses on the suggestive rather than explanatory power of Yongs technique of duplication. 8. Quevedo. Mara Pilar Navarro, Quevedo en lengua ingelesa, in De clsicos y traducciones (III, E, 1), 16588, offers a descriptive survey of early adaptations (the butts of the satire are changed) of the Sueos (by Richard Croshawe 1640; Edward Messervy 1641; J.D. 1657). Pilar Navarro Errasti, Historia de la vida del Buscn de Francisco de Quevedo, Zaragoza, 1626 / The Life and Adventures of Buscon, London, 1657, in Picaresca espaola en traduccin inglesa (ss. XVI y XVII): Antologa y estudios, ed. F. J. Snchez Escribano (1998), 93117, describes J.D.s version. Errastis J. D., primer traductor ingls del Buscn. Reconstruccin de su biografa a partir de los prefacios de sus traducciones, Miscelnea 8 (1987), 3360, infers J. D.s biography from a range of liminary material. 9. St Teresa. Isabel Verdaguer, Traduccines inglesas del Libro de la Vida, in Clsicos y traducciones (III, E, 1), 8188, surveys the translations by Michael Walpole and Tobie Matthew of the autobiography so as to exhibit their reection of the political and religious circumstances of their composition. Kathleen T. Spinnenweber, The 1611 English Translation of St. Teresas Autobiography: A Possible Carmelite-Jesuit Collaboration, Skase Journal of Translation and Interpretation 1 (2007), 112, surmises the involvement of Spanish Carmelite associates of Teresa in Michael Walpoles translation. 10. Other Prose Writers. Elaine Cuvelier, Thomas Lodge, tmoin de son temps, c. 15581625 (1984), 50619, summarizes the English interest in Luis de Granada and deals with Lodges versions of the Flowers through Michael van Isselts Latin; her focus is Lodges use of Luis as a model for his Prosopopeia (1596). Francisco Javier Snchez Escribano, La version inglesa de Experiencias de Amor y de Fortuna, de Francisco de Quintana (1651), in De clsicos y traducciones (III, E, 1), ed. Julio Csar Santoyo and Isabel Verdaguer (1987), 189204, describes the anonymous English version of Quintanas pastoral romance. Kelly A. Quinn, Sir Thomas Norths Marginalia in his Dial of Princes, PBSA 94 (2000), 28387, explores the negative relationship between Mundays fourth edition (1619) of Norths Dial and Norths own copy of the 1582 edition, marked up for a projected new edition. M. C. Buesa Gmez, Gracin en Inglaterra: Traducciones del siglo XVII, Boletn de la Fundacin Federico Garca Lorca 2930 (2001), 27585, focuses on Sir John Skefngtons amplications in his version of El Hroe, otherwise (unlike Gervaises French translation) closely based on Gracins original. Mara Antonia Garcs, The Translator Translated: Inca Garcilaso and English Imperial Expansion, in
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Travel and Translation in the Early Modern Period, ed. C. G. Di Biase (2006), 20325, treats the use of Inca Garcilaso in Purchas his Pilgrims (1625). 11. Spanish Verse. Arguments for analogies of manner, largely in relation to Crashaw, are advanced in R.V.Young, Ineffable Speech: Carmelite Mysticism and Metaphysical Poetry, Communio 17 (1990), 23860, and in Youngs Richard Crashaw and the Spanish Golden Age (1982). Eduardo R. del Ro, Thomas Stanleys Translations of Spanish Verse, EIRC 25 (1999), 6786, notes Stanleys literalist preferences (illustrated here from Montalbn) and focuses on the translation of Gongoras Solitudes, aborted (along with Boscns Loves Embassy) because, he claims, it offended his Protestant sensibilities. Fanshawes Poems and Translations, Vol. I, ed. Davidson (III, C, 5), 4549, includes Sonnets printed from MS and translated, like those printed in 1648 (98103), from Gngora and the brothers Argensola; on these see Eduardo R. Del Ro, The Context of Translation: Richard Fanshawe and Spanish Verse, Revista Alicantina de Estudios Ingleses 17 (2004), 6580. For earlier recourse to Spanish lyric, see J. L. Chamosa, Spanish Poetry Translated into English: The Case of Englands Helicon, Actas del I congreso nacional de la Sociedad Espaola de Estudios Renacentistas Ingleses (1990), 7182. IV. State of Criticism Recent study of later Renaissance translations has been energetically cultivated by historians of moral and political philosophy who allow translations from Greek and Latin (modern as well as classical) as well as from modern vernaculars to participate in ethical, political, or religious discourses of the period, or even to direct them. Thus many studies surveyed here are indifferent to issues of authorship and literary intention and preoccupied with issues of cultural history. EEBO and foreign-language databases have facilitated ready access to non-canonical material and encouraged the dissolution of the boundaries between original and translated material. Despite that new bias, the history of translation continues to contribute to the stylistic history of English literature, and the scholarly environment generally has become friendlier to the study of translation. The interest in the emergence in translated literature of new genres or modes is well served in the now fashionable reception histories prepared mainly by classicists. Spanish, Italian, and French scholars of English translation, though by no means motivated exclusively by an interest in the narrowly understood reception of their own writers, have been from the outset sensitive to issues of stylistic transmission and less impressed by the independent interest of the translations. Among modern authors, Florios Montaigne and Urquharts Rabelais have provoked some of the liveliest stylistic treatments. The Countess of Pembroke as a
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translator from French and Italian (as well as the Psalms) and Katherine Philips as a translator from French have deservedly been the subject of recent serious study. Editions new or projected (notably of Hutchinsons Lucretius, and the translations of Vergil by Harington, Fanshawe, and Denham) encourage concern with the detail of how foreign-language texts are mediated in English. As this compilation is completed, two volumes, Elizabeth I: Translations, 15441589 and Elizabeth I: Translations, 15921598, ed. Janel Mueller and Joshua Scodel (2009), have just appeared: they collect and annotate all Elizabeths work from and into Latin, French, and Italian.
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