By Randy Robertson
Censorship profoundly affected early sleek writing. Censorship and clash in Seventeenth-Century England bargains a close photograph 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 struggle, the judicial execution of a king, the recovery of his son, and an unremitting fight between crown, parliament, and folks for sovereignty and the suitable to outline liberty and estate. This conflict, occasionally sophisticated, occasionally bloody, entailed a fight for the keep watch over of language and illustration. Robertson deals a wealthy learn 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, used to be the last word objective. This e-book differs from most modern works in studying 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 ebook are the workings of the licensing equipment, the designs of paintings and obliquity below a regime of censorship, and the involutions of authorship attendant on anonymity.
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Extra resources for Censorship and Conflict in Seventeenth-Century England: The Subtle Art of Division (Penn State Studies in the History of the Book)
120 With a team of deputies and delators, L’Estrange pried into every corner of the book trade. ‘‘Poets Have More Success Because More Wit’’: The Politics and Poetics of Censorship Censorship told profoundly upon the writing of early modern England, but resourceful writers and publishers found ways around the licensing regulations, sometimes by exploiting the inefficiencies surveyed in the previous section, sometimes by employing ‘‘art’’ and artifice strategically, and sometimes by a fruitful combination of the two.
In the incipient stages of the ‘‘Popish Plot’’ crisis, a defender of the court published A Letter from Amsterdam to a Friend in England (1678), a mischievous, searing, and brilliant piece that parodies not only the ‘‘Letter to a Friend’’ genre flourishing at the time, but also the terse, cryptic style of machinating spies. As he unfolds a strategy for upending the king, the anonymous author takes oblique aim at Marvell (to hilarious effect): ‘‘Bring on new accounts of Growth of Popery and Arbitrary Government.
124 Though Quintilian is optimistic about the magistrates’ willingness to adhere to the rule of mitior sensus—a rule that in Stuart Britain was honored more often in the breach than in the observance—his model is contestatory, not contractual. In these pages I argue that ‘‘discursive contest’’ better describes some aspects of licensing in early modern England than does the idea of a social contract. In certain battles, words were foot soldiers, and censors (including the king himself) were the field marshals governing them; indeed, skirmishes frequently erupted among the licensers themselves, undermining any notion of a monolithic state.