Yea, you shall reade that some although they were banished from their countrie, yet they bore in their bowels and breastes, to the hower of their death, the love of their countrie, parents, friends ...and familie. In which everlasting love of theirs remayned such manly and honorable motions of the minde, that many noble services of voluntarie goodwill were brought forth by them to the benefite of their countrie, and recoverie of their first credite, estate and dignitie.
Thomas Churchyard's 1588 description of the relation between friendship and love of country prefigures the usual story about friendship in the years of the English Civil Wars, Commonwealth, Protectorate, and Restoration. He tells of enduring, intertwined loyalties to "countrie, parents, friends and familie." His version, like most Renaissance humanist accounts of friendship, is masculine, relying upon "manly and honorable motions of the minde." It ties the friends to the commonwealth, even after banishment; friendship manifests itself in noble acts that benefit the friends' country first of all, but then allow the friends themselves to regain "their first credite, estate and dignitie' within the country that banished them. Against a backdrop of war and political exile in the 1640s-50s, the Cavalier poets idealize this kind of friendship in lyrics of retirement and country life; with other royalists, they hope for a "recoverie" of their political roles and economic resources that does not entirely manifest itself with the return of the monarchy in 1660.
In the 1650s and early 1660s, Katherine Philips (1632–64) writes at the center of a network of royalists, many with prominent court ties both before and after the restoration. She exchanges poems and ...letters famed for their extravagant praise of friendship and their outspoken support of the English monarchy with interlocutors such as Sir Charles Cotterell, Jeremy Taylor, Sir Edward Dering, Francis Finch, and Henry Lawes, using coterie names drawn from the royalist-identified genres of romance and tragedy. One of those coterie names – Antenor, given to her husband James Philips – points toward the startling complexities of Philips's poetry and its place in the bitter conflicts of the English Civil Wars, Commonwealth, Protectorate, and Restoration.Most scholars stress that James Philips's coterie name of Antenor alludes to the Trojan counselor who advocates peace with the Greeks. Naming James Philips Antenor casts him as an intermediary between two political sides – aptly, given that he, in contrast to Katherine Philips's royalist coterie, supports Parliament and Cromwell, serving as a Member of Parliament from 1653–62. The name Antenor therefore seems to suggest reconciliation between violent extremes. Antenor reappears in the Renaissance in Dante's Inferno, however: the second region of the ninth and lowest circle of hell, reserved for betrayers, is named Antenora. In it live those who have betrayed their political party or their homeland. The circle of Antenora thus raises the questions that animate this chapter: how could James and Katherine Philips live together with such different views and different intimates?
Render things the same, and I am still the same.Taking up the crown in 1660 after years of exile, King Charles II passes the “Act of Free and Generall Pardon, Indemnity, and Oblivion” in order “to ...bury all Seeds of future Discords and remembrance of the former as well in His owne Breast as in the Breasts of His Subjects one towards another.” The Act also calls for a fine against anyone who uses “words of reproach any way tending to revive the memory of the late Differences or the occasions thereof,” though famously only one prosecution occurs under the Act. Within literary criticism, the advertised oblivion once seemed absolute, with the years of the Civil Wars, Commonwealth, and Protectorate treated as a lacuna, in which authors like John Milton, who ought to have been writing poetry, turn their left hands to prose. Over the last twenty-five years, scholars have been uncovering the vibrant literary culture of the war years and, as importantly, showing the continuity between the literature of those years and of the Restoration.The manuscript evidence demonstrates that the record of changing political allegiances forms a central part of these interconnections. Well into the eighteenth century, manuscript miscellanies and commonplace books juxtapose poems of seemingly incompatible viewpoints, such as panegyrics written by the same poet to Charles I, Oliver Cromwell, and Charles II in turn.
He may be in his own practice and disposition a Philosopher, nay a Stoick, and yet speak sometimes with the softness of an amorous Sappho.Abraham Cowley's qualification that the poet may sometimes be ...a Stoic philosopher and yet speak as Sappho delineates the two contradictory traditions that emerge from Katherine Philips's poems of mixed obligations in amicitia. These two poles, Stoic and Sappho, come to define Philips for posterity. In the process of opposing, rather than combining, the political and the passionate, later readers reach the conclusion that titles this chapter: “women, like princes, find no real friends.” This assertion, in a mid-eighteenth-century manuscript miscellany, characterizes self-interest as the threat to women's and princes' friendships, for “All who approach them, their own Ends pursue, / Lovers, & Ministers are never true.” This poem denies friendship to women twice over: first overtly, then in the substitution of “lovers” for “friends.” This chapter explores the path from Philips's politically engaged women's amicitia to this outright dismissal of women's friendship.Chapter 2 demonstrates the political value of Philips's amicitia: she uses lyrics of friendship's dissolution to shape political alliances and exemplify political virtues in the interregnum and afterwards. Philips offers a model of political obligation simultaneously clear-eyed in its acknowledgment of the inevitabilities of betrayal and hopeful in its assertion that the most resilient political system therefore focuses on reconciliation, rather than a fantasy of complete agreement.
The manuscript of Lucy Hutchinson's elegies (composed 1664–71) includes a lyric passage in the hand of Lucy Hutchinson's descendant Julius. The title reads “These verses transcribed out of my other ...book J: H:” and the text contains the concluding note “Memdm these verses were writ by Mrs Hutchinson on ye occasion of ye Coll: her Husbands being then a prisoner in ye Tower: 1664.” In fact, these forty-two lines come from Hutchinson's biblical epic Order and Disorder: they are Eve's lament after the fall, her acceptance of responsibility and exclamation of regret for her act. The lines mix the mutuality of friendship with bitter self-criticism:Seeing the man I love by me betrayed,By me, who for his mutual help was made,Who to preserve thy life ought to have died,And I have killed thee by my foolish pride,Defiled thy glory and pulled down thy throne.O that I had but sinned and died alone!Then had my torture and my woe been less,I yet had flourished in thy happiness.This passage exhibits, in miniature, Hutchinson's complicated reworking of the friendship tradition to reimagine marriage. She entwines the central themes of betrayal, mutuality, and self-sacrifice. With the image of the self who flourishes by giving herself up for her friend, Hutchinson links together the republican trope of friends rebelling against tyrants and the humanist textual generativity that she elevates over physical reproduction.
And therefore it is no longer a wonder, that men Love, or Dislike each other commonly at first interview, though they scarce know why: nor can we longer withold our Assent to that unmarkable Opinion ...of Plato, that Similitude of Temperaments and so of Inclinations, is not only the Cement, but Basis also of Amity and Friendship.The epigraph comes from Walter Charleton's 1654 Physiologia Epicuro-Gassendo-Charltoniana, a translation and modification of Pierre Gassendi's Epicurean natural philosophy. In this text, Charleton presents the French Gassendi's Christianization of Epicurus, a philosopher widely considered atheist, to an English public in the midst of civil war. In this passage, Charleton explains sympathy and antipathy by physical means: the “Similitude of Temperaments and so of Inclinations.” The language, derived from Plato, evokes in another register the distinctive nature of friendship, repeating the key terms of made and found in cement (solidifying over time) and basis (the initial foundation). In a slightly later text that introduces and translates some of Epicurus' own writings, Epicurus's Morals (1656), Charleton uses the same language to present Epicurus' appeal for the mid-seventeenth-century reader:Similitude of Opinions, is an argument of Similitude in Affections, and Similitude of Affections the ground of Love and friendship, … you will soone admitt him into your bosome, and treat him with-all the demonstrations of respect due to so excellent a Companion.
Throughout this book, I have been arguing for the presence of politicized women's friendship in the mid-seventeenth century. Later writers and readers cover up these traces, with their claims on the ...long tradition of civically engaged classical and humanist masculine friendship, effectively and eventually separating women's friendship from politics. From this depoliticization a familiar story emerges, recognizable in countless novels of courtship and marriage from the eighteenth and nineteenth centuries and beyond. At this point, friendship itself becomes feminized, in contrast to the long-standing emphasis on masculine friendship from the classical through the Renaissance periods. It is the friendship of two girls embracing under the bedcovers at boarding school (Jane Eyre), of passionate letters detailing the inner workings of families and courtship (Clarissa), of one woman supporting another after romantic disappointment (Aurora Leigh). It is everywhere, and it seems to have nothing to do with the wrenching decisions about conflicting allegiances that characterize the years of the English Civil Wars and Restoration.William Rounseville Alger's The Friendships of Women (1868) articulates a remarkably resilient account of the meanings of women's friendship. He writes,In the lives of women, friendship is, First, the guide to love; a preliminary stage in the natural development of affection. Secondly, it is the ally of love; the distributive tendrils and branches to the root and trunk of affection. Thirdly, it is, in some cases, the purified fulfillment and repose into which love subsides, or rises. Fourthly, it is, in other cases, the comforting substitute for love.
The U.S. Housing and Urban Development (HUD) requires homeless care facilities to collect and submit data on their clients in order for them to receive grant funding. However, the government does not ...provide a single system-wide Homeless Management Information System (HMIS) data solution. Homeless care facilities are required to purchase a HMIS database system from private companies which results in HMIS systems being closed databases and unconnected nationwide or community-wide. If a single unified HMIS system was created and used by all care facilities nationwide, it would alleviate duplication of case files, inaccuracies in national statistics, and create an ecosystem that enables those seeking shelter to find care more efficiently.
Marguerite de Navarre took friendship as a central concern in her patronage and in her writing. This chapter focuses on a tale in the Heptaméron about a putative friendship between a ruler and a ...subject. By concentrating on the dubious nature of the original friendship between the characters, the chapter offers a complementary account of the novella. The chapter reviews Marguerite de Navarre's novella alongside period accounts of the assassination of Alessandro. According to the historical record, Alessandro and Lorenzo were indeed close, but their bond was not described in terms drawn from the rhetoric of perfect friendship. The discussion of the storytellers also connects the novella's specific concern with male friendship to the preoccupations of the collection as a whole. Elsewhere in the Heptaméron, Marguerite rehearses the ability of the rhetoric of love to enable and seemingly to ennoble what will ultimately be revealed as the self-interested pursuit of an inappropriate object.
