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Books on the topic 'Thomas Lodge'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Thomas Lodge. Farnham: Ashgate, 2011.

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2

Freemasons. St. Thomas Lodge, No. 44 (Ont.). By-laws of the St. Thomas Lodge of Free and Accepted Masons, No. 44 G.R.C. [London, Ont.?: s.n.], 1985.

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3

The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898. New York: Back Bay Books, 2011.

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4

Evan, Thomas. The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898. New York: Little, Brown and Co., 2010.

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5

Evan, Thomas. The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898. New York: Little, Brown and Co., 2010.

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6

The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898. New York: Little, Brown and Co., 2010.

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7

Fictions of authorship in late Elizabethan narratives: Euphues in Arcadia. Oxford: Oxford University Press, 2006.

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8

Rae, Wesley D. Thomas Lodge. Irvington Pub, 1996.

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9

Sisson, Charles J., ed. Thomas Lodge and Other Elizabethans. Harvard University Press, 2013. http://dx.doi.org/10.4159/harvard.9780674367180.

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10

Newbolt, Henry. Noble English from Thomas Lodge to John Milton. Kessinger Publishing, 2004.

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11

Newbolt, Henry. Noble English from Thomas Lodge to John Milton V2. Kessinger Publishing, LLC, 2007.

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12

Evan, Thomas. War Lovers: Roosevelt, Lodge, Hearst, and the Rush to Empire 1898. Little Brown & Company, 2010.

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13

Mitchell Sommers, Susan. Father Noah. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190687328.003.0007.

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Ebenezer Sibly needed cash to set up his business, and in 1790 he was hired to manage a parliamentary election in Ipswich, in Suffolk. He had no political experience and no connections to Suffolk. However, by this time he was a senior freemason with ties to Thomas Dunckerley, an influential Provincial Grand Master for many English counties. This chapter re-examines and offers a revisionist interpretation of the connections between Sibly and Dunckerley. With Dunckerley’s connivance, Sibly set up a fraudulent lodge. He used ritual, public performance, and promise of financial benefit to swear an ever-growing number of freemen into membership. He then presented his employer, the candidate Sir John Hadley D’Oyly, as the choice of the lodge. D’Oyly was duly elected. Sibly stayed in town long enough to help secure D’Oyly’s interest and then took the lodge money and left town. The following year he was burned in effigy.

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14

Wells, Stanley. 2. Theatre in Shakespeare’s time. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198718628.003.0002.

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Both drama and theatre were developing rapidly in Shakespeare’s early years. ‘Theatre in Shakespeare’s time’ explains how Shakespeare followed in the footsteps of the first great wave of stage writers known as the University Wits—John Lyly, Thomas Lodge, Christopher Marlowe, George Peele, Thomas Nashe, and Robert Greene—learning from them and collaborating with them. It describes the London theatrical scene, the playing spaces, and the actors of the time before outlining Shakespeare’s early career, the narrative poems that kept him afloat financially, and introducing the Lord Chamberlain’s, and later King’s Men, the acting company that formed in 1594.

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15

Meyler, Bernadette. From Sovereignty to the State. Edited by Lorna Hutson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199660889.013.44.

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The enthusiastic series of receptions of Philip Massinger’s 1623 play The Bondman by royalists and republicans alike has puzzled critics: Why did audiences from Prince Charles, to republicans resisting the possibility of Charles II’s return, to the spectators of the Restoration all respond to the play enthusiastically despite their disparate political vantage points? This essay argues that the play appealed to disparate constituencies by displacing focus from the sources of sovereignty onto the stability of the state. Drawing on Stoic philosopher Seneca’s De clementia, which Thomas Lodge had newly translated in 1614, The Bondman centers both generically and politically on clemency. Clemency infuses the play’s mode of tragicomedy and presents a vision of politics that prioritizes the general welfare of the state over any particular form of rule.

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