538:
253:
534:, which is the foundation of Christian theology and Pauline doctrine about women causing it. Lanier defends Eve and women in general by arguing that Eve is wrongly blamed for Original Sin, while no blame attached to Adam. She argues that Adam shares the guilt, as he is shown in the Bible as being stronger than Eve, and so capable of resisting the temptation. She also defends women by noting the dedication of Christ's female followers in staying with him through the Crucifixion and first seeking him after the burial and Resurrection.
401:
428:, who was Scottish. So Lanier's book is the first book of substantial, original poetry written by an Englishwoman. She wrote it in the hope of attracting a patron. It was also the first potentially feminist work published in England, as all the dedications are to women and the title poem "Salve Deus Rex Judaeorum", about the crucifixion of Christ, is written from a woman's point of view. Her poems advocate and praise female virtue and Christian piety, but reflect a desire for an idealised, classless world.
225:
244:(1552–1611) professional diary, the earliest known casebook kept by an English medical practitioner. She visited Forman many times in 1597 for consultations that incorporated astrological readings, as was usual in the medical practice of the period. The evidence from Forman is incomplete and sometimes hard to read (Forman's poor penmanship has caused critical problems to past scholars). However, his notes show she was an ambitious woman keen to rise into the gentry class.
91:
925:
2083:
630:" by noting that the genealogy of women began with Eve. Loughlin argues that Lanier advocates the importance of knowledge of the spiritual and the material worlds in women's connection. Lanier seems to argue that women must focus on the material world and their importance in it, to complement their life in the spiritual world. The argument derives from Lanier's seeming desire to raise women to the level of men.
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36:
911:
670:(1995) and in Stephanie Hopkins Hughes. Although the colour of Lanier's hair is not known, records exist of her Bassano cousins being referred to as "black", a common term at the time for brunettes or people with Mediterranean colouring. Since she came from a family of Court musicians, she fits Shakespeare's picture of a woman playing the
502:
The title poem "Salve Deus Rex Judæorum" is prefaced by ten shorter dedicated poems, all for aristocratic women, beginning with the Queen. There is also a prose preface addressed to the reader, containing a vindication of "virtuous women" against their detractors. The title poem, a narrative work of
352:
Forman's diary entries imply that Lanier's marriage was unhappy. The diary also relates that Lanier was happier as Lord
Hunsdon's mistress than as Alfonso's bride, for "a nobleman that is ded hath Loved her well & kept her and did maintain her longe but her husband hath delte hardly with her and
622:
in an article, "Writing Women and
Reading the Renaissance", actually calls Lanier the "defender of womankind". Lewalski believes Lanier initiates her ideas of the genealogy of women with the first few poems in the collection, as dedications to prominent women. This follows the idea that "virtue and
384:
Little else is known of Lanier's life between 1619 and 1635. Court documents state that she sued her husband's brother, Clement, for money owed to her from the profits of one of her late husband's financial patents. The court ruled in Lanier's favour, requiring
Clement to pay her £20. Clement could
376:
After
Alfonso's death in 1613, Lanier supported herself by running a school. She rented a house from Edward Smith to house her students, but disputes over the rental led to her being arrested twice between 1617 and 1619. Parents then proved unwilling to send their children to a woman with a history
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coincide with mentions of a swan dying to music, which he sees as a standard
Ovidian image of a great poet. He asserts that the "swan song" may be a literary device used in some classical writings to conceal the name of an author. However, the notion that a dying swan sings a melodious "swan song"
337:
and a patron of the arts and theatre, but he was 45 years older than Lanier, and records show he gave her a pension of £40 a year. Records indicate that Lanier enjoyed her time as his mistress. An entry from Forman's diary reads, " hath bin married 4 years/ The old Lord
Chamberlain kept her longue
286:
Baptiste
Bassano died on 11 April 1576, when Emilia was seven years old. His will instructed his wife that he had left young Emilia a dowry of £100, to be given to her when she turned 21 or on the day of her wedding, whichever came first. Forman's records indicate that Bassano's fortune might have
747:
refers to a location in the town of
Bassano, and that the title of the play may refer to the Jesuit Girolamo Otello from the town of Bassano. The character Emilia speaks some of the first feminist lines on an English stage and so could be seen as a contemporary allegory for Emilia Lanier herself,
507:
on the Cross. The satirical nature of the poem was first emphasised by Boyd Berry. Although the topics of virtue and religion were seen as suitable themes for women writers, Lanier's title poem has been viewed by some modern scholars as a parody of the
Crucifixion, since Lanier approaches it with
564:
There is no scholarly consensus on the religious motivation of the title poem. Some call it a genuinely religious poem from a strong, female angle. Others see it as a piece of clever satire. Although there is no agreement on intent and motive, most scholars note the strong feminist sentiments
385:
not pay immediately, and so Lanier brought the suit back to court in 1636 and in 1638. There are no records to say whether Lanier was ever paid in full, but at the time of her death, she was described as a "pensioner", i. e. someone who has a steady income or pension.
380:
Lanier's son eventually married Joyce
Mansfield in 1623; they had two children, Mary (1627) and Henry (1630). Henry senior died in October 1633. Later court documents imply that Lanier may have been providing for her two grandchildren after their father's death.
714:
The Irish poet Niall McDevitt also believes Lanier was the Dark Lady: "She spurned his advances somewhere along the line and he never won her back.... It's a genuine story of unrequited love." Tony Haygarth has argued that a certain 1593 miniature portrait by
512:
view Lanier's conversion as genuine and her passionate devotion to Christ and to his mother as sincere. Still, comparisons have been made between Lanier's poem and religious satires that scholars have studied in Shakespearean works, including the poem
282:
or of partly Jewish descent. Susanne Woods calls the evidence for it "circumstantial but cumulatively possible". Leeds Barroll says Lanier was "probably a Jew", her baptism being "part of the vexed context of Jewish assimilation in Tudor England."
302:. Bertie greatly valued and emphasised the importance of girls receiving the same level of education as young men. This probably influenced Lanier and her decision to publish her writings. After living with Bertie, Lanier went to live with
694:, which chronicles Rowse's identification of Lanier as the "Dark Lady". After readings in London and at the Players' Club, it received a staged reading at New Dramatists in New York City on 16 March 2015. In 2005, the English conductor
416:(Hail, God, King of the Jews). At the time it was still highly unusual for an Englishwoman to publish, especially in an attempt to make a living. Emilia was only the fourth woman in the British Isles to publish poetry. Hitherto,
353:
spent and consumed her goods and she is nowe... in debt." Another of Forman's entries states that Lanier told him about having several miscarriages. Lanier gave birth to a son, Henry, in 1593 (presumably named after his father,
757:, where an Aemilius and a Bassianus each hold a crown. Each mirrors the other's position at the beginning and end of the play, as rhetorical markers indicating that the two names are a pair, and book-end the bulk of the play.
2050:
686:
notes that Rowse's theory has deflected attention from Lanier as a poet. However, Martin Green argued that although Rowse's argument was unfounded, he was correct in saying that Lanier is referred to in the Sonnets.
682:, which has been speculated to refer to Lanier's relations with Shakespeare's patron, Lord Hunsdon. The theory that Lanier was the Dark Lady is doubted by other Lanier scholars, such as Susanne Woods (1999).
503:
over 200 stanzas, tells the story of Christ's passion satirically and almost entirely from the point of view of the women who surround him. The title comes from the words of mockery supposedly addressed to
1878:
364:. Lanier, 42 years old at the time, was the first woman in England to declare herself a poet. People who read her poetry considered it radical, and many scholars today refer to its style and arguments as
1358:
In a Cristina Malcolmson paper, "Early Modern Women Writers and the Gender Debate: Did Aemilia Lanyer Read Christine de Pisan?" presented at the Centre for English Studies, University of London, n. d.
1387:
Melanie Faith, "The Epic Structure and Subversive Messages of Aemilia Lanyer's Salve Deus Rex Judaeorum." MA thesis (Blacksburg, Virginia: Virginia Polytechnic Institute and State University, 1998).
278:. Lanier's sister, Angela Bassano, married Joseph Hollande in 1576, but neither of her brothers, Lewes and Phillip, reached adulthood. It has been suggested, and disputed, that Lanier's family was
508:
imagery of the Elizabethan grotesque, found, for instance, in some Shakespeare plays. Her views have been interpreted as "independent of church tradition" and heretical. Other scholars including
237:
Emilia Lanier's life appears in her letters, poetry, and medical and legal records, and in sources for the social contexts in which she lived. Researchers have found interactions with Lanier in
706:, dedicated to Lord Hunsdon, and that one of the songs, a setting of the translation of an Italian sonnet "Of Gold all Burnisht", may have been used by Shakespeare as the model for his parodic
294:. Some scholars question whether Lanier went to serve Bertie or be fostered by her, but there is no conclusive evidence for either possibility. It was in Bertie's house that Lanier was given a
2401:
2173:
799:, for which she is seen as the first professional female poet in the English language. Indeed she is known as one of England's first feminist writers in any form, and potentially as the
557:, who attempts to prevent the unjust trial and crucifixion of Christ. She also notes the male apostles that forsook and even denied Christ during His Crucifixion. Lanier repeats the
764:, claiming to have found proof that Lanier is the Dark Lady. Bassano points to the similarity of Hilliard's alternative miniature to a description of Lord Biron's desired wife in
639:
740:
was proverbial, and its application to a character need not prove the character is being presented as a poet. So the evidence remains inconclusive and perhaps coincidental.
795:
Lanier was largely forgotten for centuries, but study of her has abounded in recent decades. She is remembered for contributing to English literature her volume of verses
1184:
626:
Marie H. Loughlin continues Lewalski's argument in "'Fast ti'd unto Them in a Golden Chaine': Typology, Apocalypse, and Woman's Genealogy in Aemilia Lanier's
595:, for whom Lanier was engaged as tutor and companion. The Clifford household possessed a significant library, some of which can be identified in the painting
57:
2371:
1784:
2366:
1594:"Conjure the Bard: On London's streets, Nigel Richardson follows a latter-day Prospero bringing William Shakespeare back to life" (26 February 2011)
1894:
1303:. Whitney, Isabella, Pembroke, Mary Sidney Herbert, Countess of, 1561–1621, Lanyer, Aemilia, Clarke, Danielle, 1966–. London: Penguin Books. 2000.
776:
Lanier was a member of the minor gentry through her Italian father's appointment as a royal musician. She was further educated in the household of
1810:
561:
aspects of the Gospel accounts: hostile attitudes towards the Jews for not preventing the Crucifixion – such views were the norm for her period.
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Aemilia Lanyer was the first woman writing in English to produce a substantial volume of poetry designed to be printed and to attract patronage.
2110:
341:
In 1592, when she was 23, Lanier became pregnant with Hunsdon's child, but he paid her off with a sum of money. Lanier was then married to her
274:-born musician at the court of Elizabeth I. Her mother was Margret Johnson (born c. 1545–1550), who was possibly an aunt of the court composer
607:
asserts in her book, 1611: Authority, Gender, and the Word in Early Modern England, that the poem is an allegory of the expulsion from Eden.
1970:
1850:
1747:
2502:
2497:
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1954:
2060:
587:'s better known "To Penshurst" may have been written earlier but was first published in 1616.) Lanier's inspiration came from a stay at
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840:
A musical 'The Dark Lady' by Sophie Boyce and Veronica Mansour is in development, depicting the 'what if' scenario whereby Emilia uses
44:
1996:
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572:
303:
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1917:
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Playwrights, musicians and poets have also expressed views. The theatre historian and playwright Andrew B. Harris wrote a play,
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1679:
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1103:
541:"Le Rêve de la femme de Pilate" (The dream of Pilate's wife). Engraving by Alphonse François (1814–1888) after Gustave Doré.
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She was maintained in great pomp ... she hath 40£ a yere & was welthy to him that married her in monie & Jewells."
2386:
2103:
1768:
1087:
275:
1993:
Michelle Powell-Smith, 'Aemilia Lanyer: Redeeming Women Through Faith and Poetry,' 11 April 2000 on-line at Suite101
313:
Lanier's mother died when Lanier was 18. Church records show that Johnson was buried in Bishopsgate on 7 July 1587.
1396:
Boyd Berry, "'Pardon though I have digrest': Digression as a style in Salve Deus Rex Judaeorum", M. Grossman, ed.,
845:
1569:
1463:
2320:
2244:
1308:
781:
777:
354:
326:
291:
263:
256:
17:
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357:) and a daughter, Odillya, in 1598. Odillya died when she was ten months old and was buried at St Botolph's.
2492:
1527:'Fast ti'd unto Them in a Golden Chaine': Typology, Apocalypse, and Woman's Genealogy in Aemilia Lanyer's
537:
203:; 1569–1645) was the first woman in England to assert herself as a professional poet, through her volume
1651:
1621:
1418:
Achsah Guibbory, "The Gospel According to Aemilia: Women and the Sacred", Marshall Grossman, ed. (1998)
1347:
Class, Authority, and The Querelle Des Femmes: A Women's Community of Resistance in Early Modern Europe
1332:
1017:
2427:
2381:
342:
2005:
Ruffati and Zorattini, 'La Famiglia Piva-Bassano Nei Document Degli Archevi Di Bassano Del Grappa,'
2522:
2168:
2120:
2088:
643:
205:
2280:
2265:
1835:
1692:
800:
666:, has been repeated by several authors since. It appears in David Lasocki and Roger Prior's book
619:
346:
218:
49:
1567:"The Lady Revealed; A Play Based on the Life and Writings of A. L. Rowse by Dr Andrew B. Harris"
195:
2234:
788:. In 1592, she became pregnant by Carey and was subsequently married to court musician Alfonso
785:
735:
1895:
John Garrison, 'Aemilia Lanyer's Salve Deus Rex Judaeorum and the Production of Possibility.'
345:, Alfonso Lanier. He was a Queen's musician; church records show the marriage taking place at
2396:
2335:
2219:
2209:
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1492:
957:
290:
Forman's records also indicate that after the death of her father, Lanier went to live with
2477:
2472:
2406:
2285:
2214:
818:
768:: "A whitely wanton, with a velvet brow. With two pitch balls stuck in her face for eyes."
748:
while the musicians in both plays, Prior argues, are allegories for members of her family.
8:
2138:
841:
580:
457:
252:
214:
146:
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307:
123:
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468:. Lanier makes use of two unpublished manuscripts and a published play translation by
2315:
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1912:
Shakespeare's Dark Lady: Amelia Bassano Lanier: The Woman Behind Shakespeare's Plays?
1811:"What to play: 'Astrologaster' gets topical with Shakespearean-era alternative facts"
1764:
1675:
1672:
Shakespeare's Dark Lady: Amelia Bassano Lanier: The Woman Behind Shakespeare's Plays?
1436:
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1205:
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has been viewed by many as one of the earliest feminist works in English literature.
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Source analysis shows that Lanier draws on work that she mentions reading, including
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96:
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In November 2020, Peter Bassano, a descendant of Lanier's uncle, published a book,
753:
683:
647:
550:
417:
334:
322:
1723:"Amelia Lanyer, the First Female Jewish English Poet and Shakespeare's Dark Lady?"
1607:
Simon Tait (7 December 2003) "Unmasked- the identity of Shakespeare's Dark Lady",
1104:"Amelia Lanyer, the First Female Jewish English Poet and Shakespeare's Dark Lady?"
855:
Lanier appears as a character (voiced by Katherine Rodden) in the 2019 video game
377:
of arrest and Lanier's aspirations of running a prosperous school came to an end.
224:
2442:
2290:
2229:
2056:
2045:
1573:
1188:
698:, a descendant of Emilia's brother, suggested she provided some of the texts for
600:
461:
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had published a 38-page pamphlet of poetry partly written by her correspondents,
400:
262:
Church records show Lanier was baptised Aemilia Bassano at the parish church of
2163:
944:
844:'s name in order to have her plays seen. The musical has been developed at the
437:
1433:
Shakespeare and the Truth of Love; The Mystery of "The Phoenix and the Turtle"
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1150:
930:
875:
869:
857:
813:
695:
659:
481:
477:
421:
365:
1318:
2270:
2065:
1935:
The Bassanos: Venetian Musicians and Instrument makers in England 1531–1665
1585:
Duke University, International William Byrd Conference 17–19 November 2005.
1409:
Nel Rhodes, Elizabethan Grotesque (London: Routledge and Kegan Paul, 1980).
896:
891:
Lanier is portrayed as the true writer of Shakespeare's plays in the novel
833:
699:
668:
The Bassanos: Venetian Musicians and Instrument makers in England 1531–1665
604:
591:, where Margaret Clifford, Countess of Cumberland, lived with her daughter
588:
558:
531:
241:
1301:
Isabella Whitney, Mary Sidney, and Aemelia Lanyer: Renaissance women poets
1142:
792:, her cousin. She had two children, but only one survived into adulthood.
412:
In 1611, at the age of 42, Lanier published a collection of poetry called
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509:
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469:
389:
267:
115:
90:
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1220:
Leeds Barroll, "Looking for Patrons" in Marshall Grossman, ed., (1998)
879:
707:
679:
675:
584:
310:. Dedications in Lanier's own poetry seem to confirm this information.
238:
1490:
Barbara Keifer Lewalski, "Writing Women and Reading the Renaissance."
554:
473:
472:, Countess of Pembroke. She also shows a knowledge of stage plays by
453:
2118:
571:
Lanier's book ends with the "Description of Cookham," commemorating
2447:
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message, in which Lanier rebukes Shakespeare for "lift her words".
822:
671:
445:
295:
2073:
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informs her Masque, a theatrical form identified in her letter to
1129:
Ng, Su Fang (2000). "Aemilia Lanyer and the Politics of Praise".
831:
portrays Emilia Lanier in a recurring role on the BBC Two series
729:
678:. Shakespeare claims that the woman was "forsworn" to another in
449:
1851:"Shakespeare's plays were written by a woman, says Jodi Picoult"
924:
35:
1553:
Martin Green, "Emilia Lanier IS the Dark Lady of the Sonnets",
821:, produced in London in 2018, is a "mock history" piece with a
279:
271:
119:
530:
by redefining Christian doctrine of "The Fall", and attacking
1479:
1611: Authority, Gender, and the Word in Early Modern England
1349:. PhD thesis (Texas: Texas A&M University, 2009), p. 195.
504:
299:
287:
waned before he died, which caused considerable unhappiness.
938:
852:(2024) with a cast of Broadway and Off-Broadway favourites.
2021:
Shakespeare's Conspirator: The Woman, The Writer, The Clues
751:
Hudson further believes that another "signature" exists in
638:
441:
270:, on 27 January 1569. Her father, Baptiste Bassano, was a
1947:
Ted Merwin, "The Dark Lady as a Bright Literary Light",
1955:
Giulio M. Ongaro 'New Documents on the Bassano Family'
1926:
Stephanie Hopkins Hughes, 'New Light on the Dark Lady'
780:. After her parents' death, Lanier was the mistress of
1918:
John Hudson, 'Amelia Bassano Lanier: A New Paradigm',
388:
Emilia Lanier died at the age of 76 and was buried at
1082:. New York: Oxford University Press. pp. xxiii.
321:
Not long after her mother's death, Lanier became the
1622:"A New Approach to Othello; Shakespeare's Dark Lady"
906:
658:
Some have speculated that Lanier was Shakespeare's "
213:, 1611). Attempts have been made to equate her with
1979:Roger Prior, 'Jewish Musicians at the Tudor Court'
1997:Roger Prior 'Jewish Musicians at the Tudor Court'
404:The title page of Lanier's collection of poetry,
2464:
2012:Julia Wallace, 'That's Miss Shakespeare To You'
1400:(Lexington: University of Kentucky Press, 1998).
1371:, p. 205, Cambridge: Cambridge University Press
727:John Hudson points out that the names Emilia in
360:In 1611, Lanier published her volume of poetry,
1903:Martin Green, 'Emilia Lanier IS the Dark Lady'
1748:National Poetry Library. Retrieved 29 May 2020.
1224:, pp. 29 and 44, University Press of Kentucky.
1176:
1174:
1172:
1170:
1168:
2104:
2046:Project Continua: Biography of Aemilia Lanyer
1986:Roger Prior, 'Shakespeare's Visit to Italy',
1891:Lexington: University Press of Kentucky, 1998
1889:Aemilia Lanyer: Gender, Genre, and the Canon.
1496:, Vol. 44, No. 4 (Winter, 1991), pp. 792–821.
1282:
1280:
1278:
1264:
1262:
864:Lanier is the central character of the novel
623:learning descend from mothers to daughters."
1508:
1222:Aemilia Lanyer: Gender, Genre, and the Canon
333:. At the time, Lord Hunsdon was Elizabeth's
1942:Shakespeare Exhumed: The Bassano Chronicles
1883:. Giustiniani Publications. Kindle Edition.
1420:Aemelia Lanyer: Gender, Genre and the Canon
1398:Aemilia Lanyer; Gender, Genre and the Canon
1204:, p. 180, Oxford: Oxford University Press.
1165:
712:My mistress' eyes are nothing like the sun.
2111:
2097:
2061:"'To All Virtuous Ladies': Aemilia Lanyer"
2030:, New York: Oxford University Press, 1999)
1645:
1643:
1422:(Lexington: University of Kentucky Press).
1275:
1259:
89:
1971:Michael Posner, 'Unmasking Shakespeare',
1963:Michael Posner, 'Rethinking Shakespeare'
963:List of Shakespeare authorship candidates
662:". The identification, first proposed by
573:Margaret Clifford, Countess of Cumberland
304:Margaret Clifford, Countess of Cumberland
1881:Shakespeare and Emilia: The Untold Story
1759:Malcolm, Morgan Lloyd (10 August 2018).
1690:
1249:, Oxford University Press, New York, NY
1241:
1239:
1237:
743:Furthermore, Prior argues that the play
637:
536:
399:
251:
223:
60:of all important aspects of the article.
1758:
1649:
1640:
14:
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1944:, Stanthorpe: Bassano Publishing, 2013
1664:
646:, as reproduced c 1800. Attributed to
56:Please consider expanding the lead to
2092:
2001:, vol. 69, no 2, Spring 1983, 253–265
1983:, vol. 69, no 2, Spring 1983, 253–265
1234:
1074:
981:Attested spelling variations include
806:
194:
2041:Full text of Salve Deus Rex Iudæorum
1907:vol. 87, No.5, October 2006, 544–576
1637:, 3rd edition, London: 1999, p. 334.
1369:Early Responses to Renaissance Drama
1182:Web Page Dedicated to Aemilia Lanyer
1037:
1035:
29:
2055:
1914:, Stroud: Amberley Publishing, 2014
1697:Journal of the Northern Renaissance
633:
24:
2503:17th-century English women writers
2498:16th-century English women writers
2488:People associated with Shakespeare
1128:
644:portrait said to be of Shakespeare
610:
25:
2534:
2483:English people of Italian descent
2034:
1032:
882:for her performance as Lainer in
460:, as well as protofeminists like
329:, a Tudor courtier and cousin of
2132:Theological writers and scholars
2081:
2028:Lanyer: A Renaissance Woman Poet
1988:Journal of Anglo-Italian Studies
1202:Lanyer: A Renaissance Woman Poet
937:
923:
909:
34:
1959:vol. 20, 3 August 1992, 409–413
1937:, Aldershot: Scolar Press, 1995
1933:David Lasocki and Roger Prior,
1843:
1829:
1803:
1777:
1752:
1741:
1715:
1684:
1674:, Stroud: Amberley Publishing.
1650:Trueman, Matt (26 March 2019).
1627:
1620:John Hudson (10 February 2014)
1614:
1601:
1588:
1579:
1560:
1547:
1538:
1517:
1499:
1484:
1481:, pp. 55–56, Chichester: Wiley.
1471:
1457:
1445:
1435:, New York: Palgrave Macmillan
1425:
1412:
1403:
1390:
1381:
1361:
1352:
1339:
1293:
549:Lanier also draws attention to
48:may be too short to adequately
2518:17th-century English educators
2416:Significant for another reason
2321:Marietje Jan de Gortersdochter
2245:Anna II, Abbess of Quedlinburg
1535:, Vol. 53, No. 1, pp. 133–179.
1214:
1194:
1122:
1096:
1068:
1006:
975:
782:Henry Carey, 1st Baron Hunsdon
778:Susan Bertie, Countess of Kent
653:
642:So-called Zucchero or Zuccari
579:. This is the first published
371:
292:Susan Bertie, Countess of Kent
257:St Botolph-without-Bishopsgate
58:provide an accessible overview
13:
1:
2016:, 28 March – 3 April 2007, 42
1967:, vol. 115, no. 2, 2008, 1–15
1928:Shakespeare Oxford Newsletter
1785:"New Musical to be Developed"
1000:
846:Eugene O'Neill Theater Center
771:
488:and resembling the Masque in
431:
247:
83:Emilia Lanier / Emilia Lanyer
2513:17th-century English writers
2508:16th-century English writers
2387:Anna Radziwiłłówna Kiszczyna
2372:Anna Maria of the Palatinate
1693:"Remembering Aemilia Lanyer"
1077:The Poems of Aemilia Lanyer
316:
232:
134:1645 (aged 75–76)
7:
2080:(public domain audiobooks)
1652:"West End Review: 'Emilia'"
1557:, 87, 5 (2006) pp. 544–576.
1288:Biography of Aemilia Lanyer
1270:Biography of Aemilia Lanyer
1247:The Poems of Aemilia Lanyer
902:
211:Hail, God, King of the Jews
10:
2539:
1872:
1635:Othello, Arden Shakespeare
1245:Susanne Woods, ed. (1993)
1180:McBride, Kari Boyd (2008)
1018:Victoria and Albert Museum
520:In the central section of
515:The Phoenix and the Turtle
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1633:E. A. J. Honigmann, ed.,
1187:25 September 2015 at the
395:
343:first cousin once removed
306:and Margaret's daughter,
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2402:Elisabeth of Brandenburg
2174:Elisabeth of Brandenburg
2169:Catherine Vasa of Sweden
2121:women in the Reformation
2119:16th-century Protestant
1529:Salve Deus Rex Judaeorum
1431:James P. Bednarz (2012)
1079:Salve Deus Rex Judaeorum
968:
797:Salve Deus Rex Judaeorum
722:
704:Songs of Sundrie Natures
628:Salve Deus Rex Judaeorum
616:Salve Deus Rex Judaeorum
567:Salve Deus Rex Judæorum.
497:
414:Salve Deus Rex Judaeorum
406:Salve Deus Rex Judaeorum
362:Salve Deus Rex Judaeorum
206:Salve Deus Rex Judaeorum
164:(died 1613)
99:, suggested to be Lanier
2428:Anna Pehrsönernas moder
2382:Inger Ottesdotter Rømer
2281:Wendelmoet Claesdochter
2051:Shakespeare/Lanier walk
1973:Reform Judaism Magazine
1763:. Bloomsbury Academic.
1691:Chedgzoy, Kate (2010).
1572:16 October 2017 at the
1367:Charles Whitney (2006)
1191:, accessed on May 2015.
1075:Woods, Susanne (1993).
803:of Shakespearean myth.
620:Barbara Kiefer Lewalski
553:, a minor character in
517:and many of the plays.
424:, who was Cornish, and
27:English poet, 1569–1645
2235:Birgitta Botolfsdotter
2074:Works by Emilia Lanier
1951:, 23 March 2007, 56–57
1899:, 109.3, 2012, 290–310
1345:Dana Eatman Lawrence,
1331:: CS1 maint: others (
1200:Susanne Woods (1999),
888:on Broadway in 1981.
786:Elizabeth I of England
762:Shakespeare and Emilia
736:The Merchant of Venice
650:
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259:
229:
2397:Marguerite de Navarre
2336:Elisabeth Wandscherer
2220:Katharina von Zimmern
2210:Ursula of Munsterberg
1999:The Musical Quarterly
1981:The Musical Quarterly
1965:The Queen's Quarterly
1840:accessed 17 July 2023
1596:Sydney Morning Herald
1533:Renaissance Quarterly
1493:Renaissance Quarterly
1143:10.1353/elh.2000.0019
958:The Dark Lady Players
641:
540:
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327:The 1st Baron Hunsdon
298:education and learnt
255:
227:
2407:Barbara von Wertheim
2286:Anneke Esaiasdochter
2215:Charlotte of Bourbon
1897:Studies in Philology
1477:Helen Wilcox (2014)
878:was nominated for a
819:Morgan Lloyd Malcolm
766:Love's Labour's Lost
524:Lanier takes up the
349:on 18 October 1592.
347:St Botolph's Aldgate
2493:English women poets
2254:Reformation martyrs
2139:Argula von Grumbach
2023:, CreateSpace, 2015
2019:Steve Weitzenkorn,
1930:, 22 September 2000
1670:John Hudson (2014)
842:William Shakespeare
837:from 2016 to 2018.
527:Querelle des Femmes
392:, on 3 April 1645.
355:Henry, Lord Hunsdon
147:English Renaissance
2367:Elisabeth of Hesse
2346:Katarzyna Weiglowa
2266:María de Bohórquez
2205:Katharina von Bora
2184:Elisabeth Cruciger
2159:Elizabeth Melville
1523:Marie H. Loughlin
1014:"An Unknown Woman"
993:for the last name.
953:Lanier family tree
850:Goodspeed Musicals
829:Montserrat Lombard
807:In popular culture
784:, first cousin of
651:
593:Lady Anne Clifford
581:country-house poem
577:Lady Anne Clifford
543:
466:Christine de Pizan
426:Elizabeth Melville
410:
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260:
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2154:Magdalena Heymair
2009:, 2 December 1998
1887:David Bevington,
1815:Los Angeles Times
1680:978-1-4456-2160-9
1514:Lewalski, p. 803.
1465:The Great Picture
1441:978-0-230-31940-0
1377:978-0-521-85843-4
1255:978-0-19-508361-3
1230:978-0-8131-2049-2
1210:978-0-19-512484-2
1047:Poetry Foundation
989:for the name and
893:By Any Other Name
717:Nicholas Hilliard
692:The Lady Revealed
597:The Great Picture
575:and her daughter
331:Queen Elizabeth I
242:Dr Simon Forman's
188:
187:
97:Nicholas Hilliard
75:
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16:(Redirected from
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2438:Catherine Tishem
2433:Catharina Herman
2423:Amalia of Cleves
2311:Maria van Beckum
2301:Guernsey Martyrs
2296:Elizabeth Pepper
2240:Elizabeth Zouche
2189:Catherine Tishem
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733:and Bassanio in
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684:Barbara Lewalski
648:Federico Zuccari
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2007:Musica e Storia
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1053:on 6 March 2021
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