By Cyndia Susan Clegg
Among 1625 and 1640, a particular cultural information of censorship emerged, which finally led the lengthy Parliament to impose drastic alterations in press keep an eye on. The tradition of censorship addressed during this learn is helping to give an explanation for the divergent ancient interpretations of Caroline censorship as both draconian or benign. Such contradictions transpire as the Caroline regime and its critics hired related rhetorical recommendations that relied on the language of orthodoxy, order, culture, and legislation, yet to accomplish varied ends. development on her earlier reviews on press censorship in Elizabethan and Jacobean England, Cyndia Clegg scrutinizes all facets of Caroline print tradition: publication construction in London, the schools, and at the Continent; licensing and authorization practices in either the Stationers' corporation and one of the ecclesiastical licensers; circumstances ahead of the courts of excessive fee and megastar Chamber and the Stationers' Company's courtroom of Assistants; and alternate law.
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Extra resources for Press Censorship in Caroline England
In the Registers, pre-print approbation by ecclesiastical or government officials is either not specifically named or is referred to as ‘‘authority,’’ as may be seen in this October 30, 1587 entry on John Harrison’s behalf:144 ‘‘Receaved of him for printynge three bokes of Colloquies concernyne shooting in great ordonance and small peeces . . ’’ The court of Assistants’ judgments also distinguished between the company’s ‘‘licence’’ and the approval by authority. ’’146 Given this usage, it is problematic to accept Loewenstein’s ‘‘license’’ as referring to official approbation and ‘‘entry’’ as the record of ownership.
Four more, issued for printed plays, may simply have been concerned with matters of licensing protocol: John Marston’s plays, The Dutch Courtesan and The Fawne, and Shakespeare’s Troilus and Cressida were entered in the Register with the requirement that they receive ‘‘sufficient’’ authority, presumably permission from the acting company that owned the play. A like condition attached to Westward Hoe, however, may have derived from a Censorship and the law: the Caroline inheritance 35 consciousness of the furor a play with a similar title had provoked in 1605.
5). This also expands the relationship between rumor and sedition (‘‘discord between the king and people’’): rumor caused ‘‘Debates and Discords . . betwixt said Lords, or between the Lords and the Commons, which God forbid, and whereof great Peril and Mischief might come to all the Realm, and quick Subversion and Destruction of the said Realm’’ (2 Ric. II, ca. 5). The penalty for spreading rumor remained imprisonment until the rumor’s author was brought to the court. These statutes sought to quell rumor not just by punishing its authors but by detaining those who spread rumor until the author was discovered.