Pierce Penniless his Supplication to the Divell is a tall tale, or a prose satire, written by Thomas Nashe and published in London in 1592. [1] It was among the most popular of the Elizabethan pamphlets. It was reprinted in 1593 and 1595, [2] and in 1594 was translated into French. [3] [4] It is written from the point of view of Pierce, a man who has not met with good fortune, who now bitterly complains of the world's wickedness, and addresses his complaints to the devil. At times the identity of Pierce seems to conflate with Nashe's own. But Nashe also portrays Pierce as something of an arrogant and prodigal fool. The story is told in a style that is complex, witty, fulminating, extemporaneous, digressive, anecdotal, filled with wicked descriptions, and peppered with newly minted words and Latin phrases. The satire can be mocking and bitingly sharp, and at times Nashe’s style seems to relish its own obscurity. [5] [6]
Pierce Penniless was printed and published as one of the many pamphlets or short quarto books that provided lively material to the reading public. Printed pamphlets had been a popular and longstanding tradition, but in London in the late 16th century, with the urban population booming, and literacy becoming widespread, they flourished. [7] The content of these pamphlets often tended to be scandalous or scurrilous, but they contained a variety of material: Satires, war-of-words, anonymous attacks, topical issues, poetry, fiction, etc. [8] Shakespeare, in the dedication to his poem The Rape of Lucrece refers to its quarto publication as a pamphlet. [9]
Pamphlets also offered playwrights an opportunity to write and be published in those times when the plague had closed the theatres. Such was the case with Shakespeare's Venus and Adonis and Nashe's Pierce Penniless, which were both written and published when the theatres were closed from 1592–1593. [10] As Nashe says in his introductory "Private Epistle of the Author to the Printer", the first edition of Pierce Penniless was published in London, while Nashe was out of town, because "the fear of infection detained me with my Lord [his patron Lord Strange] in the country." The plague is an underlying motive for the story itself—the seven deadly sins that Nashe's tale describes were said at the time to be the cause of the disease. [11] Indeed, the last words that Pierce addresses to the Devil in his supplication express the wish that certain souls will be accepted into Hell, and thus will "not let our air be contaminated with their sixpenny damnation any longer".
Nashe participated in the Martin Marprelate controversy, by pseudonymously responding to attacks against the Church of England launched by a circle of Puritan writers, who waged a pamphlet war and wrote under the pseudonym Martin Marprelate. [12]
The text of Pierce Penniless contains an attack on both Richard Harvey, the astrologer, and on his fellow Marinists [13] Near the midpoint of the story, Nashe's salvo begins:
In the "Private Epistle of the Author to the Printer", which prefaces the second edition of Pierce Penniless, Nashe refers to another pamphlet entitled Greene's Groats-Worth of Wit (1592), which contains this well known attack on William Shakespeare:
From the moment Greene's Groats-Worth of Wit was published, people disbelieved that Robert Greene actually wrote it, let alone wrote it from his deathbed, as is purported in the pamphlet. [15] But the two who are then suspected of writing it, Thomas Nashe and Henry Chettle, each denied being the author. Among other reasons for considering that Nashe may be the author is Nashe's denial, which at first glance seems adamant, but is immediately followed by a kind of rueful confession that seems to have left a door open for interpretation: [16]
Nashe's character, "Pierce", occasionally has some harsh words for his unnamed fellow authors, which has led to speculation about who they might be. Nashe refers to them variously as sonnet-composing "upstarts", who are not as well-born or as well educated as himself, who have little Latin, but who are enjoying popular success in the theatre. [17] Nashe then, in the "Private Epistle of the Author to the Printer", threatens anyone who might suggest his satire has particular victims: "Let the interpreter beware," he says, "...they shall know that I live as their evil angel to haunt them world without end." [2] However, Nashe’s satire would have no point unless it could be seen to be striking an actual target. [18] Nashe ends his epistle to his printer by mentioning that he would be available "... before the third impression [to] come and alter whatsoever may be offensive to any man." [2]
The story of Pierce Penniless is told by Pierce himself, who is a scholar, author and poet. He begins his story by bewailing his own lack of good fortune, saying " ... have I more wit than all these (thought I to myself)? Am I better born, am I better brought up, yea, and better favoured, and yet am I a beggar?" He sees no solution and finds that wickedness prevails. "Divines and dying men may talk of hell," he says, "but in my heart her several torments dwell."
Having heard that a person might pawn his soul to the Devil for a thousand pounds, Pierce decides to seek a solution in that direction and appeal to the Devil, reasoning that if the Devil were to remove certain souls from the land of the living and recruit them into his domain where they belong, it would liberate and make available the wealth that they've been hoarding: Gold—that "mighty controller of fortune and imperious subverter of destiny, delicious gold, the poor man's god, and idol of princes." [2] [19]
Pierce searches for the Devil, first in Westminster, then in the Exchange, and then in St. Paul’s, where he finds a Knight of the Post, (i.e. whipping post) – a term for a professional perjurer. [20] This man claims he can get a message to the devil. Pierce hands him what he has written, a supplication addressed to "The Prince of Darkness" from Pierce Penniless who "wisheth increase of damnation and increase of malediction eternal."
The supplication is based on the medieval theme of the Seven Deadly Sins, [20] and enumerates each vice one after the other: Greed, and his wife Dame Niggardise; Pride and his mistress, Lady Swine-Snout; gluttony; sloth; etc.
Each vice is personified in the manner of a prosopopoeia, and provides an opportunity for the story to introduce various sinners, who are described with rich detail—as though they are costumed to appear onstage.
The section devoted to the sin of "sloth" contains Nashe's "defense of Playes", which finds that plays are not slothful, but virtuous. Pierce especially appreciates historical plays and gives Shakespeare's Henry VI, Part 1 as an example. As Pierce says:
A notable passage occurs when Nashe describes the various types of drunkards one encounters in pubs and taverns.
Pierce signs this supplication: "Your devilship's bounden execrator, Pierce Penilesse". He then asks the Knight of the Post a question that was of interest to Elizabethan Londoners: What is the nature of Hell and the Devil? [2]
The Knight begins to answer, but digresses into a story: the allegory of the wickedness of the bear, "a right earthly devil", which is seen as a reference to the Earl of Leicester. [21] Nashe's tale ends abruptly with the praises of a nobleman named Amuntas, who is believed to be the Earl of Southampton. [2] [19]
Thomas Middleton was an English Jacobean playwright and poet. He, with John Fletcher and Ben Jonson, was among the most successful and prolific of playwrights at work in the Jacobean period, and among the few to gain equal success in comedy and tragedy. He was also a prolific writer of masques and pageants.
This article presents lists of literary events and publications in the 16th century.
Thomas Nashe was an Elizabethan playwright, poet, satirist and a significant pamphleteer. He is known for his novel The Unfortunate Traveller, his pamphlets including Pierce Penniless, and his numerous defences of the Church of England.
Thomas Dekker was an English Elizabethan dramatist and pamphleteer, a versatile and prolific writer, whose career spanned several decades and brought him into contact with many of the period's most famous dramatists.
Martin Marprelate was the name used by the anonymous author or authors of the seven Marprelate tracts that circulated illegally in England in the years 1588 and 1589. Their principal focus was an attack on the episcopacy of the Anglican Church.
Henry Chettle was an English dramatist and miscellaneous writer of the Elizabethan era, best known for his pamphleteering.
Gabriel Harvey was an English writer. Harvey was a notable scholar, whose reputation suffered from his quarrel with Thomas Nashe. Henry Morley, writing in the Fortnightly Review, has argued that Harvey's Latin works demonstrate that he was distinguished by qualities very different from the pedantry and conceit usually associated with his name.
The Ur-Hamlet is a play by an unknown author, thought to be either Thomas Kyd or William Shakespeare. No copy of the play, dated by scholars to the second half of 1587, survives today. The play was staged in London, more specifically at The Theatre in Shoreditch as recalled by Elizabethan author Thomas Lodge. It includes a character named Hamlet; the only other known character from the play is a ghost who, according to Thomas Lodge in his 1596 publication Wits Misery and the Worlds Madnesse, cries, "Hamlet, revenge!"
The Parnassus plays are three satiric comedies, or full-length academic dramas, each divided into five acts. They date from between 1598 and 1602. They were performed in London by students for an audience of students as part of the Christmas festivities of St John's College at Cambridge University. It is not known who wrote them.
The Marprelate Controversy was a war of pamphlets waged in England and Wales in 1588 and 1589, between a puritan writer who employed the pseudonym Martin Marprelate, and defenders of the Church of England which remained an established church.
Elizabethan literature refers to bodies of work produced during the reign of Queen Elizabeth I (1558–1603), and is one of the most splendid ages of English literature. In addition to drama and the theatre, it saw a flowering of poetry, with new forms like the sonnet, the Spenserian stanza, and dramatic blank verse, as well as prose, including historical chronicles, pamphlets, and the first English novels. Major writers include William Shakespeare, Edmund Spenser, Christopher Marlowe, Richard Hooker, Ben Jonson, Philip Sidney and Thomas Kyd.
The Piers Plowman tradition is made up of about 14 different poetic and prose works from about the time of John Ball and the Peasants Revolt of 1381 through the reign of Elizabeth I and beyond. All the works feature one or more characters, typically Piers, from William Langland's poem Piers Plowman. Because the Plowman appears in the General Prologue to The Canterbury Tales by Geoffrey Chaucer but does not have his own tale, plowman tales are sometimes used as additions to The Canterbury Tales, or otherwise conflated or associated with Chaucer.
Robert Greene (1558–1592) was an English author popular in his day, and now best known for a posthumous pamphlet attributed to him, Greene's Groats-Worth of Witte, bought with a million of Repentance, widely believed to contain an attack on William Shakespeare. Greene was a popular Elizabethan dramatist and pamphleteer known for his negative critiques of his colleagues. He is said to have been born in Norwich. He attended Cambridge where he received a BA in 1580, and an M.A. in 1583 before moving to London, where he arguably became the first professional author in England. He was prolific and published in many genres including romances, plays and autobiography.
Cuthbert Burby was a London bookseller and publisher of the Elizabethan and early Jacobean eras. He is known for publishing a series of significant volumes of English Renaissance drama, including works by William Shakespeare, Robert Greene, John Lyly, and Thomas Nashe.
The University Wits is a phrase used to name a group of late 16th-century English playwrights and pamphleteers who were educated at the universities and who became popular secular writers. Prominent members of this group were Christopher Marlowe, Robert Greene, and Thomas Nashe from Cambridge, and John Lyly, Thomas Lodge, and George Peele from Oxford. Thomas Kyd is also sometimes included in the group, though he was not from either of the aforementioned universities.
Job Throckmorton (Throkmorton) (1545–1601) was a Puritan English religious pamphleteer and Member of Parliament during the reign of Queen Elizabeth I. Possibly with John Penry and John Udall, he authored the Martin Marprelate anonymous anti-clerical satires; scholarly consensus now makes him the main author.
Greenes, Groats-worth of Witte, bought with a million of Repentance (1592) is a tract published as the work of the Elizabethan author Robert Greene.
The Choise of Valentines Or the Merie Ballad of Nash His Dildo, which alternatively acquired the label "Nashe's Dildo", is an erotic poem by Thomas Nashe, thought to have been composed around 1592 or 1593. The poem survives in three extant manuscript versions and was first printed in 1899. It recounts in the first person a sexual encounter in a brothel between the narrator, Tomalin, and his lover, Mistress Frances. The poem contains the most detailed description of a dildo in Renaissance literature, and contains one of the first attestations of the word dildo, though the word seems to derive ultimately from nonsense syllables common in early-modern popular ballads.
William Knell was an Elizabethan era actor who played lead roles for the Queen's Men in the 1580s. It has been speculated that his sudden death in a brawl with another actor, while on tour in Thame near Oxford, gave William Shakespeare an opening to become a professional actor.
A Knack to Know a Knave is a 1592 play closely associated with the principal performers Edward Alleyn and William Kempe. The play is a comic morality tale designed to highlight the talents of the celebrated clown Kempe, and is known from one text, itself arguably a memorial reconstruction. The author is unknown, though the involvement of Robert Greene has been suggested, as well as George Peele and Thomas Nashe. Recent scholarship has argued for a Shakespearean connection. On the basis of traditional literary-critical analysis and digital textual methods, Darren Freebury-Jones has proposed that the case for Robert Wilson's authorship of A Knack to Know a Knave is compelling. The play gives an insight into the nature of Elizabethan theatre during Shakespeare's time and the relationship between playscript and extemporised comedy.