
Contents
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LADY JANE GREY’S EDUCATION LADY JANE GREY’S EDUCATION
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ETHOPOEIA: THE VOICE OF LADY JANE GREY ETHOPOEIA: THE VOICE OF LADY JANE GREY
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FURTHER READING FURTHER READING
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3 How Lady Jane Grey May Have Used her Education
Get accessJennifer Richards is Joseph Cowen Chair of English Literature at Newcastle University, UK, and the Director of the Newcastle University Humanities Research Institute. She is the author of articles in Renaissance Quarterly, Huntington Library Quarterly, Criticism, Journal of the History of Ideas, Bulletin of the History of Medicine, and Past and Present, and of Rhetoric and Courtliness in Early Modern Literature (Cambridge University Press, 2003), Rhetoric: The New Critical Idiom (Routledge, 2007), Voices and Books in the English Renaissance: A New History of Reading (Oxford University Press, 2019; winner of the biennial ESSE Book Prize 2020; highly commended, SHARP DeLong Book History Prize). She is a general editor of A New Critical Edition of Thomas Nashe (forthcoming, Oxford University Press), and the lead on The Thomas Nashe Project (AHRC-funded) and the digital project, Animating Texts at Newcastle University. With Virginia Cox (NYU), she is co-editing Rhetoric in the Renaissance 1380–1640, Volume III, in The Cambridge History of Rhetoric, gen. eds: Rita Copeland and Peter Mack (Cambridge University Press, forthcoming).
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Published:19 December 2022
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Abstract
That early modern education was segregated is a widely accepted truism. While boys attended school, girls remained at home to receive domestic and religious training. This paradigm overlooks exceptions: girls in whom the ambitions of their aristocratic families were invested. This chapter focuses on one such girl, Lady Jane Grey (1537–1554). It explores what we know of her education, contrasting the hesitant speaking voice created for her by Michael Drayton, with the one we hear in her prison writings. It compares Drayton’s Ovidian model for her speaking voice with the catechist role that she adopts in her prison writings. It also turns attention from the question of authorship to the act of attribution, arguing that even if the words we read were not spoken or written entirely by Grey herself, their attribution to her is meaningful—creating a different script for readers that is unusually direct, confrontational, and female.
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