Chapter 3 engages with literary criticism’s argument that English national imagining became increasingly spatialised under Elizabeth Tudor. Critics argue that cartography and chorography introduced a new spatial awareness into English national consciousness. This criticism, which ignores Scotland, misrecognises as merely ‘national’ the imperial connotations of ‘British’ in the sixteenth century. The chapter shows that sixteenth-century chorographic British antiquarianism is shot through with both nostalgia and imperial ambition: ancient place-names and local legends fill the idea of England with the immanent presence of the British past and the promise of a pan-insular, imperial future. John Dee’s claims for English sea sovereignty over the Arctic and the Americas depended on claims to Scotland. Chapter 2 shows how Spenser’s The Faerie Queene conjures the vision of an Anglo-British imperial island in which Scotland becomes inconceivable. Spenser fuses river poetry, chorography and classical poetry with these texts on naval power, maritime law and English sea-sovereignty to shape the love of Florimell and Marinell as an allegory of Chastity as key to English insular empire.

Chapter Two studies how Rome figures in shifting conceptions of the problem of the self. The chapter’semphasis is on sixteenth- and seventeenth-century writers and texts, ranging from Edmund Spenser and John Donne to Sir Thomas Wilson and John Milton. English perspectives on Rome, however, were mediated to a significant extent by continental writers such as Petrarch, Joachim Du Bellay, and Michel Eyquem de Montaigne. Writers trained within (and in Petrarch’s case, actively forging) the traditions of humanist inquiry celebrated their commitment to returning ad fontes. In practice, however, their engagements with a ‘text’ as complex and ramified as Rome risked leaving them endlessly navigating tributary brooks, creeks, streams, and rivers rather than reposing comfortably at the source. The chapter brings together scenes of schooling, staring, and travel in order to study tensions between understandings of the self as being an immured condition of metaphysical finitude, on the one hand, and as being formed via the absorption of capabilities that arrive from the outside, on the other.

This chapter examines the latticework of links between Shakespeare and Spenser, telling a tale of two writers. One goes to London to become poet and playwright, the other to Dublin with dreams of a dramatic career, where he finds his theatre of worldlings is a theatre of war. If Spenser’s influence on Shakespeare, especially early Shakespeare, is seldom discussed, Shakespeare’s influence on Spenser remains an even more neglected topic. Spenser is crucial here, since that poet’s Irish residence necessitates a broadening of horizons, and he is viewed as part of a recognizable circle. Shakespeare, a lifelong co-author and collaborator influenced by several of Spenser’s Irish contemporaries, is too often viewed in isolation. From the Spenser–Harvey correspondence and the early histories onwards, this study tracks the collaborative underpinnings of both writers’ work, charting their influences from a shared reliance on Holinshed to a common concern with innovation in form and genre.