Francis Constable - Other Works

Other Works

Inevitably, Constable also published a wide variety of other literature beyond the drama. He published the second edition of William Vaughan's The Spirit of Detraction in 1630. He issued multiple editions of Thomas Scott's satire Philomythie, or Philomythologie, Wherein Outlandish Birds Beasts and Fishes are Taught to Speak True English Plainly, in 1616 and after; and multiple editions of Henry Peacham the younger's The Complete Gentleman, from 1622 on. He published items of the religious literature that was so common in the era, like Alexander Ross's Three Decades of Divine Meditations (1630). And religious poetry: Richard Braithwaite's The Psalms of David (1638). He published Peacham's Thalia's Banquet in 1620, and his elegy Thestylis Astrata in 1634; and Glapthorne's poem Whitehall in 1643. Constable also was responsible for texts in medicine and anatomy.

And Constable also issued works of social criticism and contemporary controversies, like Machiavel's Ghost, as He Lately Appeared to His Dear Sons, the Modern Projectors (1641; attributed to John Taylor the Water Poet). He issued one notable volume in the utopian literature, Samuel Hartlib's A Description of the Famous Kingdom of Macaria (1641) — plus a supply of political and legal materials involving the start of the English Civil War and the Commonwealth era.

Read more about this topic:  Francis Constable

Famous quotes containing the word works:

    They commonly celebrate those beaches only which have a hotel on them, not those which have a humane house alone. But I wished to see that seashore where man’s works are wrecks; to put up at the true Atlantic House, where the ocean is land-lord as well as sea-lord, and comes ashore without a wharf for the landing; where the crumbling land is the only invalid, or at best is but dry land, and that is all you can say of it.
    Henry David Thoreau (1817–1862)

    Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.
    Thomas Mann (1875–1955)