Drawing upon their respective expertise in early twentieth-century literature and music, Matthew Ingleby and Ceri Owen explore the centrality of literature within Vaughan Williams’s work and career, demonstrating that his literariness was not simply an outgrowth of his personal artistic proclivities, but rather was mediated by several institutions that were key to the production of a new sense of English national identity during the first half of the twentieth century. By contextualizing Vaughan Williams’s literary tastes and choices for musical settings – including his interest in historically remote, non-contemporary, and Anglophone writers and texts – it is argued that such choices should be read less as evidence of the reactionary, conservative nationalism with which he has often been associated, and more as an indication of his participation in forward-looking currents within twentieth-century literary culture. Ingleby and Owen conclude by proposing that, while the nation may have been the frame through which Vaughan Williams often articulated a complex relation to modernity, his powerful interest in internationalist figures such as Walt Whitman and William Blake suggest that his cultural nationalism formed part of a broader humanitarian aspiration, one that was implicitly indebted to his literary imagination.

This concluding chapter ‘History in Print from Caxton to 1543’ examines the various forms in which historical writing was represented in early print. It begins by considering William Caxton’s various contributions and their places in his larger publishing strategies. It examines those works that he published that reflect earlier, manuscript traditions of historical writing, including the prose Brut and the Polychronicon, and the ways in which these were modified as they developed a new print tradition. The chapter goes on to assess the emergence of new forms of history that began to be developed by print in the early sixteenth century, including the emergence of print as a means for swift response to contemporary events and finally the appearance, in 1543, the first appearance in print of John Hardyng’s fifteenth-century verse chronicle, the publication of which was combined with contemporary prose historical writings.

This chapter looks at the transmission history of Catullus and the elegists into the Renaissance and their surprising presence, given their reputation as ‘lascivious’ and ‘wanton’ , on the early modern humanist school curriculum. We consider florilegia and printed common-place books as the site where English school-boys, and some girls, first meet Latin elegy, and the institutionalised nature of imitatio as a foundational practice of writing. We then go on to look at the broad receptions of Catullus, Propertius, Ovid and Sulpicia across Renaissance Europe as a context for the close readings which follow.