The Classical Revival in Elizabethan England and the Case of ‘Nicholas England’
Old Sir Rowland Hill was a prominent figure in Renaissance England, active in commerce, politics, intellectual life, and charity. He was involved in a printing press that published a seemingly incongruous collection of esoteric texts. However, upon closer examination, it becomes apparent that each text subtly nudges the identity of the new Elizabethan age.
This blog focuses on The Aeneid 1–9 by Thomas Phaer that came of the ‘Rouland Hall’ [Rowland Hill] press and was:
‘Printed for Nicholas England’.
Nicholas Bacon – Nicholas England??
It’s likely that ‘Nicholas England’ is a pseudonym. The pseudonym ‘Nicholas England’ seems deliberately obvious, suggesting it may be a cover for a more prominent figure, which has here been traditionally thought to be Nicholas Bacon. There is a story that Nicholas Bacon evaded ordination by going into hiding ‘with the help of a rich uncle.’ He seems to have entered an Inn of Chancery before being admitted to Gray’s Inn five years later after a period in Paris. He was called to the Bar in 1533. If this story is accepted, it is not out of the question that Sir Rowland Hill was the rich uncle.
The knowlege of Soulton in Francis Bacon’s house (set out by scholar James D. Wenn) is another clue.
Phaer’s work has been described as the “dominant influence on later translators of the epic.”
The interest in the Aeneid in 1562 can be attributed to the historical context of England at the time. Emerging from the Wars of the Roses and the religious turmoil of the Reformation, England was seeking a sense of stability and identity. The Elizabethan era, with its focus on national renewal and cultural revival, turned to ancient myths and heroes for inspiration.
The Aeneid, with its themes of heroism, perseverance, and the founding of a new nation, resonated with Elizabethans seeking to understand their own history and forge a new path for England.
Aeneas: The Trojan Hero
Aeneas, a prominent figure in Roman mythology, is the central character of Virgil’s epic poem, the Aeneid.
Aeneas fleeing from Troy, by Pompeo Batoni (c. 1750).
He is a Trojan prince who survives the fall of Troy and embarks on a perilous journey to found a new homeland in Italy. His journey is filled with trials, tribulations, and divine intervention.
Brutus of Troy: The Founder of Britain
According to medieval legends, Brutus of Troy was a descendant of Aeneas.
He is said to have led a group of Trojans to Britain after the fall of Troy, founding the city of New Troy (later renamed London).
The legend of Brutus of Troy is a popular theme in medieval literature and history.
Brutus of Troy, the legendary founder and first king of Britain according to medieval myth, was a descendant of the Trojan hero Aeneas.
The British Cultural connection with Aeneas and Brutus
The connection between Aeneas and Brutus is a central theme in medieval texts like the Historia Brittonum (a purported history of early Britain written around 828 that survives in numerous recensions from after the 11th century) and Geoffrey of Monmouth’s The History of the Kings of Britain. These works, influential during the Tudor era, shaped England’s historical narrative and national identity.
By tracing English kings’ lineage to the Trojan hero Aeneas, these texts legitimized Tudor rule and fostered a shared heritage with ancient Rome. The legends of Brutus, Arthur, and others inspired Tudor monarchs and statesmen, offering examples of heroic leadership. These stories also contributed to developing English national identity, shaping its cultural landscape.
The belief in a British-Trojan connection, prevalent in the Elizabethan era, was rooted in the desire to establish a historical link to the Roman Empire. This connection provided a sense of legitimacy for English monarchs and a shared heritage with the ancient world, inspiring a sense of pride and ambition among Elizabethans.
