Helen Wilcox's 1611: Authority, Gender and the Word in Early Modern England PDF

By Helen Wilcox

ISBN-10: 1405193913

ISBN-13: 9781405193917

1611: Authority, Gender, and the notice in Early smooth England explores problems with authority, gender, and language inside of and around the number of literary works produced in a single of such a lot landmark years in literary and cultural history.

  • Represents an exploration of a 12 months within the textual lifetime of early sleek England
  • Juxtaposes the diversity and variety of texts that have been released, performed,   learn, or heard within the similar yr, 1611
  • Offers an account of the textual tradition of the yr 1611, the surroundings of language, and the tips from which the authorized model of the English Bible emerged

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Additional info for 1611: Authority, Gender and the Word in Early Modern England

Sample text

Indeed, the whole thrust of the masque, in its temporal urgency, textual detail, personnel and performance, is towards unity. The masque as a genre brings together words and music, tableaux and movement, sight and sound, while Prince Henry united in his own person a Scottish dynasty, an English court and a Welsh title. The visual effects of Oberon similarly emphasise continuity and transformation rather than opposition. Whereas in most masques there is a firm contrast between the ‘anti-masque’ – a preliminary section emphasising disharmony – and 28 Jonson’s Oberon and friends: masque and music in 1611 Figure 1 Inigo Jones, design for the palace of the fairy prince in Ben Jonson’s masque Oberon.

In these circumstances it is surely significant that when Henry, as Oberon, stepped out of his carriage towards the end of the masque and began to dance, his partner was his mother. According to Trumbull, Henry ‘took the queen to dance’ three times: in ‘an English dance resembling a pavane’, followed by a ‘coranta’ and later, after a galliard had been danced by others present (including Henry’s sister, the Princess Elizabeth, and the Earl of Southampton), ‘the prince took the queen a third time for los branles de 32 Jonson’s Oberon and friends: masque and music in 1611 Poitou’ (Jonson 10 (1950), 523).

The combination of words, music, movement, costumes and set is a triumph of expression and design. One of the difficulties with a masque of this kind, linked to a specific moment in history, is that the special nuances of its occasion can never quite be recreated. We do have Jonson’s extremely detailed text, with the printed Jonson’s Oberon and friends: masque and music in 1611 31 dialogue centred on the page and encased in stage directions, description and annotation, which function almost as a textual staging, a printed impression of the perspectives and complexity of the genre (Ravelhofer, 206).

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1611: Authority, Gender and the Word in Early Modern England by Helen Wilcox

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