By Helen Wilcox
1611: Authority, Gender, and the observe 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 related yr, 1611
- Offers an account of the textual tradition of the 12 months 1611, the surroundings of language, and the tips from which the permitted model of the English Bible emerged
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Extra resources for 1611: Authority, Gender and the Word in Early Modern England
In this detail, once again, unity and government are symbolised: the whole world – polar and temperate, nocturnal and diurnal, mythological and political – is brought together under James’s rule. The masque thus consciously displays the beneficence of royal patronage in bringing opposing forces into harmony. The satyrs, who threaten disorder within the kingdom, are not punished but reformed: ‘Though our forms be rough, & rude, / Yet our acts may be endew’d / With more vertue’ (Jonson 7 (1941), 351).
364) The paradoxes to be unravelled here are initially a puzzle to Love: what is this ‘world’ that he must identify? Tentatively he suggests that it might be the moon, or perhaps a ‘Lady’, since every human creature is ‘a world in feature’ (364). As these answers are shown to be false, Love becomes 34 Jonson’s Oberon and friends: masque and music in 1611 increasingly desperate until he is ‘divinely instructed’ by 12 priests of the Muses and with their aid discovers the key to unlock both the riddle and the prisoners: this special ‘world’ that he must identify is Britain itself, and the ‘eye’ is none other than James, the ‘sunne’ of Albion who is both its ‘light’ and its ‘treasure’ (367–8).
The first figure on stage is a ‘Satyre’, a mythological woodland creature whose presence and physical appearance, featuring ‘cloven feet’, ‘shaggie thighs’ and ‘stubbed hornes’ (345–6), would immediately suggest uncontrolled energies and excessive revelling. Although the emphasis is on ‘play’, it is already significant that there is an urgency about the Satyr’s attempt to wake his playfellows with the sound of his cornet: 26 Jonson’s Oberon and friends: masque and music in 1611 Come away, Times be short, are made for play; The hum’rous Moone too will not stay: What doth make you thus delay?
1611: Authority, Gender and the Word in Early Modern England by Helen Wilcox