scholarly journals Daniel’s Cleopatra and Lady Anne Clifford: From a Jacobean Portrait to Modern Performance

Early Theatre ◽  
2015 ◽  
Vol 18 (2) ◽  
Author(s):  
Yasmin Arshad ◽  
Helen Hackett ◽  
Emma Whipday

<p><em>Recent interest in staging so-called ‘closet dramas’ by early modern women has bypassed Samuel Daniel’s </em><em>Cleopatra</em><em>, because of the author’s sex. Yet this play has strong female associations: it was commissioned by Mary Sidney Herbert, and is quoted in a Jacobean portrait of a woman (plausibly Lady Anne Clifford) in role as Cleopatra. We staged a Jacobean-style production of </em><em>Cleopatra </em><em>at Goodenough College, London, then a performance of selected scenes at Knole, Clifford’s home in Kent. This article presents the many insights gained about the dramatic power of the play and its significance in giving voices to women.</em></p>

2019 ◽  
Vol 58 (4) ◽  
pp. 677-683
Author(s):  
Alexandra Shepard ◽  
Tim Stretton

AbstractThis introduction places the articles featured in this special issue of the Journal of British Studies within the context of recent scholarship on late medieval and early modern women and the law. It is designed to highlight the many boundaries that structured women's legal agency in Britain, including the procedural boundaries that filtered their voices through male advisers and officials, the jurisdictional boundaries that shaped litigation strategies, the constraints surrounding women's appearance as witnesses in court, the gendered differentiation of rights determined by primogeniture and marital property law, and the boundaries between legal and extralegal activity. Emphasizing the importance of a nuanced approach, it rejects the construction of women's litigation simply as a form of resistance to patriarchal norms and also urges caution against overestimating or oversimplifying the choices available to women in legal disputes or their latitude to operate as autonomous individuals. Gender intersected in British courts with locality, resources, jurisdiction, social status, and familial, religious, and political affiliations to inform different women's access to justice, which involved negotiations between unequal actors within various constraints and in complex alignment with multiple and often competing interests.


Author(s):  
Fran Teague

Bathsua Makin (b. 1600–d. 1681?) was a child prodigy, writer, and noted educator. Her father Henry Reginald was a schoolmaster. Her first book, Musa Virginea, appeared when she was 16; a second published work on shorthand is undated, but appeared before 1619. She followed her father into education, working as tutor for the Princess Elizabeth, daughter of Charles I, and later for the Countess of Huntingdon and her children. Makin’s specialty was languages, so she taught Princess Elizabeth Latin, Hebrew, Greek, French, and Italian by the time the child was nine, and she taught Latin, Greek, and Hebrew to the Huntingdon family. Finally, An Essay to Revive the Antient Education of Gentlewomen (Essay) is attributed to Makin by many scholars. The Essay says Makin planned to open a school in 1673, though nothing further is heard of the school. It also provides information about education, catalogues learned women, and offers a spirited defense of women’s abilities, as well as an attack on misogyny. Makin’s importance lies in the way she exemplifies the problems of research on early modern women writers, her work as a Latin poet, her essay on education, as well as her reception. Her brother-in-law John Pell once remarked that “she is a woman of great acquaintance.” Pell was one of Samuel Hartlib’s correspondence circle, and Hartlib mentions both Makin and her father in his papers. Surviving letters and the Hartlib papers link her to notable men: Sir Symonds D’Ewes, Carew Ralegh, Robert Boyle, and several prominent London physicians. Around 1640, Anna Maria van Schurman wrote Makin, and they continued corresponding until at least 1645 and possibly until 1648. Makin almost certainly knew other learned Englishwomen, including Rachel Speght, Anne Halkett, Dorothy Moore Dury, and Katherine Jones, Lady Ranelagh, though none of these is listed in her catalogues of learned ladies, perhaps because they demurred. Her influence on later women is less clear. The Countess of Huntingdon’s granddaughter, Lady Elizabeth Hastings, was Mary Astell’s sponsor; another was Lady Catherine Jones, daughter of Katherine Jones, Lady Ranelagh. This article does not include the many anthologies that include passages from the Essay speaking to such concerns as politics, women’s lives, conduct books, religion, classical studies, and so forth. Simply using a search engine like Google to find the search terms “Bathsua Makin” and “anthology” will yield around 9,000 results, and the range of topics is broad and varied.


2019 ◽  
Vol 26 (2) ◽  
pp. 227-252
Author(s):  
Deborah Solomon

This essay draws attention to the surprising lack of scholarship on the staging of garden scenes in Shakespeare's oeuvre. In particular, it explores how garden scenes promote collaborative acts of audience agency and present new renditions of the familiar early modern contrast between the public and the private. Too often the mention of Shakespeare's gardens calls to mind literal rather than literary interpretations: the work of garden enthusiasts like Henry Ellacombe, Eleanour Sinclair Rohde, and Caroline Spurgeon, who present their copious gatherings of plant and flower references as proof that Shakespeare was a garden lover, or the many “Shakespeare Gardens” around the world, bringing to life such lists of plant references. This essay instead seeks to locate Shakespeare's garden imagery within a literary tradition more complex than these literalizations of Shakespeare's “flowers” would suggest. To stage a garden during the sixteenth and seventeenth centuries signified much more than a personal affinity for the green world; it served as a way of engaging time-honored literary comparisons between poetic forms, methods of audience interaction, and types of media. Through its metaphoric evocation of the commonplace tradition, in which flowers double as textual cuttings to be picked, revised, judged, and displayed, the staged garden offered a way to dramatize the tensions produced by creative practices involving collaborative composition and audience agency.


Author(s):  
Pierre Iselin

Pierre Iselin broaches the subject of early modern music and aims at contextualising Twelfth Night, one of Shakespeare’s most musical comedies, within the polyphony of discourses—medical, political, poetic, religious and otherwise—on appetite, music and melancholy, which circulated in early modern England. Iselin examines how these discourses interact with what the play says on music in the many commentaries contained in the dramatic text, and what music itself says in terms of the play’s poetics. Its abundant music is considered not only as ‘incidental,’ but as a sort of meta-commentary on the drama and the limits of comedy. Pinned against contemporary contexts, Twelfth Night is therefore regarded as experimenting with an aural perspective and as a play in which the genre and mode of the song, the identity and status of the addressee, and the more or less ironical distance that separates them, constantly interfere. Eventually, the author sees in this dark comedy framed by an initial and a final musical event a dramatic piece punctuated, orchestrated and eroticized by music, whose complex effects work both on the onstage and the offstage audiences. This reflection on listening and reception seems to herald an acoustic aesthetics close to that of The Tempest.


2020 ◽  
pp. 51-78
Author(s):  
Diana Pereira

Over the last decades there was a growing interest in religious materiality, miraculous images, votive practices, and how the faithful engaged with devotional art, as well as a renewed impetus to discuss the long-recognized association between sculpture and touch, after the predominance of the visuality approach. Additionally, the neglected phenomenon of clothing statues has also been increasingly explored. Based on the reading of Santuario Mariano (1707–1723), written by Friar Agostinho de Santa Maria (1642–1728), this paper will closely examine those topics. Besides producing a monumental catalogue of Marian shrines and pilgrimage sites, this source offers a unique insight into the religious experience and the reciprocal relationship between image and devotee in Early Modern Portugal, and is a particularly rich source when describing the believers’ pursuit of physical contact with sculptures. This yearning for proximity is partly explained by the belief in the healing power of Marian sculptures, which in turn seemed to be conveniently transferred to a myriad of objects. When contact with the images themselves was not possible, devotees sought out their clothes, crowns, rosary beads, metric relics, and so forth. Items of clothing such as mantles and veils were particularly used and so it seems obvious they were not mere adornments or donations, but also mediums and extensions of the sculptures’ presence and power. By focusing on the thaumaturgic role of the statues’ clothes and jewels, I will argue how the practice of dressing sculptures was due to much more than stylistic desires or processional needs and draw attention to the many ways believers engaged with religious art in Early Modern Portugal.


Author(s):  
Joanna Innes ◽  
Michael J. Braddick

The Introduction offers a brief overview of Paul Slack’s contribution to early modern history, distinguishing between an earlier phase concerned with social policy and the ideas which informed it, and a later phase concerned with the history of political economy, and particularly the shifting discourse of happiness which, he argued, informed it. It then explores recent interest in the history of emotions, distinguishing a variety of approaches to that subject. Reviewing three broad approaches taken by the contributors to the volume, it goes on to suggest that the history of emotions is most stimulating when seen as a focal point for different kinds of history rather than as a discrete subject of enquiry. A further implication is that a variety of forms of expertise need to be brought to bear.


This collection of twelve original essays by an international team of eminent scholars in the field of book history explores the many ways in which early modern books were subject to reworking, re-presentation, revision and reinterpretation. Their history is often the history of multiple, sometimes competing, agencies as their texts were re-packaged, redirected and transformed in ways that their original authors might hardly recognize. The essays discuss the processes of editing, revision, redaction, selection, abridgement, glossing, disputation, translation and posthumous publication that resulted in a textual elasticity and mobility that could dissolve distinctions between text and paratexts, textuality and intertextuality, manuscript and print, author and reader or editor, such that title and author’s name are no longer sufficient pointers to a book’s identity or contents. The essays are alive to the impact of commercial and technological aspects of book production and distribution (discussing, for example, the career of the pre-eminent bookseller John Nourse, the market appeal of abridgements, and the financial incentives to posthumous publication), but their interest is also in the many additional forms of agency that shaped texts and their meanings as books were repurposed to articulate, and respond to, a variety of cultural and individual needs. They engage with early modern religious, political, philosophical and scholarly trends and debates as they discuss a wide range of genres and kinds of publication (including fictional and non-fictional prose, verse miscellanies, abridgements, sermons, religious controversy) and of authors and booksellers (including Lucy Hutchinson, Richard Baxter, Thomas Burnet, Elizabeth Rowe, John Dryden, and Samuel Taylor Coleridge, Lucy Hutchinson, Henry Maundrell, John Nourse; Jonathan Swift, Samuel Richardson, John Tillotson, Isaac Watts and John Wesley).


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