scholarly journals The Matter of Early Modern Female Melancholy

2021 ◽  
Author(s):  
◽  
Emma Rayner
Keyword(s):  
Early Modern ◽  
The Winter's Tale ◽  
Intellectual Activity ◽  
Winter's Tale ◽  
Early Modern Women ◽  
Artistic Representations ◽  
Robert Burton ◽  
Lucy Hutchinson ◽  
History Of ◽  
Medical Treatises

<p>The Renaissance is often touted as the age of melancholy. For fictional personages like Hamlet as well as for writers like Robert Burton, melancholy served both as a burden and a blessing, facilitating intellectual activity at the expense of psychological and bodily comfort. Precisely because of its Aristotelean associations with brilliance, melancholy was off-limits to early modern women, who were afforded a pathology different not merely in degree but in kind to that of the male melancholic. Female melancholy was understood as an entirely corporeal illness, lacking any semblance of the creative or intellectual fecundity which its male sufferers enjoyed.  Literary critics and cultural historians have long taken the authors of early modern medical treatises at their word, and because of this, the extant scholarship on melancholy projects an overwhelmingly masculinist history of the emotion. Those scholars who have addressed the subterraneous literature of women’s emotion in the Renaissance, moreover, have commonly understood female-voiced articulations of negative affect through the lens of “grief” or “sorrow”. A poetics of female melancholy in the English Renaissance is thus still awaiting formulation, and it is this critical absence that I move to redress.  Putting male-authored, canonical works of literature in dialogue with the poetry of three seventeenth-century women writers, this thesis pursues the topic of a literary melancholy that is specifically female, or female-voiced. Chapter One explores the shape of female melancholic discourse in two Shakespearean texts – Hamlet and The Two Noble Kinsmen – and in the poetry of devotional poet An Collins. Chapter Two considers the telos of self-marmorisation (the female melancholic’s turn to stone) first in Webster’s Duchess of Malfi, Shakespeare’s The Winter’s Tale, and Milton’s Comus, and then in the verse of Hester Pulter. Finally, Chapter Three discusses the presence of postlapsarian melancholy in the elegies of Lucy Hutchinson. All three chapters argue for the significance, the matter, of artistic representations of women’s affect in a period which has traditionally seen male expressions of melancholy raised above female expressions of the same.</p>

scholarly journals The Matter of Early Modern Female Melancholy

2021 ◽  
Author(s):  
◽  
Emma Rayner
Keyword(s):  
Early Modern ◽  
The Winter's Tale ◽  
Intellectual Activity ◽  
Winter's Tale ◽  
Early Modern Women ◽  
Artistic Representations ◽  
Robert Burton ◽  
Lucy Hutchinson ◽  
History Of ◽  
Medical Treatises

<p>The Renaissance is often touted as the age of melancholy. For fictional personages like Hamlet as well as for writers like Robert Burton, melancholy served both as a burden and a blessing, facilitating intellectual activity at the expense of psychological and bodily comfort. Precisely because of its Aristotelean associations with brilliance, melancholy was off-limits to early modern women, who were afforded a pathology different not merely in degree but in kind to that of the male melancholic. Female melancholy was understood as an entirely corporeal illness, lacking any semblance of the creative or intellectual fecundity which its male sufferers enjoyed.  Literary critics and cultural historians have long taken the authors of early modern medical treatises at their word, and because of this, the extant scholarship on melancholy projects an overwhelmingly masculinist history of the emotion. Those scholars who have addressed the subterraneous literature of women’s emotion in the Renaissance, moreover, have commonly understood female-voiced articulations of negative affect through the lens of “grief” or “sorrow”. A poetics of female melancholy in the English Renaissance is thus still awaiting formulation, and it is this critical absence that I move to redress.  Putting male-authored, canonical works of literature in dialogue with the poetry of three seventeenth-century women writers, this thesis pursues the topic of a literary melancholy that is specifically female, or female-voiced. Chapter One explores the shape of female melancholic discourse in two Shakespearean texts – Hamlet and The Two Noble Kinsmen – and in the poetry of devotional poet An Collins. Chapter Two considers the telos of self-marmorisation (the female melancholic’s turn to stone) first in Webster’s Duchess of Malfi, Shakespeare’s The Winter’s Tale, and Milton’s Comus, and then in the verse of Hester Pulter. Finally, Chapter Three discusses the presence of postlapsarian melancholy in the elegies of Lucy Hutchinson. All three chapters argue for the significance, the matter, of artistic representations of women’s affect in a period which has traditionally seen male expressions of melancholy raised above female expressions of the same.</p>

Shakespearean Melancholy

2018 ◽  
Author(s):  
J. F. Bernard
Keyword(s):  
Sigmund Freud ◽  
Judith Butler ◽  
The Winter's Tale ◽  
Twelfth Night ◽  
Winter's Tale ◽  
The Core ◽  
Robert Burton

What’s so funny about melancholy? Iconic as Hamlet is, Shakespearean comedy showcases an extraordinary reliance on melancholy that ultimately reminds us of the porous demarcation between laughter and sorrow. This richly contextualized study of Shakespeare’s comic engagement with sadness contends that the playwright rethinks melancholy through comic theatre and, conversely, re-theorizes comedy through melancholy. In fashioning his own comic interpretation of the humour, Shakespeare distils an impressive array of philosophical discourses on the matter, from Aristotle to Robert Burton, and as a result, transforms the theoretical afterlife of both notions. The book suggests that the deceptively potent sorrow at the core of plays such as The Comedy of Errors, Twelfth Night, or The Winter’s Tale influences modern accounts of melancholia elaborated by Sigmund Freud, Judith Butler, and others. What’s so funny about melancholy in Shakespearean comedy? It might just be its reminder that, behind roaring laughter, one inevitably finds the subtle pangs of melancholy.

Shakespeare’s Portrayal of a Tyrant

Moreana ◽  
2013 ◽  
Vol 50 (Number 193- (3-4) ◽  
pp. 40-53
Author(s):  
Peter Milward
Keyword(s):  
William Shakespeare ◽  
Virgin Mary ◽  
Henry Viii ◽  
Thomas More ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
Historical Romance ◽  
History Of ◽  
Sir Walter Raleigh ◽  
The Ideal

The theme of tyranny, so central (as we have seen in two recent issues of Moreana) to the writings and the experience of Thomas More, is hardly less central to the plays and the memory of William Shakespeare. This centrality appears not so much in the plays of his Elizabethan period as in those of the subsequent Jacobean period, especially in the final romances by way of warming up to his presentation of the historical romance of Henry VIII. There, however, the tyranny of the king, though notably emphasized by Sir Walter Raleigh in his contemporaneous History of the World, is strangely muted, as also is his un-Shakespearian character, but it comes out strongly in the two preceding romances of The Winter’s Tale and Cymbeline, once we read them, as they require us to read them, as “topical allegories”. Then, to the characters of the jealous Leontes and the wrathful Cymbeline, we may add the threatening personality of Antiochus at the beginning of Pericles, as yet another figure (based on a widespread rumour) of the quintessential tyranny of Henry VIII. At the same time, this figure of the victimizer calls to be qualified by the complementary figure of the victim, the heroine in these romances, not only Hermione and Perdita, Thaisa and Marina, and Imogen, but even or especially in Desdemona as victimized by her jealous husband Othello. Then, in the above mentioned “topical allegory” of these Jacobean plays, she stands as well for the ideal of the Virgin Mary as for the memory of Catholic England at the heart of the dramatist.

scholarly journals The Dramaturgy of Female Gender  in Early Modern English Theatre:  An Investigation of the Theatrical Expression of Gender in Selected Jacobean Plays, Their Restoration/Early Eighteenth-Century Adaptations, and Their Original and Contemporary Staging

2021 ◽  
Author(s):  
◽  
Lori Beth Leigh
Keyword(s):  
Eighteenth Century ◽  
Early Modern ◽  
Early Modern Period ◽  
Female Gender ◽  
Point Of View ◽  
Female Characters ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
Female Roles ◽  
Gender Boundaries

<p>The adaptations of Shakespeare‘s plays that were written and staged during the English Restoration and eighteenth century form an important part of the performance history of Shakespeare; yet they have never been employed in research on the female characters in the original plays. This thesis analyzes four late Shakespeare plays and their adaptations: The Two Noble Kinsmen (with Fletcher) and Davenant's The Rivals; The Tempest and Davenant and Dryden's The Enchanted Island; The Winter's Tale and Garrick's Florizel and Perdita; and the lost Cardenio (also with Fletcher) and Theobald's Double Falsehood. Investigating the dramaturgy of the female characters from a theatrical point-of-view that includes both a close-reading and imagining of the text with a "directorial eye" and practical staging work, this study examines not only language but the construction and representation of character through emotional and physical states of being, gestures and movement, sound (music and the sound of speech), props, costumes, spectacle, stage directions, use of space and architecture, and the audience. The adaptations have been used as a lens to encounter afresh the female characters in the original plays. Through this approach, I have discovered evidence to challenge some traditional interpretations of Shakespeare's female characters and have also offered new readings of the characters. In addition, I have demonstrated the danger of accepting the widely held critical view that the introduction of actresses on the Restoration stage prompted adaptors to sexualize the female roles in a demeaning, trivial, and meretricious manner. In fact, female roles in the Restoration had some power to subvert gender boundaries just as they did in the Renaissance when played by boy actors. This work explores the treatment of themes and motifs that recur around the staging of women in the early modern period such as madness, cross-gender disguise and cross-gender casting, rape and sexual violence, and the use of silence by female characters. Each chapter draws individual conclusions about the female characters in the plays, often drawing parallels between two central women in particular play. Overall, the thesis demonstrates the complexity and multiplicity of the ways the women in Shakespeare's plays express their agency and desire.</p>

scholarly journals Ibadis on (and in) the Margins

2018 ◽  
Vol 9 (2-3) ◽  
pp. 225-241 ◽  
Author(s):  
Paul M. Love
Keyword(s):  
Early Modern ◽  
17Th Century ◽  
Northern Africa ◽  
Intellectual Activity ◽  
Minority Community ◽  
Manuscript Production ◽  
History Of ◽  
The City

AbstractFrom at least the 17th century onward, a sizeable Maghribi Ibadi community lived, studied, and worked in the city of Cairo, centered around a trade agency, school, and library known as the ‘Buffalo Agency’ (Wikālat al-Jāmūs). Over nearly four centuries, this agency served as a hub for Ibadi intellectual activity and manuscript production. Despite its place of prominence in the history of early-modern Ibadi communities, manuscripts are some of the only surviving evidence of its existence. Using manuscript notes from and catalog data on manuscripts either held at the agency’s library or copied there, this article suggests that Ibadis were far from the small, isolated minority community in northern Africa they are often imagined to have been. Instead, the story of the Buffalo Agency points to the ways in which Ibadis very much belonged to the intellectual and commercial worlds of Sunni-dominated Cairo from the 17th–20th centuries.

scholarly journals “Nature’s Bastards”: Grafted Generation in Early Modern England

2015 ◽  
Vol 38 (2) ◽  
pp. 121-148
Author(s):  
Claire Duncan
Keyword(s):  
Early Modern ◽  
Natural World ◽  
Early Modern England ◽  
The Winter's Tale ◽  
Scientific Texts ◽  
Winter's Tale ◽  
Early Modern English ◽  
Reproduction Humaine

This paper examines the shared rhetoric between human and horticultural generation in early modern England, particularly focusing on grafting. Early modern English gardening manuals imagine grafting as a method of controlling generation in the natural world, and early modern English obstetrical treatises imagine the female generative body in horticultural language. Alongside these scientific texts, this article uses Shakespeare’s The Winter’s Tale as a literary case study of grafting rhetoric. Ultimately, while grafting treatises imagine man’s power over generation in the natural world and obstetrical treatises imagine controlling human generation using horticultural metaphor, The Winter’s Tale complicates this fantasy by depicting Leontes’s efforts at genealogical control as unnecessary and fruitless: not only do Perdita and Hermione survive and flourish after his attempts to kill them, but Perdita is the legitimate and non-grafted offspring of Hermione and Leontes. Cet article examine la rhétorique que partagent la reproduction humaine et l’horticulture en Angleterre au début de l’époque moderne. Les ouvrages portant sur les jardins, à l’époque, représentent la greffe comme une méthode pour contrôler la reproduction dans le monde naturel, tandis que les ouvrages d’obstétrique de la même époque représentent la capacité reproductrice du corps féminin en termes d’horticulture. A côté de ces textes scientifiques, on se sert dans cet article de la pièce de Shakespeare The Winter’s Tale comme exemple de la rhétorique de la greffe. En dernière analyse, tandis que les ouvrages décrivant la greffe représentent la puissance humaine sur la reproduction dans le monde naturel et que les ouvrages d’obstétrique représentent la reproduction humaine avec des métaphores tirées de l’horticulture, The Winter’s Tale vient compliquer cet imaginaire en présentant comme futiles les tentatives de contrôle généalogique de Leontes : non seulement Perdita et Hermione survivent et fleurissent après les tentatives de meurtre, mais encore Perdita est le fruit légitime non-greffé des amours d’Hermione et Leontes.

Feral and "Wild" Children

2013 ◽  
Author(s):  
Michael Newton
Keyword(s):  
Common Denominator ◽  
Human Society ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
Feral Children ◽  
History Of ◽  
English Speaking ◽  
The Subject ◽  
English Speaking World ◽  
Political Realm

The term feral children has been taken as applying to those who have endured three very different kinds of childhood experience. In one case, the term covers “children of nature,” that is, those who have lived in a solitary state in the countryside. Closely related to such individuals are those children who have been reared for a while by animals, most notably wolves or bears, though there are also tales of children suckled by gazelle, pigs, sheep, cows, and so on. Yet, the phrase has also been applied to children who have been confined to long periods of isolation within human society, locked up in rooms or dungeons. The common denominator in these tales is the experience of an absolute solitude, the absence of caring human parents, and, very often, the deprivation of language that results from that solitude. As such, for centuries these children have been an object of fascination to philosophers interested in human development, the inception of the political realm, and the origin of language. In more recent times, they have been the subject of study by linguists, anthropologists, and sociologists. Whether “wild children” have truly existed is a matter of some interest; more important here is what they stand for, the ideas and philosophies they evoke, and the fantasies that their supposed existence nurtures. Outside the English-speaking world, the idea of feral children is especially important in French- and German-language texts. However, this bibliography limits itself to sources in English, including translations of Arabic, Latin, French, and German works. Feral children have been central to a number of literary works, from William Shakespeare’s The Winter’s Tale (1610–1611) to Thomas Day’s The History of Little Jack (1788), and from Rudyard Kipling’s The Jungle Books (1895–1896) to Edgar Rice Burroughs’s Tarzan of the Apes (1914). Authors have in several instances turned true stories of feral children into fiction, as with Jakob Wassermann’s Caspar Hauser (1908), Catherine Mary Tennant’s Peter the Wild Boy (1939), and Jill Dawson’s novel based on the Wild Boy of Aveyron, Wild Boy (2003). Similarly, several excellent films have been produced on the subject, such as François Truffaut’s L’Enfant sauvage (1970), Werner Herzog’s Jeder für sich und Gott gegen alle (1974), and a number of other successful works, such as Michael Apted’s Nell (1994) or even the Disney-animated classic, The Jungle Book (Wolfgang Reitherman 1967). It is beyond the scope of this bibliography to make full mention of these works; however, it is clear that they demonstrate that a fascination with feral children goes beyond the limits of academic discourse.

Anne Conway’s Response to Cartesianism

2019 ◽  
pp. 706-720
Author(s):  
Christia Mercer
Keyword(s):  
Seventeenth Century ◽  
Modern Philosophy ◽  
Early Modern ◽  
History Of Philosophy ◽  
Early Modern Women ◽  
History Of ◽  
Radical Ideas ◽  
Insight Into

Anne Conway (1631–79) was an English philosopher whose only work, The Principles of the Most Ancient and Modern Philosophy, was published posthumously in 1690. Conway’s arguments against Descartes’s account of matter constitute a cutting criticism of his views and offer significant insight into an important and under-studied anti-Cartesian trend in the second half of the seventeenth century. Conway’s response to Descartes helps us discern some of the more original and radical ideas in her philosophy. Like so many other significant early modern women, Conway was left out of the history of philosophy by later thinkers.

Dead Likenesses and Sex Machines

2016 ◽  
pp. 610-627
Author(s):  
Jennifer Waldron
Keyword(s):  
Media Theory ◽  
Female Characters ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
Contemporary World ◽  
The Awakening ◽  
History Of ◽  
Conceptual Shift

Media theorists have recently sought to challenge traditional conceptions of a ‘medium’ as a passive means for human ends, or an exterior supplement to an essential human core; however, they have not yet fully investigated the implications of this conceptual shift for the history of gender. This essay focuses on two key Shakespearean scenes in which female characters become tightly associated with the theatrical medium: the awakening of Queen Hermione’s statue in The Winter’s Tale and the bed-tricks of All’s Well That Ends Well. While these scenes link theatrical devices with qualities conventionally gendered feminine (artificiality, exteriority, and embodiment), they also transvalue the traditionally negative associations of that feminization, in part by reimagining the workings of mediation itself. Shakespeare’s plays thus offer nascent forms of media theory that are deeply relevant to our contemporary world.

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