Pub Date : 2018-12-31DOI: 10.7591/9781501723247-006
M. Rose
Jacobean tragicomedy is the last original formal creation of En glish Renaissance drama meant for a public audience. Despite many illuminating studies , no explanation has ever accounted for all of the oddities of this hybrid genre, the most prominent of which remains the striking discrepancy between the aesthetic in feriority of many of the plays and their undoubted historical im portance, including their contemporary popularity and the crucial role they played in the long-term development of seventeenth century drama. 1 Explanations that center on Shakespeare's ro-
{"title":"4. Transforming Sexuality : Jacobean Tragicomedy and the Reconfiguration of Private Life","authors":"M. Rose","doi":"10.7591/9781501723247-006","DOIUrl":"https://doi.org/10.7591/9781501723247-006","url":null,"abstract":"Jacobean tragicomedy is the last original formal creation of En glish Renaissance drama meant for a public audience. Despite many illuminating studies , no explanation has ever accounted for all of the oddities of this hybrid genre, the most prominent of which remains the striking discrepancy between the aesthetic in feriority of many of the plays and their undoubted historical im portance, including their contemporary popularity and the crucial role they played in the long-term development of seventeenth century drama. 1 Explanations that center on Shakespeare's ro-","PeriodicalId":346200,"journal":{"name":"The Expense of Spirit","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127108810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7591/9781501723247-003
J. Lyly
Elizabethan romantic comedy is traditionally regarded as a dra matic form that can be distinguished as a generic celebration of marriage. Contrasting the erotic teleology of romantic comedy (which she calls "pure comedy") with the moral corrective of satire and the tragicomic emphasis on plot, Helen Gardner has written that " the great symbol of pure comedy is marriage, by which the world is renewed, and its endings are always instinct with a sense of fresh beginnings . Its rhythm is the rhythm of the life of man kind, which goes on and renews itself as the life of nature does . . . . The young wed, so that they may become in turn the older genera tion, whose children will wed, and so on, as long as the world lasts . . . . The end of comedy declares that life goes on. " 1 In romantic comedy, then, the sexual love that leads to marriage symbolizes the ongoing life of society, which in Elizabethan terms suggests a spiritually integrated cosmos. Although recent scholar ship has been carefully dissecting the ideological program that sus tains this comic syndrome, pointing to the devious subversions of its unity and the complex qualifications of its ideals , no analysis has disputed that the multileveled idealization of marriage is a power ful informing presence in Elizabethan comedy . 2 Yet this celebra-
{"title":"1. Moral Conceptions of Sexual Love in Elizabethan Comedy","authors":"J. Lyly","doi":"10.7591/9781501723247-003","DOIUrl":"https://doi.org/10.7591/9781501723247-003","url":null,"abstract":"Elizabethan romantic comedy is traditionally regarded as a dra matic form that can be distinguished as a generic celebration of marriage. Contrasting the erotic teleology of romantic comedy (which she calls \"pure comedy\") with the moral corrective of satire and the tragicomic emphasis on plot, Helen Gardner has written that \" the great symbol of pure comedy is marriage, by which the world is renewed, and its endings are always instinct with a sense of fresh beginnings . Its rhythm is the rhythm of the life of man kind, which goes on and renews itself as the life of nature does . . . . The young wed, so that they may become in turn the older genera tion, whose children will wed, and so on, as long as the world lasts . . . . The end of comedy declares that life goes on. \" 1 In romantic comedy, then, the sexual love that leads to marriage symbolizes the ongoing life of society, which in Elizabethan terms suggests a spiritually integrated cosmos. Although recent scholar ship has been carefully dissecting the ideological program that sus tains this comic syndrome, pointing to the devious subversions of its unity and the complex qualifications of its ideals , no analysis has disputed that the multileveled idealization of marriage is a power ful informing presence in Elizabethan comedy . 2 Yet this celebra-","PeriodicalId":346200,"journal":{"name":"The Expense of Spirit","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134083045","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7591/9781501723247-004
B. Gibbon, A. Leggatt
In its representation of love and sexuality, Elizabethan romantic comedy is not concerned with the problematic enactment of social and sexual roles in the institution of marriage. Rather, it concen trates on the complexities of eras, dramatized as sexual desire seek ing and finding fulfillment in the heroes ' successful resolution of the process of courtship. In contrast, Jacobean city comedy brings into the light of representation precisely those dissociations and contradictions in English Renaissance sexual ideology which ro mantic comedy evokes but seeks to reconcile and contain . 1 Jaco bean satire, or city comedy, is a genre designed to dramatize the complex process of conducting economic and social relations in a newly forming urban environment. As is well known, city com edy as such began in the late 1 590s with Ben Jonson's humor plays, achieved recognizable generic conventions by about 1 605 , and thrived during, roughly, the first decade of the seventeenth cen tury, when dramatists perceived the city of London as the setting in which those conflicts caused by the political, religious, and eco nomic upheavals that transformed Renaissance England were being enacted most intensely. 2
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Pub Date : 2018-12-31DOI: 10.7591/9781501723247-005
and visionary formation of an ideology, were aware of the contradictions they were articulating . The value of their discourse does not lie in its self-consciousness or its prescience. 95 Rather, because of its historical position, Puritan marriage ideology in the Renaissance provides a remarkable index of the ways in which modern sexual values were being created, terms were being con structed, and conflicts were taking shape. The apprehension and exploitation of ideological inconsistencies became the task not of sermons , but of the drama, in which a greater attachment to the concrete, an obligation to action, and a dependence on conflict brought paradox into the light of representation, giving visibility and significance to contradiction and seeking to resolve it through the operations of form.
{"title":"3. A Waste of Shame: The Heroics of Marriage in English Renaissance Tragedy","authors":"","doi":"10.7591/9781501723247-005","DOIUrl":"https://doi.org/10.7591/9781501723247-005","url":null,"abstract":"and visionary formation of an ideology, were aware of the contradictions they were articulating . The value of their discourse does not lie in its self-consciousness or its prescience. 95 Rather, because of its historical position, Puritan marriage ideology in the Renaissance provides a remarkable index of the ways in which modern sexual values were being created, terms were being con structed, and conflicts were taking shape. The apprehension and exploitation of ideological inconsistencies became the task not of sermons , but of the drama, in which a greater attachment to the concrete, an obligation to action, and a dependence on conflict brought paradox into the light of representation, giving visibility and significance to contradiction and seeking to resolve it through the operations of form.","PeriodicalId":346200,"journal":{"name":"The Expense of Spirit","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121241015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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