In early modern England, people believed in the music of the spheres, the notion that the foundations of cosmic order were a result of musical principles. The importance of music in early modern En...
{"title":"“Melodious Madrigals”: A Study of Animal Musicians in Early Modern England","authors":"Caitlin Mahaffy","doi":"10.3366/bjj.2020.0274","DOIUrl":"https://doi.org/10.3366/bjj.2020.0274","url":null,"abstract":"In early modern England, people believed in the music of the spheres, the notion that the foundations of cosmic order were a result of musical principles. The importance of music in early modern En...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79111038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A resurgence of interest in Shakespeare's late romances has scholars once again asking what kind of work is The Winter's Tale. After The Tempest, it has occupied critics over the first two decades ...
{"title":"Relevant Context, Genuine Relation: Genre, Form, and Gender in Twenty-First Century The Winter's Tale Criticism","authors":"Thomas L. Martin","doi":"10.3366/bjj.2020.0269","DOIUrl":"https://doi.org/10.3366/bjj.2020.0269","url":null,"abstract":"A resurgence of interest in Shakespeare's late romances has scholars once again asking what kind of work is The Winter's Tale. After The Tempest, it has occupied critics over the first two decades ...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78421927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Frances Dolan has demonstrated that few Shakespeare comedies stage both the occurrence and intensity of physical violence to the degree that The Taming of the Shrew does. Analysis of this violence ...
{"title":"The Taming of the Shrew and Anger","authors":"Maurice Hunt","doi":"10.3366/bjj.2020.0273","DOIUrl":"https://doi.org/10.3366/bjj.2020.0273","url":null,"abstract":"Frances Dolan has demonstrated that few Shakespeare comedies stage both the occurrence and intensity of physical violence to the degree that The Taming of the Shrew does. Analysis of this violence ...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86013600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
found in the other parts is here strained by the diversity of the articles. Despite the evident clash, the authors themselves manage to write competent pieces about less prominent authors. For example, Mathilde Bernard presents a straightforward reading on myth and fable in the works of Guillaume Guéroult, though the analysis could benefit from further distinction of Calvin’s and the Huguenots’ views. Matthieu de La Gorge’s essay on Pierre Viret’s view of Greco-Roman myth as biblical plagiarism surprises. Padraic Lamb examines Anglican minister Stephan Batman, but settles this sudden geographic displacement with clarification of Reformist attitudes and anti-Catholic sentiment in England vis-à-vis Continental discourse. In the final two essays, Inès Kirschleger and Christabelle Thouin-Dieuaide discuss Calvinist influences in the earlier part of the seventeenth century. Part 5 addresses the overarching question, and the essays ultimately demonstrate authors’ often paradoxical solutions in a religious discourse that shifts through the decades. Nadia Cernogora and Gilles Couffignal discover an intentional distancing from Ronsardian poetics in the second half of the sixteenth century. Audrey Duru shows that for André Mage, at the beginning of the seventeenth century, fable can cautiously serve as an experience that leads to a spiritual rebirth. In Adrienne Petit’s study, Antoine de Nervèze, a Catholic, and Nicolas Des Escuteaux, a Protestant, exemplify another shift in religious discourse. Overall, this collection of conference essays reads as a cohesive discussion, with the minor exception of a few moments in part 4. The fact that this part stands out further demonstrates the overall cohesion of the collection. For this reason, this anthology’s strengths lie in the cyclical and focused presentation, and in the ways various contributors engage discursively.
{"title":"Scott Newstok, How to Think like Shakespeare: Lessons from a Renaissance Education","authors":"Scott L. Newstok","doi":"10.3366/bjj.2020.0292","DOIUrl":"https://doi.org/10.3366/bjj.2020.0292","url":null,"abstract":"found in the other parts is here strained by the diversity of the articles. Despite the evident clash, the authors themselves manage to write competent pieces about less prominent authors. For example, Mathilde Bernard presents a straightforward reading on myth and fable in the works of Guillaume Guéroult, though the analysis could benefit from further distinction of Calvin’s and the Huguenots’ views. Matthieu de La Gorge’s essay on Pierre Viret’s view of Greco-Roman myth as biblical plagiarism surprises. Padraic Lamb examines Anglican minister Stephan Batman, but settles this sudden geographic displacement with clarification of Reformist attitudes and anti-Catholic sentiment in England vis-à-vis Continental discourse. In the final two essays, Inès Kirschleger and Christabelle Thouin-Dieuaide discuss Calvinist influences in the earlier part of the seventeenth century. Part 5 addresses the overarching question, and the essays ultimately demonstrate authors’ often paradoxical solutions in a religious discourse that shifts through the decades. Nadia Cernogora and Gilles Couffignal discover an intentional distancing from Ronsardian poetics in the second half of the sixteenth century. Audrey Duru shows that for André Mage, at the beginning of the seventeenth century, fable can cautiously serve as an experience that leads to a spiritual rebirth. In Adrienne Petit’s study, Antoine de Nervèze, a Catholic, and Nicolas Des Escuteaux, a Protestant, exemplify another shift in religious discourse. Overall, this collection of conference essays reads as a cohesive discussion, with the minor exception of a few moments in part 4. The fact that this part stands out further demonstrates the overall cohesion of the collection. For this reason, this anthology’s strengths lie in the cyclical and focused presentation, and in the ways various contributors engage discursively.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79953417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In late Renaissance English drama (from the late 1580s until the closing of the theaters in 1642) soliloquies were governed by a surprisingly precise and intricate convention. Plentiful, conspicuous, unambiguous, varied, and one-sided evidence demonstrates that soliloquies represented self-addressed speech as a matter of convention. Not surprisingly, Shakespeare was the most daring, imaginative, and profound exploiter of the convention, especially in Hamlet. One of the most interesting exploitations of the convention occurs in 3.3, which ends with three consecutive soliloquies, occupying a total of 63 lines, by two characters without any intervening dialogue between characters. In the course of the three soliloquies, a presumed contrast between Claudius's villainy and Hamlet's victimhood becomes a disturbing contrast between the villain's effort to repent and the victim's demonic purpose (to increase the population of hell) and eventually turns into a similarity between two characters who have both succumbed to evil. Shakespeare's most daring, imaginative, and profound exploitation of the convention occurs in 3.1. Plentiful, conspicuous, unambiguous, varied, and one-sided evidence demonstrates that Shakespeare designed the “To be, or not to be” episode to imply that the speech is not a genuine soliloquy but rather a feigned soliloquy. Arriving at the location to which he has been summoned by his deadly enemy (“We have closely sent for Hamlet hither”), Hamlet pretends to be oblivious to the conspicuous presence of Ophelia and pretends to talk to himself to mislead Ophelia, her meddlesome father, and ultimately the King into believing that he suffers from a debilitating melancholy in order to convince the King that he poses no threat.
{"title":"Hamlet and the Late Renaissance Convention of Self-Addressed Speech: An Empirical Approach to Theatrical History","authors":"J. Hirsh","doi":"10.3366/bjj.2019.0254","DOIUrl":"https://doi.org/10.3366/bjj.2019.0254","url":null,"abstract":"In late Renaissance English drama (from the late 1580s until the closing of the theaters in 1642) soliloquies were governed by a surprisingly precise and intricate convention. Plentiful, conspicuous, unambiguous, varied, and one-sided evidence demonstrates that soliloquies represented self-addressed speech as a matter of convention. Not surprisingly, Shakespeare was the most daring, imaginative, and profound exploiter of the convention, especially in Hamlet. One of the most interesting exploitations of the convention occurs in 3.3, which ends with three consecutive soliloquies, occupying a total of 63 lines, by two characters without any intervening dialogue between characters. In the course of the three soliloquies, a presumed contrast between Claudius's villainy and Hamlet's victimhood becomes a disturbing contrast between the villain's effort to repent and the victim's demonic purpose (to increase the population of hell) and eventually turns into a similarity between two characters who have both succumbed to evil. Shakespeare's most daring, imaginative, and profound exploitation of the convention occurs in 3.1. Plentiful, conspicuous, unambiguous, varied, and one-sided evidence demonstrates that Shakespeare designed the “To be, or not to be” episode to imply that the speech is not a genuine soliloquy but rather a feigned soliloquy. Arriving at the location to which he has been summoned by his deadly enemy (“We have closely sent for Hamlet hither”), Hamlet pretends to be oblivious to the conspicuous presence of Ophelia and pretends to talk to himself to mislead Ophelia, her meddlesome father, and ultimately the King into believing that he suffers from a debilitating melancholy in order to convince the King that he poses no threat.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86531930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Disability and the “spectacle of strangeness”: The Construction of Hags in The Masque of Queenes","authors":"L. Coker","doi":"10.3366/bjj.2019.0257","DOIUrl":"https://doi.org/10.3366/bjj.2019.0257","url":null,"abstract":"","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82814478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jay Simons, Jonson, the Poetomachia, and the Reformation of Renaissance Satire: Purging Satire","authors":"W. Blanchard","doi":"10.3366/bjj.2019.0261","DOIUrl":"https://doi.org/10.3366/bjj.2019.0261","url":null,"abstract":"","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74053635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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