Search results

Yulia Ryzhik

free himself of the influence of Spenser, and gravitated towards Donne at a midpoint in his career when he programmatically set about to simplify his style, rid it of Romantic idiom and make it conspicuously more colloquial and modern. Joyce, for his part, annexed aspects of Spenser in order to add pointed ironies to his symbolic renderings of the abject nature of Irish colonial identity in A Portrait of the Artist as a Young Man , but also in order to dismantle the authoritativeness of The Faerie Queene and to co-opt it for the subversive and layered wordplay and

in Spenser and Donne
Sir Philip Sidney, humility and revising the Arcadia
Richard James Wood

plotted by his being ‘stripped and reduced to nothing in a process which is as long as the play itself’. 56 Just as Shakespeare adapts Sidney’s passage from the New Arcadia on the King of Paphlagonia for the events of the plot involving Gloucester, Edgar and Edmund, the journey of Amphialus from courtly excellence to recreancy, humiliation and concomitant humility could be an Arcadian precursor of the degradation of Lear, the Ancient Briton. As Fernie makes plain, ‘the abject hero’, ‘the shameful death of the champion’, and ‘in a Christian context [the] re

in Sidney's Arcadia and the conflicts of virtue
Felicity Dunworth

in differentiating itself as other but threatens one’s own and clean self , which is the underpinning of any organisation constituted by exclusions and hierarchies’ [original italics]. 33 In this scene, Hamlet and his mother engage in a kind of transformative ritual, which, as it plays out, enables Hamlet to proceed in his movement towards revenge. 34 The abjection of the maternal here provokes Gertrude

in Mothers and meaning on the early modern English stage
Sir Wa’ter’s two Books of Mutabilitie and their subject’s allegorical presence in select Spenserean narratives and complaints
James Nohrnberg

of honour, and his faith, might save him, rather than damn him. But if what Raleigh wants is a suspended sentence, while having no one but himself for an advocate, then the abject suitor has a fool for a lawyer – and a pathetic whine for his chief lobbyist. The rhetoric for the loss of esteem he once so manifestly enjoyed draws a reader into the vicious circle traced by the round-and-round of an aggrieved ego that cannot stop encountering and re-encountering its own offence, the scarcely nameable point of impasse on the broken record where his recital turns into a

in Literary and visual Ralegh
Abstract only
Two versions of tyrannicide in Richard III
Ann Kaegi

’s adoption of the abject posture of a ‘humble suppliant’ to the King’s mistress, they concede that his strategy succeeded: ‘Humbly complaining to her deity / Got my lord Chamberlain his liberty’ (1.1.76–7). They nevertheless regard his resort to this demeaning stratagem as symptomatic of an alarming inversion of social and gender hierarchy at court: the Lord Chamberlain has

in The Renaissance of emotion
Abstract only
Deborah Warner at the Swan
Michael D. Friedman and Alan Dessen

signalled not by visible blood or by silken streamers but by a coating of clay or mud, by what appeared to be hastily applied wrappings on her stumps, and by the abject posture of Sonia Ritter’s shamed, half-crazed figure. As demonstrated here, Marcus’s imagery can be theatrically potent if his words do more than merely convey to the audience’s ears what their eyes have already seen. Much depends, moreover, on how those words are delivered. For Stanley Wells ( Shakespeare Survey , 41, 1988), one of the overall strengths

in Titus Andronicus
Motherhood and comic narrative
Felicity Dunworth

necessarily voyeuristic nature of the wife-taming play, take much of their effect from the sexual frisson generated by combining the spectacle of her grief with a rhetorical assertion of the material, brimming, maternal body, spoken by the character humiliated on her knees, surrounded by a stage full of men. The abjection of the mother figure induces both pleasure and guilt in the spectator, who is drawn into complicit pleasure at both sensations by the

in Mothers and meaning on the early modern English stage
Amanda Bailey

overdue bonds as weapons having the power to maim him. 41 While Easy’s attempt to orphan his bonds proves unsuccessful, Middleton provides a glimpse into the fate of orphans through his representation of two bastard figures, the prostitute Country Wench and the pseudo-knight Lethe. Each of these minor characters demonstrates that the abject status of the orphan

in Formal matters
Abstract only
Shakespeare’s brute part
Richard Wilson

and all his goats. FLUELLEN: There is one goat for you. [ He strikes Pistol ]. [ Henry V, 5,1,20–6 ] The symbolic rape of Captain Fluellen’s force-feeding of the leek to the abject Pistol enacts the body politics of Anglo-Welsh Tudor exchanges, and illustrates the inappositeness of a zero-sum critique on the postcolonial model, with Wales as a subaltern minority

in Free Will
Abstract only
Regime change in Macbeth
Richard Wilson

doubleness actualized the royal spectators’ terror of the return of the abjected and repressed, the horror that, for all their hope of burying the disappeared so that the ‘Rebellious dead rise never’ [ 4,1,112 ] – ‘safe in a ditch’ [ 3,4,25 ], or ‘To leave no rubs nor botches in the work’ [ 3,1,135 ], ‘perfect, / Whole as the marble, founded as the rock’ [ 3,4,21 ], where the

in Free Will