Passion Made Public: Elizabethan Lyric, Gender, and Performance
University of Illinois Press, 1995 - 279 Seiten
Passion Made Public explores the remarkable vitality of lyrical poetry in Elizabethan theatrical performances, analyzing its complex social and aesthetic origins, uses, and messages. Diana Henderson explains how lyric poetry in plays by Peele, Marlowe, and Shakespeare reflected a range of attitudes toward female power and created an alternative landscape in which to reconsider political and sexual ideologies.
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Aeneas Aeneas's aesthetic aristocratic Arraignment of Paris artistic audience authority beauty Berowne Berowne's blank verse characters Colin comic complex context courtiers courtly love courtly lyricism create critical cultural desire Diana Dido Dido's discourse earthly echo Elizabeth Elizabethan Elizabethan lyrical emphasizes English erotic female power female sovereignty feminine fiction Gascoigne Gascoigne's gender George Gascoigne George Peele goddess ideal ladies language literary lords love lyrics Love's Labour's Lost lovers lyric poetry lyrical drama lyricist male Marlowe Marlowe's lyric marriage masculine Midsummer Night's Dream moral narrative Neoplatonic obviously Oenone onstage pageant passion Peek's Peele Peele's performance perspective Petrarchan Petrarchan sonnets Petrarchism Petrarchist play's playwright poem poet poetic political praise queen representation rhetoric role Romeo and Juliet Rosaline satiric scene sexual Shakespeare's shepherd Sidney Sidney's social song sonnet sovereign speaker speech Spenser stage style Tamburlaine temporal tensions theatrical thou tion tradition tropes verse vision voice woman women words
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