By Helen Wilcox
1611: Authority, Gender, and the note in Early sleek England explores problems with authority, gender, and language inside of and around the number of literary works produced in a single of so much landmark years in literary and cultural history.
- Represents an exploration of a yr within the textual lifetime of early glossy England
- Juxtaposes the diversity and diversity of texts that have been released, performed, learn, or heard within the related yr, 1611
- Offers an account of the textual tradition of the 12 months 1611, the surroundings of language, and the guidelines from which the approved model of the English Bible emerged
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Extra resources for 1611: Authority, Gender and the Word in Early Modern England
While the satyrs speak in shorter lines of verse, mainly trochaic, Jonson uses a more dignified iambic pentameter as the norm for the fairies’ songs and dialogue. Nor are the words of the masque ignored or obscured when dressed in their musical settings. Ferrabosco’s extant songs highlight the differences of style between the mythological beings: those with clay-like feet and ‘knottie legs’ (354) are given word settings with a somewhat plodding harmonic movement, while the supernatural quality of the fairies is aptly suggested by their more expressive and mellifluous melodies.
The painter of exquisitely delicate miniature portraits at the courts of Elizabeth and James, Nicholas Hilliard, for example, was in poor financial straits for many years and only in 1611 was he finally able to restore his patent to be a member of the royal household, after relinquishing the honour (which was vital to his livelihood) several years previously because of his personal debts; he seems to have been a victim of the change of artistic fashion that saw his pupil Isaac Oliver ‘The omnipotency of the word’ 15 being favoured by the Queen and Prince Henry (MacLeod 54).
But a darke Rocke, with trees beyond it; and all wildnesse, that could be presented’ (Jonson 7 (1941), 341). The first figure on stage is a ‘Satyre’, a mythological woodland creature whose presence and physical appearance, featuring ‘cloven feet’, ‘shaggie thighs’ and ‘stubbed hornes’ (345–6), would immediately suggest uncontrolled energies and excessive revelling. Although the emphasis is on ‘play’, it is already significant that there is an urgency about the Satyr’s attempt to wake his playfellows with the sound of his cornet: 26 Jonson’s Oberon and friends: masque and music in 1611 Come away, Times be short, are made for play; The hum’rous Moone too will not stay: What doth make you thus delay?
1611: Authority, Gender and the Word in Early Modern England by Helen Wilcox