Erotic Beasts and Social Monsters: Shakespeare, Jonson, and Comic AndrogynyThe voluminous contemporary critical work on English Renaissance androgyny/transvestism has not fully uncovered the ancient Greek and Roman roots of the gender controversy. This work argues that the variant Renaissance views on the androgyne's symbolism are, in fact, best understood with reference to classical representations of the double-sexed or gender-baffled figures, and with the classical merging of the figure with images of beasts and monsters. |
From inside the book
Results 1-5 of 37
Page 12
... dialogue that occurred in London between 1599 and 1601 , now known as the Theater Wars . Overall , my discussion will treat the mythic androgyne as the basis for all later treatments of androgyny . That is , even the anti- androgynous ...
... dialogue that occurred in London between 1599 and 1601 , now known as the Theater Wars . Overall , my discussion will treat the mythic androgyne as the basis for all later treatments of androgyny . That is , even the anti- androgynous ...
Page 31
... dialogues . Plato's Symposium not only offers a comic version of the hermaphroditic entity later described by Ovid , but is deeply structured so as to baffle and confound the gendered identities of its own characters in a way that bears ...
... dialogues . Plato's Symposium not only offers a comic version of the hermaphroditic entity later described by Ovid , but is deeply structured so as to baffle and confound the gendered identities of its own characters in a way that bears ...
Page 32
... dialogue between Socrates and Diotima . Here Socrates gives up his customary role of teacher / questioner — a definitively masculine role for the Greeks — to the woman Diotima and assumes the student's position . By means of their dialogue ...
... dialogue between Socrates and Diotima . Here Socrates gives up his customary role of teacher / questioner — a definitively masculine role for the Greeks — to the woman Diotima and assumes the student's position . By means of their dialogue ...
Page 34
... Dialogue , a verbal interchange by which conversation builds al- ternately and interactively on the words of more than one speaker , is a device deeply fitting for the stage or literary celebration of mythic androgyny . ( It is ...
... Dialogue , a verbal interchange by which conversation builds al- ternately and interactively on the words of more than one speaker , is a device deeply fitting for the stage or literary celebration of mythic androgyny . ( It is ...
Page 35
... dialogue . Satire insists on the personal difference of the male writer from the group he describes , a tactic that constructs " manliness " as a guarded verbal self - suffi- ciency . Thus the declamatory language of the satirist ...
... dialogue . Satire insists on the personal difference of the male writer from the group he describes , a tactic that constructs " manliness " as a guarded verbal self - suffi- ciency . Thus the declamatory language of the satirist ...
Contents
23 | |
Mazes Water Dolphins Beasts The Shakespearean Androgynes Defiance of Closure | 68 |
Jonson Satire and the Empty Hermaphrodite | 105 |
Experimental Androgynes Falstaff Ursula and The New Inn | 136 |
That Reason Wonder May Diminish The Androgyne and the Theater Wars | 170 |
Epilogue | 198 |
Notes | 203 |
Bibliography | 224 |
Index | 233 |
Other editions - View all
Common terms and phrases
amorous androg androgynous principle anti-androgynous antitheatrical argues Aristophanes association audience Barish Bartholomew Fair Ben Jonson chapter characters classical comic conflates creative cross-dressed Cynthia's Revels demonstrates dialectical dialogue Dionysus dramatic Dream edited effeminate Epicoene Epicoene's eros erotic erotic beast Falstaff female feminine feminized Ford Gallathea gender Greek Haec-Vir hermaphroditic horse human humors comedy Jaques Jaques's Jonson Jonson's satiric Jonsonian satire language lines linked literary London lovers Lyly's Macilente Macilente's male marriage Marston masculine Merry Wives metaphor misogynistic misogyny Mistress mock monster monstrous moral myth mythic androgyne mythic comedy Orlando Out's Ovidian paradoxically Petrarchan Petruchio Plato's play play's playwrights Rackin recall relationship Renaissance Richmond Lattimore role romantic Rosalind satiric satirists scene sexual Shake Shakespeare Shakespearean comedy Shrew social stage suggests symbol Symposium theater theatrical Thomas Dekker tion trans transformation transvestism transvestite Troilus Truewit Twelfth Night University Press Ursula verbal Viola Volpone Wives of Windsor woman women York
Popular passages
Page 170 - I loved the man, and do honour his memory, on this side idolatry, as much as any. He was (indeed) honest, and of an open and free nature; had an excellent phantasy, brave notions, and gentle expressions...
Page 129 - The third requisite in our poet, or maker, is imitation, to be able to convert the substance or riches of another poet to his own use, to make choice of one excellent man above the rest, and so to follow him till he grow very he, or so like him as the copy may be mistaken for the principal...
Page 142 - By the Lord, I knew ye as well as he that made ye. Why, hear you, my masters: was it for me to kill the heir-apparent ? should I turn upon the true prince? why, thou knowest I am as valiant as Hercules: but beware instinct; the lion will not touch the true prince. Instinct is a great matter; I was now a coward on instinct.
Page 58 - The woman shall not wear that which pertaineth unto a man, neither shall a man put on a woman's garment: for all that do so are abomination unto the LORD thy God.
Page 170 - Shakespeare puts them all down, aye, and Ben Jonson too. O that Ben Jonson is a pestilent fellow, he brought up Horace giving the Poets a pill, but our fellow Shakespeare hath given him a purge that made him...
Page 172 - Few of the university pen plays well; they smell too much of that writer Ovid and that writer Metamorphosis, and talk too much of Proserpina and Jupiter. Why, here's our fellow Shakespeare puts them all down, aye, and Ben Jonson too.
Page 114 - Whence should this flood of passion, trow, take head ? ha ! Best dream no longer of this running humour, For fear I sink; the violence of the stream Already hath transported me so far, That I can feel no ground at all: but soft—- Oh, 'tis our water-bearer: somewhat has crost him now.
Page 216 - he had many quarrels with Marston, beat him and took his pistol from him, wrote his Poetaster on him ; the beginning of them were that Marston represented him on the stage in his youth given to venery.
Page 71 - Have with our needles created both one flower, Both on one sampler, sitting on one cushion, Both warbling of one song, both in one key; As if our hands, our sides, voices, and minds, Had been incorporate. So we grew together, Like to a double cherry, seeming parted, But yet a union in partition, Two lovely berries moulded on one stem: So, with two seeming bodies, but one heart; Two of the first, like coats in heraldry, Due but to one, and crowned with one crest.