By Helen Wilcox
1611: Authority, Gender, and the notice in Early glossy England explores problems with authority, gender, and language inside of and around the number of literary works produced in a single of such a lot 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 12 months, 1611
- Offers an account of the textual tradition of the yr 1611, the surroundings of language, and the information from which the accredited model of the English Bible emerged
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Extra info for 1611: Authority, Gender and the Word in Early Modern England
We are also lucky enough to have surviving copies of the music for some of the songs and the concluding dances, as well as elaborate sketches for the scenery and costumes. However, even if an accurate rendering of its visual and aural impact could be reproduced, the full effect of the masque would continue to elude us since its meanings depended so intricately and fundamentally, on the day of its performance, on a web of personal tensions and hierarchical relationships. The implicit tension between the moon and the sun at the end of the masque, for example, would have had overtones of some less harmonious aspects of the actual relationships in James’s family and court.
However, the print publications of 1611 were not exclusively produced and sold in London: a considerable number of religious texts were printed abroad on account of the dangers of publishing unorthodox or outlawed views. Thomas Helwys, the Baptist who proclaimed the very ‘comfortable’ but heretical doctrine that salvation was promised to all, required his 1611 volumes, including his outspoken Declaration of Faith, to be published in Amsterdam, and Thomas Brightman’s A Revelation of the Apocalyps, including a radical critique of corruption in the English Church, was also printed there.
This fabulous second set is yet superseded by a third in which the ‘whole palace’ is fully opened and a ‘nation of Faies’ is also ‘discover’d’; deeper within the palace, the fairy knights are seen ‘farre off in perspectiue’ and finally, ‘at the further end of all’, Oberon himself is visible ‘in a chariot’ (351). The dramatic effect of this carefully staged Jonson’s Oberon and friends: masque and music in 1611 29 spectacle evidently amazed the assembled company at Whitehall: Trumbull noted that ‘the rock opened discovering a great throne with countless lights and colours all shifting, a lovely thing to see’ (Jonson 10 (1950), 522).