By Helen Wilcox
1611: Authority, Gender, and the observe in Early smooth 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 range and variety of texts that have been released, performed, learn, or heard within the similar yr, 1611
- Offers an account of the textual tradition of the 12 months 1611, the surroundings of language, and the information 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
Donne is a particularly fine example of this: he is seen as the original ‘coterie poet’, and the evidence of this sharing of creativity in non-printed form may be seen in the individual lyrics by Donne in circulation at this time that survive in no fewer than 70 manuscript variants (Marotti (1986); Todd and Wilcox, 187). However, many other authors were increasingly turning to print publication in order to make a greater impact on patrons, to achieve a wider readership and to take advantage of the great boom in the buying and selling of texts.
Inigo Jones’s designs radically suggest inclusion rather than opposition: the rocks of the opening scene are not removed before the main action begins but instead open to reveal Oberon’s palace within them (Figure 1). Jonson uses the term ‘discovery’ for this scene change, implying a process of uncovering or showing forth what has been present all along: ‘There the whole Scene opened, and within was discouer’d the Frontispice of a bright and glorious Palace, whose gates and walls were transparent’ (Jonson 7 (1941), 346).
If authorship does not offer itself as an appropriate category for grouping early modern texts together, we could instead take a tour of the works of 1611 determined by their location – that is, to group works together on the basis of the places in which they were created, performed or received. This would lead us to the court, the church, the theatre, the city and the household in a vivid appreciation of the material culture of early modern English writing, allowing us to enter, as far as possible, the original contexts of these works.