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Foreign and Native on the English Stage, 1588–1611: Metaphor by Jane Pettegree PDF

By Jane Pettegree

ISBN-10: 0230307795

ISBN-13: 9780230307797

ISBN-10: 1349332771

ISBN-13: 9781349332779

This unique and scholarly paintings makes use of 3 special case reviews of performs – Shakespeare's Antony and Cleopatra , King Lear and Cymbeline – to solid gentle at the ways that early sleek writers used metaphor to discover how identities emerge from the interplay of competing local and non secular topographies.

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Foreign and Native on the English Stage, 1588–1611: Metaphor by Jane Pettegree PDF

This unique and scholarly paintings makes use of 3 exact case reviews of performs – Shakespeare's Antony and Cleopatra , King Lear and Cymbeline – to forged gentle at the ways that early smooth writers used metaphor to discover how identities emerge from the interplay of competing nearby and non secular topographies.

Extra resources for Foreign and Native on the English Stage, 1588–1611: Metaphor and National Identity

Sample text

Hard at our ports and at our porches waites Our conquering foe: harts faile us, Hopes are dead. 43 Contemporaries might easily have inferred a comparison between Octavius’s threat to Egyptian law and practices of government and Philip II’s contemporary threat to England, France and the Netherlands: We at surly face must quake Of some Romaine madly bent: Who, our terrour to augment, His Proconsuls axe will shake. Driuing with our Kings from hence Our establish’d gouernment, Injustice, sworde, and Lawes defence.

Do I depriue them? No, it’s dest’nies might. 169–72) The final act of Mary Sidney’s play sees the queen surrounded by her household, her women and children, who share with her a sense that their land and inheritance have been lost to strangers. Cleopatra’s domestic disruption becomes emblematic of the effects of civil war. 36 Foreign and Native on the English Stage, 1588–1611 Samuel Daniel picks up and develops the idea of a domestic Cleopatra as the major theme of his play. By silencing Antony, Daniel is able to foreground Cleopatra’s persona as a mother rather than as a lover.

Appointed as the Master of Queen Anne’s troupe of children in 1604, he had been removed from this position following a series of rowdy and controversial performances, and in 1607 was finding it very difficult to find a patron. 58 To its author, Cleopatra’s concern for her children had come to contrast all too painfully with Daniel’s own abandonment by his royal patron. Cleopatra seems to have been, for Daniel, a central part of his own self-fashioning as a writer ambitious to secure a public profile – from the launch of his early career under the patronage of Mary Sidney, to the disappointments and setbacks encountered during the Stuart regime.

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Foreign and Native on the English Stage, 1588–1611: Metaphor and National Identity by Jane Pettegree


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