Samson's Cords examines the radically different responses of John Milton, Andrew Marvell, and Samuel Butler to the existential crises caused by an explosion of loyalty oaths in Britain before and after 1660.
When Shakespearean characters kiss, embrace, or shake hands, what does it mean? Are dramatic characters following established rules of conduct, or breaking them? Are there rules to break? Staging Touch in Shakespeare's England addresses these and related questions and, in the process, uncovers the social semiotics of contact in the early modern theatre. Its central argument is twofold. First, dramatic characters use touch to define and contest the nature of their relationships: taking hands means something different than embracing or, indeed, holding hands a different way. Second, the definitions, the social roles of actions like these, are up for debate in venues ranging from sermons to the era's burgeoning literature on conduct. The drama not only portrays but participates in these debates. Where characters touch, so do different ideas about contact's role in a variety of contexts, from love and friendship to politics and business deals. Attending to the social roles of touch--what it signifies as much as how it feels--the book develops an outside-in approach to our understanding of early modern sensation: a sociology, rather than a phenomenology, of theatrical contact. It will be of use to editors, performers, and anyone interested in Shakespearean approaches to embodiment. Locating interpersonal touch at the centre of dialogues on consent, subjection, agency, and sexuality, this study offers new perspectives on an essential element of Renaissance drama.
In seventeenth-century Britain every debate about loyalty oaths invoked the biblical Samson. Samson’s Cords argues that these loyalty tests became an unprecedentedly pervasive feature of life in Restoration England and that writers of satire and epic had no choice but to respond. Alex Garganigo examines the radically different responses of John Milton, Andrew Marvell, and Samuel Butler to the existential crises caused by this explosion of loyalty oaths. After early support, all three developed serious reservations, confronting the irony that while oaths often exclude and destroy, they also include and create. Tackling issues such as performance, ritual, religion, secularization, gender, swearing, republicanism, and citizenship, Garganigo offers original readings of Paradise Lost, Samson Agonistes, An Horatian Ode upon Cromwell’s Return from Ireland, The Rehearsal Transpros’d, and Hudibras.
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