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The role of women as writers, literary and dramatic characters, and
real queens in early modern Europe was central to the development
of Tudor ideas about gender and women's place in society. Women and
Tudor Tragedy investigates the link between gender and genre,
identifying the relation between cultural history and mid-Tudor
drama. This book establishes a way for reading women in early
modern history, drama, and poetry by fusing discussions of gender
in literature with historical analysis of tyranny and martyrdom in
mid-Tudor culture. It considers the disparities between the
representation of women in historical, political, and religious
treatises by examining the complex portrayal of women, female
speeches, and the rhetoric of good counsel. The author provides a
discussion of the role of women in early English tragedies and in a
variety of texts by women. Throughout the book, Allyna E. Ward asks
in what ways these different ways of writing the Tudor women can
help scholars better understand the place of women in English
culture at the end of the sixteenth century. Furthermore, Ward
traces the feminization of the rhetoric of counsel that takes place
with the last Tudor monarchs as a way of accommodating female rule.
The role of women as writers, literary and dramatic characters, and
real queens in early modern Europe was central to the development
of Tudor ideas about gender and women's place in society. Women and
Tudor Tragedy investigates the link between gender and genre,
identifying the relation between cultural history and mid-Tudor
drama. This book establishes a way for reading women in early
modern history, drama, and poetry by fusing discussions of gender
in literature with historical analysis of tyranny and martyrdom in
mid-Tudor culture. It considers the disparities between the
representation of women in historical, political, and religious
treatises by examining the complex portrayal of women, female
speeches, and the rhetoric of good counsel. The author provides a
discussion of the role of women in early English tragedies and in a
variety of texts by women. Throughout the book, Allyna E. Ward asks
in what ways these different ways of writing the Tudor women can
help scholars better understand the place of women in English
culture at the end of the sixteenth-century. Furthermore, Ward
traces the feminization of the rhetoric of counsel that takes place
with the last Tudor monarchs as a way of accommodating female rule.
Richard Robinson's 'The Rewarde of Wickednesse' (1574) is a
quasi-epic poem that imitates the de casibus form of 'A Mirror for
Magistrates' and makes a clear indication of the hellish position
of the damned. Robinson wrote the poem during the period when his
employer, George Talbot, was appointed as the jailer over
Elizabeth's cousin Mary Stuart during the period of her
imprisonment at Sheffield Castle and Sheffield Manor. The poem is
anti-Catholic polemic, but it is not simply an invective against
Catholicism; Robinson's work condemns bad moral behaviour but in
the context of the dialectical opposition between Catholicism and
Protestantism; an opposition that was not clearly demarcated during
this period. Robinson's poem 'The Rewarde of Wickednesse' explores
the notion that sinful people on earth are influenced by a Hellish
force but he emphasises the punishment for sin and makes the link
between the damned and Hell. 'The Rewarde of Wickednesse', through
its inclusion of different, and sometimes opposing, traditions,
faiths and literary formats, reveals an Elizabethan culture rife
with the apprehensions concerning salvation and damnation that
define early English Protestantism Robinson stages his laments for
the sinners in the space of Hell as he and the god Morpheus travel
through the underworld witnessing the punishments inflicted on
sinners. Allyna E Ward is Assistant Professor of English at Booth
College in Winnipeg, Canada where she works on Tudor and Early
Modern Literature.
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