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Sovereigns and Subjects in Early Modern Neo-Senecan Drama examines
the development of neo-Senecan drama, also known as 'closet drama',
during the years 1590-1613. It is the first book-length study since
1924 to consider these plays - the dramatic works of Mary Sidney,
Samuel Daniel, Samuel Brandon, Fulke Greville, Sir William
Alexander, and Elizabeth Cary, along with the Roman tragedies of
Ben Jonson and Thomas Kyd - as a coherent group. Daniel Cadman
suggests these works interrogate the relations between sovereigns
and subjects during the early modern period by engaging with the
humanist discourses of republicanism and stoicism. Cadman argues
that the texts under study probe various aspects of this dynamic
and illuminate the ways in which stoicism and republicanism provide
essential frameworks for negotiating this relationship between the
marginalized courtier and the absolute sovereign. He demonstrates
how aristocrats and courtiers, such as Sidney, Greville, Alexander,
and Cary, were able to use the neo-Senecan form to consider aspects
of their limited political agency under an absolute monarch, while
others, such as Brandon and Daniel, respond to similarly
marginalized positions within both political and patronage
networks. In analyzing how these plays illuminate various aspects
of early modern political culture, this book addresses several gaps
in the scholarship of early modern drama and explores new contexts
in relation to more familiar writers, as well as extending the
critical debate to include hitherto neglected authors.
Sovereigns and Subjects in Early Modern Neo-Senecan Drama examines
the development of neo-Senecan drama, also known as 'closet drama',
during the years 1590-1613. It is the first book-length study since
1924 to consider these plays - the dramatic works of Mary Sidney,
Samuel Daniel, Samuel Brandon, Fulke Greville, Sir William
Alexander, and Elizabeth Cary, along with the Roman tragedies of
Ben Jonson and Thomas Kyd - as a coherent group. Daniel Cadman
suggests these works interrogate the relations between sovereigns
and subjects during the early modern period by engaging with the
humanist discourses of republicanism and stoicism. Cadman argues
that the texts under study probe various aspects of this dynamic
and illuminate the ways in which stoicism and republicanism provide
essential frameworks for negotiating this relationship between the
marginalized courtier and the absolute sovereign. He demonstrates
how aristocrats and courtiers, such as Sidney, Greville, Alexander,
and Cary, were able to use the neo-Senecan form to consider aspects
of their limited political agency under an absolute monarch, while
others, such as Brandon and Daniel, respond to similarly
marginalized positions within both political and patronage
networks. In analyzing how these plays illuminate various aspects
of early modern political culture, this book addresses several gaps
in the scholarship of early modern drama and explores new contexts
in relation to more familiar writers, as well as extending the
critical debate to include hitherto neglected authors.
This collection of newly commissioned essays explores the
extraordinary versatility of Renaissance tragedy and shows how it
enables exploration of issues ranging from gender to race to
religious conflict, as well as providing us with some of the
earliest dramatic representations of the lives of ordinary
Englishmen and women. The book mixes perspectives from emerging
scholars with those of established ones and offers the first
systematic examination of the full range and versatility of
Renaissance tragedy as a literary genre. It works by case study, so
that each chapter offers not only a definition of a particular kind
of Renaissance tragedy but also new research into a particularly
noteworthy or influential example of that genre. Collectively the
essays examine the work of a range of dramatists and offer a
critical overview of Renaissance tragedy as a genre. -- .
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