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How translatable is the language of the emotions across cultures and time? What connotations of particular emotions, strongly felt in the early modern period, have faded or shifted completely in our own? If Western culture has traditionally held emotion to be hostile to reason and the production of scientific knowledge, why and how have the passions been lauded as windows to higher truths? Assessing the changing discourses of feeling and their relevance to the cultural history of affect, Reading the Early Modern Passions offers fourteen interdisciplinary essays on the meanings and representations of the emotional universe of Renaissance Europe in literature, music, and art. Many in the early modern era were preoccupied by the relation of passion to action and believed the passions to be a natural force requiring stringent mental and physical disciplines. In speaking to the question of the historicity and variability of emotions within individuals, several of these essays investigate specific emotions, such as sadness, courage, and fear. Other essays turn to emotions spread throughout society by contemporary events, such as a ruler's death, the outbreak of war, or religious schism, and discuss how such emotions have widespread consequences in both social practice and theory. Addressing anxieties about the power of emotions; their relation to the public good; their centrality in promoting or disturbing an individual's relation to God, to monarch, and to fellow human beings, the authors also look at the ways emotion serves as a marker or determinant of gender, ethnicity, and humanity. Contributors to the volume include Zirka Filipczak, Victoria Kahn, Michael Schoenfeldt, Bruce Smith, Richard Strier, and Gary Tomlinson.
Battista Guarini’s pastoral tragicomedy Il pastor fido (1589) began its life as a play, but soon was transformed through numerous musical settings by prominent composers of the late sixteenth and early seventeenth centuries. Through the many lives of this work, this book explores what happens when a lover’s lament is transplanted from the theatrical stage to the courtly chamber, from speech to song, and from a single speaking character to an ensemble of singers, shedding new light on early modern literary and musical culture. From the play’s beginnings in manuscripts, private readings, and aborted stage productions in the 1580s and 1590s, through the gradual decline of Pastor fido madrigals in the 1640s, this book examines how this widely read yet controversial text became the center of a lasting and prolific music tradition. Using a new integrative system of musical-textual analysis based on sixteenth-century theory, Seth Coluzzi demonstrates how composers responded not only to the sentiments, imagery, and form of the play’s speeches, but also to subtler details of Guarini’s verse. Viewing the musical history of Guarini’s work as an integral part of the play’s roles in the domains of theater, literature, and criticism, this book brings a new perspective to the late Italian madrigal, the play, and early modern patronage and readership across a diverse geographical and temporal frame.
Fresh explorations of the tragicomic drama, setting the familiar plays of Shakespeare and his contemporaries alongside Irish and European drama. Tragicomedy is one of the most important dramatic genres in Renaissance literature, and the essays collected here offer stimulating new perspectives and insights, as well as providing broad introductions to arguably lesser-known European texts. Alongside the chapters on Classical, Italian, Spanish, and French material, there are striking and fresh approaches to Shakespeare and his contemporaries -- to the origins of mixed genre in English, to the development of Shakespearean and Fletcherian drama, to periodization in Shakespeare's career, to the language of tragicomedy, and to the theological structure of genre. The collection concludes with two essays on Irish theatre and its interactions with the London stage, further evidence of the persistent and changing energy of tragicomedy in the period. Contributors: SARAH DEWAR-WATSON, MATTHEW TREHERNE, ROBERT HENKE, GERAINT EVANS, NICHOLAS HAMMOND, ROSKING, SUZANNE GOSSETT, GORDAN MCMULLAN, MICHAEL WINMORE, JONATHAN HOPE, MICHAEL NEILL, LUCY MUNRO, DEANA RANKIN
One of the first pastoral dramas published by an Italian woman, Flori is Maddalena Campiglia's most substantial surviving literary work and one of the earliest known examples of secular dramatic writing by a woman in Europe. Although acclaimed in her day, Campiglia (1553-95) has not benefited from the recent wave of scholarship that has done much to enhance the visibility and reputation of contemporaries such as Isabella Andreini, Moderata Fonte, and Veronica Franco. As this bilingual, first-ever critical edition of Flori illustrates, this neglect is decidedly unwarranted. Flori is a work of great literary and cultural interest, noteworthy in particular for the intensity of its focus on the experiences and perceptions of its female protagonists and their ideals of female autonomy. Flori will be read by those involved in the study of early modern literature and drama, women's studies, and the study of gender and sexuality in this period.
A student edition of Marston's classic play The Malcontent is a tragicomedy deriving from the tradition of the revenge play. The verbal ingenuity of Malevole, the "malcontent", and the extravagance of the drama, push the relentlessness of intrigue to its logical conclusion, exposing the basically comic aspect of the genre. The conventional function of the climactic masque is inverted, leading to the essential resolution of the comedy. This edition comes with full commentary and notes, together with photos of Jonathan Miller's acclaimed 1973 production at the Nottingham Playhouse.
Although Renaissance scholars generally agree that Della Porta was the finest comic playwright of his generation in Italy, no detailed analysis of these plays and of their considerable influence outside Italy has previously appeared. One of the most famous men of his time in the field of scientific investigation, Della Porta wrote plays for relaxation and, on occasion, to camouflage controversial aspects of his scientific research from the Inquisitions. Today his works in science are largely forgotten and his right to fame rests on the plays. This book brings together the available facts of Della Porta's rich and often mysterious life and closely examines his dramatic works as part of the Italian literary scene in late Renaissance. Originally published in 1965. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of the Habsburg family’s musical patronage over a broad span of time.