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This article examines the trope of dance in Orchestra or a Poem of Dancing, specifically the ways in which dance functions as a form of rhetoric and, ultimately, out-performs the seduction rhetoric of Antinous. Presented literally and metaphorically, dance as the subject of Antinous' rhetoric...
“Motions and Spaces: What Collides in Ben Jonson's Epigrams,” reads Jonson's epigrams in terms of the distinct ways they manage fluid social forms. Drawing on the new formalist theory of Caroline Levine, the essay defines Jonson's epigrams as short poems that transform collisions, turning the...
Individual works of poetry and drama often contribute to a conversation that spans centuries, but A Midsummer Night's Dream contains a very specific dialogue in which Shakespeare takes the Jesuit priest-poet Robert Southwell for an interlocutor. Shakespeare creates this conversation by echoing...
Four Hamlets and Hamlets have evolved from recent text-editorial practice, corresponding with, respectively, Q1 1603, Q2 1604–05, F 1623, and the composite received text combining Q2 and F. Q2 is the fullest and most authoritative text, F is a slightly shorter, cut revision containing passages...
Thomas Middleton's city comedy Your Five Gallants and Ben Jonson's “comicall satyre” Cynthia's Revels make a surprising pair, given the lower-class London criminals and raucous, physical humor of Middleton's play and the Ovidian-inspired premise and courtly setting of Jonson's. Although...
Recent commentators on the “Poetomachia” have stressed its ludic and commercially-driven aspects. By the time Volpone appeared in 1605, they claim, any animosity on Jonson's part towards his former adversaries Dekker and Marston had faded away. After all, in 1604 he had collaborated with Dekker...
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