Reforming Grief, Christopher Marlowe, and the Masculine Lament

In Dido, Queen of Carthage, Christopher Marlowe engages the widely debated topic of appropriate grief and masculine behavior addressed by reformers throughout the sixteenth century. By reading Aeneas's actions as taking part in the lament—a complex, multi-faceted mourning ritual—readers and aud...

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Détails bibliographiques
Auteur principal: McCarthy, Andrew D. (Auteur)
Type de support: Électronique Article
Langue:Anglais
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Publié: Routledge, Taylor and Francis Group 2021
Dans: Reformation
Année: 2021, Volume: 26, Numéro: 2, Pages: 129-145
RelBib Classification:CD Christianisme et culture
KAG Réforme; humanisme; Renaissance
KBF Îles britanniques
KDE Église anglicane
NBE Anthropologie
ZD Psychologie
Sujets non-standardisés:B Aeneas
B Dido
B Masculinity
B Grief
B Thomas Watson
B Antigone
B Lament
B Emotion
B Réforme protestante
B Christopher Marlowe
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Description
Résumé:In Dido, Queen of Carthage, Christopher Marlowe engages the widely debated topic of appropriate grief and masculine behavior addressed by reformers throughout the sixteenth century. By reading Aeneas's actions as taking part in the lament—a complex, multi-faceted mourning ritual—readers and audiences can see how Marlowe adopted and transformed this response to loss for the early modern English stage. The play's depiction of grieving men takes on a number of the form's characteristics, despite the fact that by the time Marlowe penned his first play Protestant reformers had attempted to paint excessive grief as overly-emotional, effeminate, and even blasphemous. In the character of Aeneas, the playwright manipulates early modern ideals of masculinity and appropriate grief by placing a distinctly feminine response to loss on a male character—the legendary Trojan warrior—and simultaneously revealing the intensely human experience of responding to loss while challenging attempts at reform.
ISSN:1752-0738
Contient:Enthalten in: Reformation
Persistent identifiers:DOI: 10.1080/13574175.2021.1977050