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MARY SIDNEY: PLACES IN A HEAVENLY COURT MARY SIDNEY: PLACES IN A HEAVENLY COURT
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AEMILIA LANYER: PLACING PATRONS AEMILIA LANYER: PLACING PATRONS
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MARY WROTH: MISPLACING MASQUES MARY WROTH: MISPLACING MASQUES
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MARGARET CAVENDISH: DISPLACING MONARCHS MARGARET CAVENDISH: DISPLACING MONARCHS
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FURTHER READING FURTHER READING
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24 Changing Places: Relocating the Court Masque in Early Modern Women’s Writing
Get accessLaura L. Knoppers is George N. Shuster Professor of English Literature at the University of Notre Dame. Her research focuses on the intersections of literature, politics, religion, and visual culture in seventeenth-century England, especially the works of John Milton and of early women writers. Knoppers is the author of Historicizing Milton: Spectacle, Power, and Poetry in Restoration England (University of Georgia Press, 1994); Constructing Cromwell: Ceremony, Portrait, and Print, 1645–1661 (Cambridge University Press, 2000); and Politicizing Domesticity from Henrietta Maria to Milton’s Eve (Cambridge University Press, 2011). She has edited or co-edited five essay collections, including The Cambridge Companion to Early Modern Women’s Writing (2009) and The Oxford Handbook of Literature and the English Revolution (2012). Knoppers is currently writing a book on luxury, cultural politics, and the court of Charles II and editing the seventeenth-century volume in the Oxford History of Poetry in English.
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Published:19 December 2022
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Abstract
The chapter considers women within elite courtly networks, from Mary Sidney and Lady Mary Wroth, to Aemilia Lanyer and Margaret Cavendish. All of these women writers draw on the court masque as a material and symbolic performance space for elite girls and women under the influence of Queen Anna of Denmark and Queen Henrietta Maria. Exegetically and poetically innovative in her masque-like depictions of the heavenly court, Mary Sidney evokes a sense of place for devotional purposes. Aemilia Lanyer strategically places her would-patrons as attendants on the main masque of Christ’s Passion. By purposefully misplacing masques in her prose romance, Mary Wroth uses courtly codes as self-fashioning and social critique. Margaret Cavendish’s nostalgic and utopian relocation of the masque transforms centre and periphery, displaying aristocratic virtues. Changing the place of the court masque, these women also change their own places in and beyond court culture.
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