By S. Carter
ISBN-10: 0230244238
ISBN-13: 9780230244238
Carter explores early smooth culture's reception of Ovid throughout the manipulation of Ovidian delusion by way of Shakespeare, Middleton, Heywood, Marlowe and Marston. With a spotlight on sexual violence, homosexuality, incest and idolatry, Carter analyses how depictions of mythology represent radical rules bearing on gender and sexuality.
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Extra info for Ovidian Myth and Sexual Deviance in Early Modern English Literature
Sample text
Such removal of her ‘branches’ reminds us that kings will not seek and fight to sleep with her (paraphrased 18–19) any longer as her valuable chastity has been pillaged. Marcus also introduces Philomela, explicitly imagining what the audience feared and connecting Lavinia to a heritage of violated, culturally devalued women. He articulates the lack of metamorphosis and continuation of Lavinia’s voice, as she is comparable to Orpheus only previous to her mutilation. The juxtaposition of humanity’s potential for beauty and horror is conflated in this poetry of the grotesque that articulates Lavinia’s distinctly earthly metamorphosis.
89 The written word is dominant: present in the onstage copy of Metamorphoses and its implicit presence throughout, as Lavinia writes in the sand, as Titus sends letters to the gods, to Saturninus, and passages from Horace to the rapists. com - licensed to McGill University - PalgraveConnect - 2011-09-05 Rape, Revenge, and Verse: Philomela 33 34 Ovidian Myth and Sexual Deviance I will go get a leaf of brass And with a gad of steel will write these words, And lay it by. The angry northern wind Will blow these sands like Sybil’s leaves abroad, And where’s our lesson then?
99 The text and action of Titus are both dictated by the challenge of a vengeful mother to a representative of the established patriarchy. This is despite the political complexities of the play which in actuality figure the conflict as a three-way relationship between outcast tradition (Titus), the alien (Tamora), and the ruling power (Saturninus). The play’s revenge plots can be read severally and simultaneously as Titus’ revenge against a corrupt ruling power and as Tamora’s revenge against the rigours of a foreign, conquering, patriarchal culture.