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• W26074690 abstract "Recent criticism has generally agreed that Margaret Cavendish one of first English woman writers to conceive of and create a female subjecthood: Cavendish is credited with having constructed herself out of whole cloth, so to speak.(1) Current critics often perceive her eccentricities as a sign of her originary self-fashioning, made possible partly by her privileged position as a wealthy aristocrat with indulgent husband and partly by improvised court society that offered not direct prescriptions but a flexible paradigm for self-shaping. Catherine Gallagher alludes to Cavendish's self-construction as an autotelic, self-sufficient being in course of argument that the ideology of absolute monarchy provides, in particular historical situations, a transition to ideology of absolute self.(2) Karen R. Lawrence suggests that improvisation of explorer, rather than creation ex nihilo of godlike monarch of imagination, provides ... a more general metaphor for flexibility of a writing in which accommodation is form of power.(3) Both critics emphasize exilic aspect of Charles II's little court on Continent, peripatetic and improvisatory nature of his coterie. But court's comparative fluidity should not obscure degree to which it remained bound by aristocratic custom. Jerzy Limon reminds us that courtly behavior was highly ritualized and semiotized.(4) Limon does not allude to prescriptive aspect of court life, but increasing popularity of conduct books in early modern period indicates existence of audience eager to learn and to conform to social codes inherent in court's elaborate rituals.(5) While critics rightly note Cavendish's determined self-creation, they tend to ignore power of community against which I believe she is reacting. In her writing and her public behavior, Cavendish both reacts against and performs for courtly audience she often affected to despise. Although she clearly aspires to become autotelic world of her writing,(6) Cavendish is equally aware, of and eager to impress English court. Her theatricality can never be overrated: she sought recognition throughout second half of her life, as many of her prefaces overtly state.(7) To theorize about Cavendish's psychology might seem over-speculative--but Cavendish herself indicates these opposing desires in The Claspe, Phantasmes Masque, a closet masque published in Poems and Fancies (1653). The Claspe engages in a double narrative of self-definition and societal influence, each movement undercutting other. While masque itself allegorizes significant events and influences of author's life, blasons that serve as centerpiece of masque dissect pressures that form ladies of court and women in general. In these lyrics, feelings take a physical form as part of anatomization of figures described. The masque, which initially functions as account of a developing interiority, goes on in blasons to undermine very categories of inside and outside, thereby questioning very relation of self to world that makes term autonomous meaningful.(8) Thus this masque, by undermining its own premises in central blasons, problematizes our previous understanding of Cavendish's self-hood. Cavendish simultaneously writes and unwrites her authority, as if writing forwards with left hand and backwards with right. Although opening section of masque, and indeed act of writing itself, is self-defining, blasons' conflation of costume and corporeal presents a picture that compromises notion of interiority. Not only does Cavendish acknowledge influences of certain institutional communities upon her (the romance epics that structure A Souldier arm'd by Mars, court's constraint of A Lady drest by Youth, scientific scrutiny of A Woman drest by Age), she also seems to perceive self as a composite of discontinuous parts, all interacting with one another. …" @default.
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• W26074690 date "1998-03-22" @default.
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• W26074690 title "Surface and Interiority: Self-Creation in Margaret Cavendish's the Claspe" @default.
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