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• W323502115 abstract "Judith H. Anderson and Jennifer C. Vaught, eds. and Donne: Generic Hybrids and Cultural Imaginary. New York, New York: Fordham University Press, 2013. viii + 291 pp. $55.00. Review by GRAHAM ROEBUCK, MCMASTER UNIVERSITY. editors have assembled nine challenging essays, varied in approach and focus, that consider possible literary relationships, including dialogue, between poet-priest and poet-playwright. If this is how we initially categorize and Shakespeare, editors prepare us to think about them differently. In context of literary genres and imagination of age, as transgressors of generic boundaries they are themselves generic (Introduction, 2). There is little speculation about possibility of direct interaction between two contemporary denizens of London's theatrical and literary worlds. as great frequenter of Playes is mentioned in passing. implications of Sir Richard Baker's brief notice of his old acquaintance and his progress from youthful pursuits to his becoming so rare a preacher are not pursued in this volume. Likewise, debate raised by earlier scholars about Donne's attitude to theater exemplified by Patrick Crutwell's confidence in Donne's deep and lively experience of (The Shakespearean Moment, i960) and Victor Harris's claim that Donne rejects noting his antipathy toward theatre nearly every time he mentions (John and Theatre, PQ, 1962) is also not pursued. These are not questions asked. Direct influence and borrowings are incidental to focus of collection, which is on immediacy of cultural cross-fertilization carried on the cultural winds (Introduction, 3). biological metaphor--the editors are not engaged in a literalized search for hybrids in full bloom (3)--enables studies that are broadly cultural, theoretical, and (3). There are four parts, thematically labeled. In Part I: Time, Love, Sex, and Death, first essay, by Matthias Bauer and Angelika Zirker, proposes centrality to Donne's writing of manifold deaths of this world (17), quoting Death's Duell, that is inspired, as well as elucidated, by a dialogue with Shakespeare (18). Interaction between The Extasie, Epitaph on Himself, and tomb scene in Romeo and Juliet is explored in this well-informed study. Other pertinent sites of life and death discussed include Puck's epilogue to A Midsummer Night's Dream and Prospero's island. A good deal of fascinating work is found in copious notes--as is case with some other essays. A second collection might almost be compiled from them. Catherine Gimelli Martin's essay probes ways Shakespeare's plays--Othello and Much Ado are explicated in detail--and Donne's love lyrics express desire to transcend change and mutability. She challenges view that Western love lyric exalts mutability (38). Why did move from amorous changeability to constancy? Like Benedick he unwittingly wanted constancy all along (45). was no libertine, but rather like semi-insecure cynic who speaks his harshest lyrics, is nearly identical with Benedick (48). final essay in Part I by Jennifer Pacenza deals with puns on word die used by two writers. Described as the most speculative in volume (Introduction, 6) it examines a longing for perpetual sexual moment found in Shakespeare's masturbatory sonnets (65) and compares this with Donne's striving to escape linear time in his poetry. To this end author wrestles with ontological classification attempts to fix body in a grid of predefined binaries of signification (63). Part II, entitled Moral, Public, and Spatial Imaginaries, contains two essays that make us think again about spaces of early modern imaginative engagement--the first in confines of Court and theater, and second unconfined celestial space. …" @default.
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• W323502115 date "2013-09-22" @default.
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• W323502115 title "Judith H. Anderson and Jennifer C. Vaught, Eds.: Shakespeare and Donne: Generic Hybrids and the Cultural Imaginary" @default.
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