New PDF release: Ovidian Myth and Sexual Deviance in Early Modern English

By S. Carter

Carter explores early glossy culture's reception of Ovid throughout the manipulation of Ovidian delusion via Shakespeare, Middleton, Heywood, Marlowe and Marston. With a spotlight on sexual violence, homosexuality, incest and idolatry, Carter analyses how depictions of mythology represent radical principles pertaining to gender and sexuality.

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4). They are not present as they are in mythology, and therefore all repercussions are of Titus’ own making. Lavinia’s passivity in the revenge and her sacrifice equate her with a different tradition of Roman women to the mythical Philomela. 472–3). This has two implications. Firstly, Lavinia’s honour, and therefore, discreetly, her chastity, is a family affair, it is everyone’s business. Secondly, her honour and her family’s are inextricably linked. com - licensed to McGill University - PalgraveConnect - 2011-09-05 30 Rape, Revenge, and Verse: Philomela 31 TITUS: My lord, the Emperor, resolve me this: Was it well done of rash Virginius To slay his daughter [Verginia] with his own right hand Because she was enforced, stained and deflowered?

In the sixteenth century, ‘cut’ could refer to castration, in indicating a gelding or eunuch. 83 The removal of the tongue, then, is highly symbolic. 297–9). 86 Indeed, it could be argued that this is precisely why the legend of Lucrece was so popular in the early modern period. 87 The final act of Titus follows both of these patterns. 88 The culmination of ideologies surrounding the agency implicit in the hands and tongue and the sexual power withheld in chastity ensures Lavinia is fully disenfranchised in the loss of these aspects.

36 Initially, he invokes ‘Philomel’ in a framing poem with a brief summary of the myth. The function of Philomela here is that common poetic one as a muse. 39 S/he is hermaphroditic perhaps because of this fictional appropriation of male discourse. This narrator, Satyra, then tells her own story which follows that of Philomela in her rape by her brother-in-law. 40 Satyra then overtly compares herself to Philomela as the nightingale can still sing and s/he can still write, in the creation of an accusatory narrative of her attack.

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