Reforming Grief, Christopher Marlowe, and the Masculine Lament
In Dido, Queen of Carthage, Christopher Marlowe engages the widely debated topic of appropriate grief and masculine behavior addressed by reformers throughout the sixteenth century. By reading Aeneas's actions as taking part in the lament—a complex, multi-faceted mourning ritual—readers and aud...
Main Author: | |
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Format: | Electronic Article |
Language: | English |
Check availability: | HBZ Gateway |
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Fernleihe: | Fernleihe für die Fachinformationsdienste |
Published: |
Routledge, Taylor and Francis Group
2021
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In: |
Reformation
Year: 2021, Volume: 26, Issue: 2, Pages: 129-145 |
IxTheo Classification: | CD Christianity and Culture KAG Church history 1500-1648; Reformation; humanism; Renaissance KBF British Isles KDE Anglican Church NBE Anthropology ZD Psychology |
Further subjects: | B
Aeneas
B Dido B Masculinity B Grief B Thomas Watson B Antigone B Lament B Emotion B Reformation B Christopher Marlowe |
Online Access: |
Volltext (lizenzpflichtig) |
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520 | |a In Dido, Queen of Carthage, Christopher Marlowe engages the widely debated topic of appropriate grief and masculine behavior addressed by reformers throughout the sixteenth century. By reading Aeneas's actions as taking part in the lament—a complex, multi-faceted mourning ritual—readers and audiences can see how Marlowe adopted and transformed this response to loss for the early modern English stage. The play's depiction of grieving men takes on a number of the form's characteristics, despite the fact that by the time Marlowe penned his first play Protestant reformers had attempted to paint excessive grief as overly-emotional, effeminate, and even blasphemous. In the character of Aeneas, the playwright manipulates early modern ideals of masculinity and appropriate grief by placing a distinctly feminine response to loss on a male character—the legendary Trojan warrior—and simultaneously revealing the intensely human experience of responding to loss while challenging attempts at reform. | ||
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