By Greg Walker
Pioneer of early-modern literary historicism reads Medieval & early Tudor drama & poetry traditionally. How a ways may still we strive to learn medieval and early glossy texts traditionally? Does the try and discover how such texts could have been obtained by means of their unique readers and audiences discover new, hitherto unforeseen modern resonances in them? Or does it flatten artistic endeavors into mere 'secondary assets' for old research? This ebook makes the case for the research of literature in context. It demonstrates the worth of ancient and cultural research along conventional literary scholarship for enriching our realizing of performs and poems from the medieval and early Tudor earlier and of the cultures which produced and bought them. It both accepts the dangers concerned with that sort of analysis.
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What Scott’s work suggests is how we might understand the literature and drama of good counsel as signalling not only compliance but also disagreement, criticism or resistance; and in ways that were tacitly understood by all parties, while any sense of open resistance was kept out of the public transcript of history, leaving the dominant ideological architecture and symbolic order apparently unscathed. The ‘crucial point’, as Scott discusses it, lies in the fact that the very process of attempting to legitimate a social order by idealising it always provides its subjects with the means, the symbolic tools, the very ideas for a critique that operates within the hegemony.
Indd 32 08/01/2013 08:23 Tudor Drama and the Arts of Resistance 33 10. Calendar of State Papers, Spanish II, 437; Edward Halle, The Union of The Two Noble and Illustre Families of Lancastre and Yorke . . (London, Richard Grafton, 1550: Scolar Press facsimile edition, Melton, 1970) [hereafter ‘Hall, Chronicle’], ff. lxxxxviii(v)–lxxxxix; Streitberger, Court Revels, pp. 114–5; Sidney Anglo, ‘William Cornish in a Play, Pageants, Prison, and Politics’, Review of English Studies 10 (1959), pp. 348–60.
1532) might represent – and need to reflect – a number of overlapping but distinct agendas in the way it addressed and represented royal policy and the attitudes and person of the king. 47 Thus far it reflected Henry’s own claims to be able to determine religious policy in his own realm. 48 It thus uses the language of reform and supremacy to cast doubt on those same matters, in practice raising questions about the very things that it seemed to be asserting as truths. Indeed the play’s very form, as a comic interlude played at court, effectively challenged Henry’s claim to novel and elevated royal status.