By Derek Hirst, Richard Strier
This quantity explores the connection among writing and public matters in seventeenth-century England prior to, in the course of, and after the civil wars and revolution of the mid-century. the prestigious individuals signify quite a few disciplines and methodologies. They proportion, notwithstanding, an severe predicament with the connection among the act of writing and the political and public problems with this amazing interval. The essays recommend that major paintings, even if it seems that "private," used to be deeply engaged with public matters, whereas political writing used to be in detail concerned with questions of fashion and inward sense of right and wrong.
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Extra info for Writing and Political Engagement in Seventeenth-Century England
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And Prospero did exactly the same with Caliban. He threw Caliban, an adolescent boy (at least fourteen or fifteen when Prospero appeared on the island), together in his "cell" with his daughter, and was totally startled, shocked, and horrified when Caliban became sexually interested in Miranda once she reached or approached puberty (Prospero's obsessive monitoring of Ferdinand's sexuality can be seen as an attempt to "rewrite" his failure with Caliban). 93]). Prospero's "trust" no more acknowledged the personhood of its objects than his impositions of power and narrative do.
All of this is quite accurately and openly characterized as the ability to "expresse ... " The parson dresses himself in the appropriate gestures and then "presents" himself, that is, makes a presentation or composition of himself. The qualifying, "yet not as himself alone" is exactly to the point. He is never himself alone; he is always in the act of composing himself, that is, of putting together or constructing the role he will then play. In the next chapter, "The Parson Preaching," that role is called being holy, "the character of his Sermon is Holiness ...
91 It is surely no accident that the one image of thorough transformation by human means (not a "sea-change") in the play occurs within the realm of Machiavellian rather than of magical politics. The ability to new create and new form "creatures" is attained not by magic but by knowing "how to grant suits, / How to deny them" - by the skillful exercise of "normal" princely prudence. And Prospero's one truly successful political venture is in this realm: he arranges a dynastically advantageous marriage for his daughter.