Aemilia Lanyer as Shakespeare's Rival Poet explores Shakespeare's sonnet series and A Lover's Complaint, both published in 1609. These poems are viewed in their historical context: in particular, in the context of Shakespeare's patron. Through this prism, the patron's relationship with "both" his poets (Sonnet 83) - the Bard and his Rival - are reviewed. Against linguistic logic, most scholars have dismissed the problematic interchangeability of the second-person address modes (ie. You/Thou) fo…
Aemilia Lanyer as Shakespeare's Rival Poet explores Shakespeare's sonnet series and A Lover's Complaint, both published in 1609. These poems are viewed in their historical context: in particular, in the context of Shakespeare's patron. Through this prism, the patron's relationship with "both" his poets (Sonnet 83) - the Bard and his Rival - are reviewed. Against linguistic logic, most scholars have dismissed the problematic interchangeability of the second-person address modes (ie. You/Thou) found in the Shakespeare's Sonnets (1609). In contrast, this book examines these two address modes as a primary identification of two distinct styles and personalities. While multiple authorship of The Sonnets was toyed with a century ago, none were based on objective criteria and none suggested only two poets. This approach opens-up an exciting treasure chest of biographical material in the 154 sonnets, but it requires shedding some preconceptions about Shakespeare and exploring the authorship question. As a contribution to the debate about Shakespeare's Sonnets, this book is for researchers in Shakespeare studies and Early-Modern English Literature more broadly.
Aemilia Lanyer as Shakespeare's Rival Poet explores Shakespeare's sonnet series and A Lover's Complaint, both published in 1609. These poems are viewed in their historical context: in particular, in the context of Shakespeare's patron. Through this prism, the patron's relationship with "both" his poets (Sonnet 83) - the Bard and his Rival - are reviewed. Against linguistic logic, most scholars have dismissed the problematic interchangeability of the second-person address modes (ie. You/Thou) found in the Shakespeare's Sonnets (1609). In contrast, this book examines these two address modes as a primary identification of two distinct styles and personalities. While multiple authorship of The Sonnets was toyed with a century ago, none were based on objective criteria and none suggested only two poets. This approach opens-up an exciting treasure chest of biographical material in the 154 sonnets, but it requires shedding some preconceptions about Shakespeare and exploring the authorship question. As a contribution to the debate about Shakespeare's Sonnets, this book is for researchers in Shakespeare studies and Early-Modern English Literature more broadly.
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