1. Jennifer Feather and Catherine E. Thomas, eds., Violent Masculinities: Male Aggression in Early Modern Texts and Culture (Palgrave Macmillan, 2013).
As the blurb has it, “During the early modern period in England, social expectations for men came under extreme pressure; the armed knight went into decline and humanism appeared. Here, original essays analyze a wide-range of violent acts in early modern literature and culture – everything from civic violence to chivalric combat; from verbal attacks to masochistic suffering; from political assassination to personal retaliation; and from brawls to battles. In so doing, they interrogate the seemingly inevitable connection between masculinity and aggression, placing it in a specific historical context and showing how differences of status, ethnicity, and sexual identity inform masculine ideals.”
The table of contents:
Introduction: Reclaiming Violent Masculinities; Jennifer Feather and Catherine E. Thomas
PART I: ‘DISPUTE IT LIKE A MAN’: MILITANT MASCULINITIES
1. Militant Prologues, Memory, and Models of Masculinity in Shakespeare’s Henry V and Troilus and Cressida; Susan Harlan
2. Marlowe’s War Horses: Cyborgs, Soldiers and Queer Companions; Timothy Francisco
3. Cutting Words and Healing Wounds: Friendship and Violence in Early Modern Drama; Jennifer Forsyth
PART II: ‘THE FAITH OF MAN’: RELIGION AND MASCULINE AGGRESSION
4. Virtus, Vulnerability, and the Emblazoned Male Body in Shakespeare’s Coriolanus; Lisa S. Starks-Estes
5. Priestly Rulers, Male Subjects: Swords and Courts in Papal Rome; Laurie Nussdorfer
6. ‘Warring Spirits’: Martial Heroism and Anxious Masculinity in Milton’s Paradise Lost; Katharine Cleland
PART III: ‘FEEL IT AS A MAN’: MALE VIOLENCE AND SUFFERING
7. King Lear’s Violent Grief; Andrew D. McCarthy
8. Wild Civility: Men at War in Royalist Elegy; Catharine Gray
9. Occupy Macbeth: Masculinity and Political Masochism in Macbeth; Amanda Bailey
10. Melancholy and Spleen: Models of English Masculinity in The Famous History of the Life and Death of Captain Thomas Stukeley; Laurie Ellinghausen
Afterword; Coppélia Kahn
I’ve only just started turning the pages of this, and I’m not going to attempt a review of it yet! So far, my eye has been particularly drawn to Amanda Bailey’s essay on Macbeth, with its discussion of the parallels between rape and demonic possession, and the phenomenon of “a body politic unable to distinguish between coercion and consent” (202), which neatly puts its finger on the essence of the early modern attitude towards rape.
I say a fair bit about this topic in my monograph, citing Juan Luis Vives’s opinion that it was impossible for a virtuous woman to be raped (she must have consented at some level, or the rape could not have occurred), and noting the kind of logic that argued that, since this world is God’s creation, and God would not allow innocents to suffer unduly, rape victims – like witches – must, at some level, be guilty (p. 170). I just love Aphra Behn’s response to that way of thinking; she says (in the context of forced marriage):
‘ … curse on your nonsense, ye imposing Gownmen, curse on your holy cant; you may as well call Rapes and Murthers, Treason and Robbery, the acts of Heaven; because Heaven suffers ’em to be committed, is it Heavens pleasure therefore, Heaven’s decree? (Love-Letters between a Noble-Man and his Sister, London, 1684, pp. 334–5)
Bailey’s essay seems to be very much in the same ballpark as my own work, as do several of the other papers. Suffice to say that I think there’s going to be a lot for me to chew on in this volume of essays…
2. Mary R. Wade, ed., Gender Matters: Discourses of Violence in Early Modern Literature and the Arts (Editions Rodopi, 2014)
Blurb:”Gender Matters opens the debate concerning violence in literature and the arts beyond a single national tradition and engages with multivalent aspects of both female and male gender constructs, mapping them onto depictions of violence. By defining a tight thematic focus and yet offering a broad disciplinary scope for inquiry, the present volume brings together a wide range of scholarly papers investigating a cohesive topic-gendered violence-from the perspectives of French, German, Italian, Spanish, English, and Japanese literature, history, musicology, art history, and cultural studies. It interrogates the intersection of gender and violence in the early modern period, cutting across national traditions, genres, media, and disciplines. By engaging several levels of discourse, the volume advances a holistic approach to understanding gendered violence in the early modern world. The convergence of discourses concerning literature, the arts, emerging print technologies, social and legal norms, and textual and visual practices leverages a more complex understanding of gender in this period. Through the unifying lens of gender and violence the contributions to this volume comprehensively address a wide scope of diverse issues, approaches, and geographies from late medieval Japan to the European Enlightenment. While the majority of essays focus on early modern Europe, they are broadly contextualized and informed by integrated critical approaches pertaining to issues of violence and gender.”
The Table of Contents
Mara R. Wade: Introduction Gender Matters: Discourses of Violence in Early Modern Literature and the Arts
Women Warriors, Fact and Fiction
Judith P. Aikin: The Militant Countesses of Rudolstadt: When an unruly army stops by on its way through, it’s time to call on a woman for help.
Elizabeth Oyler: The Woman Warrior Tomoe in Medieval and Early Modern Japanese No Plays
Violent Women, Violated Men
Helmut Puff: Violence, Victimhood, Artistry: Albrecht Dürer’s The Death of Orpheus
Helen Watanabe-O’Kelly: The Eroticization of Judith in Early Modern German Art
Julie Singer: For Palle and Patrie: Re-gendering Violence from Benedetto Varchi to Marguerite de Navarre
Marcus Keller: Framing Men: Violent Women in Marguerite de Navarre’s Heptameron
Violence and the Gendered Body Politic
Catharine Gray: Tears of the Muses: 1649 and the Lost Political Bodies of Royalist War Elegy
Brian Sandberg: Calm Possessor of his Wife, but Not of her Château: Gendered Religious Violence in the French Wars of Religion
Lori Humphrey Newcomb: The Law Against Lovers: Dramatizing Civil Union in Restoration England
Gender in Print
Elizabeth Black: One Gender in the Legal System? An Examination of Gender in a Trio of Emblems from Pierre Coustau’s Pegme (1560)
Tara L. Lyons: Prayer Books and Illicit Female Desires on the Early Modern English Stage
Gerhild Scholz Williams: Romancing the News: History and Romance in Eberhard Happel’s Deß Teutschen Carls (1690) and Deß Engelländischen Eduards (1691)
Gender and Violence on the Stage
Susan Parisi: Transforming a Classical Myth in Seventeenth-Century Opera: the Story of Cybele and Atys in the Libretti of Francesco Rasi and Philippe Quinault
Curtis Perry: Gismond of Salern and the Elizabethan Politics of Senecan Drama
Elizabeth Zeman Kolkovich: “Drabs of State vext”: Violent Female Masquers in Thomas Middleton’s Women Beware Women
Virtue and Violence
Carmen Ripollés: Death, Femininity, and the Art of Painting in Frans Francken’s The Painter’s Studio
Lisa Rosenthal: Masculine Virtue in the Kunstkamer: Pictura, Lucre, and Luxury
Anne J. Cruz: The Walled-In Woman in Medieval and Early Modern Spain
Carl Niekerk: Violence, Gender, and the Construction of the Other in the Story of Inkle and Yarico
Whereas Violent Masculinities, in its broader lines, insists on the gendering of violence as intrinsically masculine, this work takes in a candid look at female-engendered violence. Again, I’m not yet in a position to give an opinion about the whole book, so I’ll just focus on the second section (“Violent Women, Violated Men”). My attention is drawn naturally to this section, since it has obvious affinities with the final two chapters of my own work (“The Erotics of Suffering and Cruelty” and “The Emergence of the Dominatrix”). I’ll have to admit, I was a bit disappointed to see no references to Melissa Sanchez‘s work, since for my money she’s given the most articulate and persuasive account of masculine submissiveness and anxiety in the early modern period, but there are some significant insights, starting with a chapter by Helmut Puff onAlbrecht Dürer’s Death of Orpheus.
Puff interprets the work in the light of the accompanying scroll, which describes Orpheus as “der Erst Puseran” (“the first bugger”), and “the interest Dürer harboured in scenes of gendered tensions and sexualized violence”, which had “much appeal for the young Dürer” (p. 74). I posted some stuff a while back on possible obscene imagery in Dürer‘s work, which may be of interest in this context.
The essay that came closest to my own concerns, though, was Marcus Keller’s “Framing Men: Violent Women in Marguerite de Navarre’s Heptameron“, which does for that work much the same as I set out do for Mary Wroth’s Urania – that is, to point out that, while there has been much comment on the violence depicted against women, “women as the source of violence, on the other hand, have received close to no attention” (p. 119). From Keller’s account, such depictions are fairly limited in scope compared with those in Wroth, which cover a wide range of situations, involving both women who are judged by Wroth as evil and others whose actions are exonerated by her. Navarre confines herself mainly to discoursing on the theme made famous by Congreve (“Heaven has no rage like love to hatred turned, Nor hell a fury like a woman scorned”), but she also apparently discourses on the subject of women who cuckold and betray their men. It was Wroth’s portrayal of the cuckold Sirelius and his violent father-in-law that led to accusations that her work was a thinly-veiled slander of real people (Lord James Hay and Edward Denny, Baron of Waltham, who recognized himself and made the accusation), leading to the withdrawal of the first part of the Urania from publication. Although, in the case of Sirelius, the focus is on male violence, female faithlessness often lay at the heart of misogynistic portrayals of women as the source of all evil, which is essentially the purpose of Simontault, the “sexually … aggressive” narrator of Navarre’s tale, in which the cuckolding wife eggs her weak husband on to instigate a murder.
I’m sure both books contain far more insights than I have been able to mention here, and look forward to perusing them at greater length during the summer vacation!