Titlebook: Shakespeare and the English Renaissance Sonnet; Verses of Feigning L Paul Innes Book 1997 Palgrave Macmillan, a division of Macmillan Publi

縮短

Book 1997ich other writers use the form. It looks at how the poetry fits into the historical situation at the time, with regard to images of the family and of women. Its exploration of these issues is informed by much recent work in critical theory, which it tries to make as accessible as possible.

仇恨

有雜色

Introduction manner of progression. What interests me is the way in which individual examples of the form differ radically in style and substance from one another, and this seems to me to be especially true of the rewriting of courtly love that takes place in the English Renaissance.

apropos

Etching

Introductionspective that foregrounds development. This has been done, and it is not my intention to repeat the work of others in the area.. There are two reasons for this. The first will become obvious as the book progresses, but is worth stating now: I do not assume that the sonnet has a smooth history in the

Gustatory

Beginnings: Wyatt and Surreytended to be seen in the English Renaissance. In this respect it should not be surprising that the form is inscribed with a potential for change in many different ways, although it may start out with what seems a close relationship with the continental European tradition of courtly love. This, of co

HEED

Sequences and Others woman in relation to sonnets led me to a questioning of practices of representation. This area itself needs further exploration, and so I shall now touch upon the relations between Renaissance theories of representation and the practice of them in the sonnets. Or rather, I shall be looking at the w

Enervate

Shakespeare 1–17ere: it is hardly adequate to the complex ways in which his poems interact with the various issues I have traced in relation to the sonnet. This movement is not simply an intertextual phenomenon, in a reasonably straightforward intimation of poetic allusion. Even the term ‘genre’ is not flexible eno

多產(chǎn)魚(yú)

省略

The Poetic Personasona of the sonnets. I do not want to reinscribe authorial presence in the poems. Far from it; what I will be looking at is the way in which the persona is socially constructed, through associations with other sonnet speakers, and of course by means of the homosocial structure. In the latter course,