“Not as Myself”: The Queen’s Voice in Tempe Restored
Temple Restored--a masque sponsored and participated by Queen Maria Henrietta of England--is seen to exemplify an alleged decline in Caroline drama due to the queen's frivolous and naive literary tastes, and that it constitutes mere plagiarism of its justly famous 1581 French source, Le Balet C...
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Veröffentlicht in: | Modern philology 2003-08, Vol.101 (1), p.48-67 |
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Format: | Artikel |
Sprache: | eng |
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Online-Zugang: | Volltext |
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Zusammenfassung: | Temple Restored--a masque sponsored and participated by Queen Maria Henrietta of England--is seen to exemplify an alleged decline in Caroline drama due to the queen's frivolous and naive literary tastes, and that it constitutes mere plagiarism of its justly famous 1581 French source, Le Balet Comique de la Reyne. Gough argues against these assertions, showing ways in which Temple Restored is both innovative and thematically coherent. She further says that the play's flattering encomium to the queen is enhanced by a clever allusive specificity, and clever too, is the overarching theme to which the allusions contribute: a defense of beauty instantiated in art but also in artful performing women. |
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ISSN: | 0026-8232 1545-6951 |
DOI: | 10.1086/382813 |