Maria Teresa Micaela Prendergast - Renaissance Fantasies: The Gendering of Aesthetics in Early Modern Fiction
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Renaissance Fantasies: The Gendering of Aesthetics in Early Modern Fiction
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Renaissance Fantasies is the first full-length study to explore why a number of early modern writers put their masculine literary authority at risk by writing from the perspective of femininity and effeminacy. Prendergast argues that fictions like Boccaccios Decameron, Etienne Pasquiers Monophile, Philip Sidneys Astrophil and Stella, and Shakespeares As You Like It promote an alternative to the dominate, patriarchal aesthetics by celebrating unruly female and effeminate male bodies.She establishes how, during the early modern period, writers metaphorically associated didactic literature (like the epic) with masculinity, and fantastical or pleasurable literature (like Lyric or drama) with femininity or effeminacy.
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Renaissance Fantasies : The Gendering of Aesthetics in Early Modern Fiction
author
:
Prendergast, Maria Teresa Micaela.
publisher
:
Kent State University Press
isbn10 | asin
:
0873386442
print isbn13
:
9780873386449
ebook isbn13
:
9780585244020
language
:
English
subject
European fiction--Renaissance, 1450-1600--History and criticism, European fiction--Male authors--History and criticism, Women and literature--Europe--History--16th century, Androgyny (Psychology) in literature, Aesthetics, Modern--16th century, Gender ide
publication date
:
1999
lcc
:
PN3481.P74 1999eb
ddc
:
809.3/9353
subject
:
European fiction--Renaissance, 1450-1600--History and criticism, European fiction--Male authors--History and criticism, Women and literature--Europe--History--16th century, Androgyny (Psychology) in literature, Aesthetics, Modern--16th century, Gender ide
Page iii
Renaissance Fantasies
The Gendering of Aesthetics in Early Modern Fiction
Maria Teresa Micaela Prendergast
Page iv
Part of chapter 3 appeared as an article in Studies in English Literature, 15001900 (Winter 1995) and is reprinted with permission of Rice University. Chapter 4 is based on the article "Philoclea Parsed: Prose, Poetry, and Femininity in Sidney's Old Arcadia," which appeared in Framing Elizabethan Fictions: Contemporary Approaches to Early Modern Narrative Prose, ed. Constance C. Relihan (Kent State University Press, 1996).
1999 by The Kent State University Press, Kent, Ohio 44242 All rights reserved Library of Congress Catalog Card Number 99-21763 ISBN 0-87338-644-2 Manufactured in the United States of America
06 05 04 03 02 01 00 99 5 4 3 2 1
Library of Congress Cataloging-in-Publication Data Prendergast, Maria Teresa Micaela, 1956 Renaissance fantasies: the gendering of aesthetics in early modern fiction / Maria Teresa Micaela Prendergast. p. cm. Includes bibliographical references and index. 1SBN 0-87338-644-2 (alk. paper) 1. European fictionRenaissance, 14501600History and criticism. 2. European fiction Male authorsHistory and criticism. 3. Women and literatureEuropeHistory16th century. 4. Androgeny (Psychology) in literature. 5. Aesthetics, Modern16th century. 6. Gender identity in literature. 7. Femininity in literature. 8. Sex role in literature. 9. Fantasy in literature. 10. Men in literature. I. Title. PN3481.P74 1999 809.3'9359dc21 99-21763
Page v
For Tom
Page vii
Contents
Acknowledgments
ix
Introduction: Prodigality, Effeminacy, Fantasy
1
1. Sidney, Nashe, Anger, and the Renaissance Aesthetics of Effeminacy
15
2. Exchanges of Women and Words: Etienne Pasquier's Rewriting of The Courtier
42
3. Effeminacy and the Anxiety of Originality: Astrophil and Stella and the Rime Sparse
67
4. Prose, Femininity, and the Prodigal Triangle in the Decameron and The Old Arcadia
86
5. "The Truest Poetry": Gender, Genre, and Class in As You Like It and A Defence of Poetry
117
Conclusion: Illusions of Originality
132
Appendix
137
Notes
141
Bibliography
185
Index
203
Page ix
Acknowledgments
As I was beginning to write chapter 5, I called Dan Kinney to ask him how I should acknowledge him as a source for the notion that Touchstone's dialogue with Audrey in As You Like It was influenced by Sidney's A Defence of Poetry. Dan told me that he had gotten the idea from Margaret Ferguson. A few months later I saw Margaret Ferguson at a conference, and asked her how I should acknowledge her; she told me that she had gotten the idea from Thomas Greene. These conversations remind me of the extent to which this project is a product of many conversations, acknowledged and unacknowledged, that I have shared with fellow scholars. Indeed, the inspiration for this project came from ongoing dialogue with Dan Kinney about Renaissance debates on eikastik and phantastik. My ensuing investigations of Renaissance aesthetic pamphlets led to my central argument that Renaissance polemicists and fiction writers seem unable to refer to poetry, drama, or fantasy without associating these genres with masculinity, femininity, or effeminacy.
Many friends and colleagues have helped me with this project. At the University of Virginia Gordon Braden and Dan Kinney tirelessly sent me back to classical and Renaissance sources, while Clare Kinney helped me think through the
Page x
complexity of gender issues; her ongoing comments on the manuscript have been invaluable.
I am indebted, as well, to a number of other very supportive friends and colleagues, especially Lyell Asher, Jay Dobrutsky, Jim Nohrnberg, Alan Shepard, and Tricia Welsch. Much of this project was written while I taught at the University of Miami, where I am particularly grateful to Mihoko Suzuki and Tassie Gwilliam for their constant support and insightful comments on the gendered implications of my project; I am also grateful to Tom Dughi, whose valuable comments helped bring focus to chapter 4. At the University of South Alabama Steve Cohen's comments and Jim Swearingen's constant support as chairman helped bring this project to a finished form. Throughout this period, Constance Relihan's adviceparticularly on chapter 4added subtlety and nuance to my readings of Renaissance prose. Thanks also to fellow participants in the seminar on Sidney and Shakespeare at the Shakespeare Association conference in Albuquerqueparticularly Ed Berry and Melinda Goughfor their helpful responses to early drafts of chapter five. Equally useful were Doug Peterson's careful comments on this final chapter. The very supportive remarks by the anonymous readers at The Kent State University Press also proved helpful for final revisions of the manuscript.
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