By Elizabeth Heale (auth.)
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Additional info for Autobiography and Authorship in Renaissance Verse: Chronicles of the Self
In the final poem of the volume she uses the conceit of her own death, albeit a metaphorical one, to write a last ‘WYLL and Testament’. 79 Carefully as she adapts the male conventions of single-author miscellanies to mitigate the boldness of her undertaking, the authorial Whitney that is carefully produced by her volume persistently challenges gender stereotypes of the period. While her verse epistles represent Whitney as enmeshed in family relationships, Whitney also defines herself as Miscellanies and the well-formed gentleman 39 detached from female domestic interests.
375), the lover contrasts his own position with those who can impress their mistresses by their physical presences: through their singing, or dancing, or martial appearance. Writing from abroad may prove the writer to be worthier than the factitious displays of the ‘carpet knights’ at home, but as in the Echo poem that precedes it, this poem figures the lover-poet’s existence as insubstantial and bodiless, an echoing sound or a trace on a page. As in the Tymetes/Pyndara sequence, Turbervile seems here to develop amorous verse into a fragmentary narrative that betrays anxieties inherent in a persona constructed from writings, especially the writing of amorous trifles.
N to pe oper when shee list withowt any suspision’ (p. 100). She gives him an exceptionally valuable New Year’s Gift, and seems to use a language of innuendo and erotic suggestiveness (for example, pp. 100, 112–13). A friend in London claims to be able to read the signs more clearly than Whythorne: ‘Tush man quop hee, yee ar but A novis in such kases, … I did perseiv by her fas, her komplexion, kooler . of eyez, and demeanour when I waz at her hows, what her inklynasion iz pat way’ (p. 111). Whythorne responds with a sermon on the evils of adultery.
Autobiography and Authorship in Renaissance Verse: Chronicles of the Self by Elizabeth Heale (auth.)