By Anita Pacheco Arturo Pacheco
This well timed quantity represents one of many first accomplished, student-oriented courses to the under-published box of early smooth women's writing.
- Brings jointly greater than twenty major foreign students to supply the definitive survey quantity to the sphere of early sleek women's writing
- Examines person texts, together with works through Mary Sidney, Margaret Cavendish and Aphra Behn
- Explores the ancient context and widespread range of early smooth women's writing, in addition to the theoretical matters that underpin its research
- Provides a transparent feel of the total volume of women's contributions to early sleek literary culture
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Paperback: 246 pages
writer: Cambridge college Press (September 19, 2005)
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Additional info for A Companion to Early Modern Women's Writing
Sir Edward Molineux, for example, sent his two daughters to the house of his cousin, to be brought up, as he said, ‘in virtue, good manners and learning, to play the gentlewoman and good housewife, to dress meat and oversee their households’. Henry Thorndike was more tersely direct in sending his niece to live with the Isham family in Northamptonshire ‘that she might ﬁnd match by having the honour of being in your house’ (Pollock 1989: 236). The greatest household to which a girl could be sent was the royal court, an old chivalric tradition by which both girls and boys were sent to learn the appropriate mode of service to their elders, as well as to acquire courtly manners and to participate in the religious pattern of the royal household (Charlton 1999: 131–2).
The household accounts of Sir William Petre of Ingatestone Hall, Essex, have numerous entries relating to the purchase and repair of musical instruments, as well as to visits by William Byrd and to resident musicians Richard Mico and John Oker. From 1558 to 1560 a Mr ‘Persey’ was paid ‘for teaching the gentlewomen to play on the virginalls’, presumably including the daughters of the household, Dorothy, Elizabeth, Thomasine and Catherine. It should be noted that music (as well as dancing) was not universally deemed suitable for young girls and women; in the opinion of some, such as Thomas Salter in his Mirrhor Mete for all Matrones (1579) and Thomas Powell in his Tom of All Trades (1621), it encouraged lasciviousness and other vices.
Disparaging her own zeal and spiritual needs, ‘she was brought to plain nothing in her own eyes’. Nonetheless, we learn that Juxon fashioned her own spiritual role. She questioned Denison about theology, consulted with several godly ministers, used her deathbed to exhort family and friends, chose her own text for her funeral sermon, and wrote devotional pieces, some of which Denison included in his published sermon for the ediﬁcation of his readers. Gender distinctions at such moments become blurred in the sermon.
A Companion to Early Modern Women's Writing by Anita Pacheco Arturo Pacheco