존슨과 러니에의 장원시 비교: 시인의 성별과 떡갈나무의 성별화
Genderizations of Oak Tree in “Description of Cooke-ham” and “To Penshurst”
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
This article compares the way that Lanyer and Jonson genderize the images of an oak tree in their respective country house poem, “Description of Cooke-ham” and “To Penshurst,” exploring the implications in their genderizations. Lanyer locates the tree in the center of her praise of Countess of Cumberland in her poem. Lanyer intimately associates the oak tree with the Countess, feminizing the apparently masculine oak tree and evoking its ancient mythical femininity, creative power and wisdom, which had been lost in the transitional process from matriarchal society to patriarchal society. Thus the oak tree becomes a mythical source for Lanyer’s praise and defence of women in “Description of Cooke-ham.” By comparison, Jonson uses oak trees to establish an ideal community which he studiously constructs in “To Penshurst.” The first oak tree in the poem is a symbol of patrilineal succession in the Sidney family. The second oak tree is associated with the Lady of the family, preserving its ancient femininity. However its femininity serves to keep the order of the androcentric community in Penshurst. Both poets use the oak tree as a strategic tool for praising their own patrons. Interestingly, the two poets’ gender seems to be reflected in their gendered outlooks on the oak tree.
Abstract
This article compares the way that Lanyer and Jonson genderize the images of an oak tree in their respective country house poem, “Description of Cooke-ham” and “To Penshurst,” exploring the implications in their genderizations. Lanyer locates the tree in the center of her praise of Countess of Cumberland in her poem. Lanyer intimately associates the oak tree with the Countess, feminizing the apparently masculine oak tree and evoking its ancient mythical femininity, creative power and wisdom, which had been lost in the transitional process from matriarchal society to patriarchal society. Thus the oak tree becomes a mythical source for Lanyer’s praise and defence of women in “Description of Cooke-ham.” By comparison, Jonson uses oak trees to establish an ideal community which he studiously constructs in “To Penshurst.” The first oak tree in the poem is a symbol of patrilineal succession in the Sidney family. The second oak tree is associated with the Lady of the family, preserving its ancient femininity. However its femininity serves to keep the order of the androcentric community in Penshurst. Both poets use the oak tree as a strategic tool for praising their own patrons. Interestingly, the two poets’ gender seems to be reflected in their gendered outlooks on the oak tree.
참고문헌 (23)
- Brennan, Michael G., "Robert Sidney, ‘Mr Johnson’, and the Education of William Sidney at Penshurst", Notes and Queries, 50(4), pp.430~437 (2003)
- Brennan, Michael G, "The Sidneys of Penshurst and the Monarchy, 1500-1700" (2006), Ashgate
- Coch, Christine, "An arbor of one’s own?: Aemilia Lanyer and the Early Modern Garden", Renaissance and Reformation, 2004, pp.37(2), 97~118
- Coiro, Ann Baynes, "Writing in Service: Sexual Politics and Class Position in the Poetry of Aemilia Lanyer and Ben Jonson", Criticism, 35(3), pp.357~376 (1993)
- Cook, Patrick, "Discovering and (Re)Covering the Seventeenth Century Religious Lyric", pp.104~118 (2001), Duquesne UP
- Donaldson, Ian, "The Cambridge Companion to Ben Jonson", pp.119~139 (2000), Cambridge UP
- Elsky, Martin, "The Mixed Genre of Ben Jonson's 'To Penshurst' and the Perilous Springs of Netherlandish Landscape", Ben Jonson Journal, 9, pp.1~35 (2002)
- Fitzmaurice, James, "Major Women Writers of Seventeenth-Century England" (1997), U of Michigan P
- Fowler, Alastair, "The Country House Poem: A Cabinet of Seventeenth-Century Estate Poems and Related Items" (1994), Edinburgh UP
- Fowler, Alastair, "Country House Poems: The Politics of a Genre", Seventeenth Century, 1(1), pp.1~14 (1986)
- Gifford, William, "With Notes Critical and Explanatory, and a Biographical Memoir by William Gifford. Vol. 8" (1816), W. Bulmer and Co. Cleveland-row
- Grossman, Marshall, "Aemilia Lanyer: Gender, Genre, and the Canon", pp.128~142 (1998), UP of Kentucky
- Hibbard, G. R, "The Country House Poem of the Seventeenth Century", Journal of the Warburg and Courtauld Institute, 19, pp.159~174 (1956)
- Jenks, Kathleen, "Gods, Goddesses and Mythology. Vol. 4", pp.440~442 (2005), Marshall Cavendish
- Jonson, Ben, "Seventeenth Century Verse", pp.135~137 (1992), Oxford UP
- Keller, Mara Lynn, "Reweaving the World: The Emergence of Ecofeminism", pp.41~51 (1990), Sierra Club Books
- Lanyer, Aemilia, "The Poems of Aemilia Lanyer: Salve Deus Rex Judaeorum" (1993), Oxford UP
- Lewalski, Barbara K., "Writing Women in Jacobean England" (1993), Harvard UP
- Lipsius, Justus, "On Constancy: De Constantia" (2006), Phoenix Press
- Lobsien, Verena Olejniczak, "Humankinds: The Renaissance and Its Anthropologies", pp.41~68 (2011), de Gruyter
- Prior, Roger, "Aemilia Lanyer and Queen Elizabeth at Cookham", Cahiers Elisabethains, 63, pp.17~32 (2003)
- Woods, Susanne, "Aemilia Lanyer and Ben Jonson: Patronage, Authority, and Gender", Ben Jonson Journal, 1, pp.15~30 (1994)
- Young, R. V., "The Cambridge Companion to Ben Jonson", pp.43~57 (2000), Cambridge UP
