This page intentionally left blank This book analyzes the complex, often violent connections between body and voice in narrative, lyric and dramatic works by Ovid, Petrarch, Marston and Shakespeare Lynn Enterline describes the foundational yet often disruptive force that Ovidian rhetoric exerts on early modern poetry, particularly on representations of the self, the body, and erotic life Paying close attention to the trope of the female voice in the Metamorphoses, as well as early modern attempts to ventriloquize women's voices that are indebted to Ovid's work, she argues that Ovid's rhetoric of the body profoundly challenges Renaissance representations of authorship as well as conceptions about the difference between male and female experience This vividly original book makes a vital contribution to the study of Ovid's presence in Renaissance literature Cambridge Studies in Renaissance Literature and Culture 35 The Rhetoric of the Body from Ovid to Shakespeare Cambridge Studies in Renaissance Literature and Culture General editor STEPHEN ORGEL Jackson Eli Reynolds Professor of Humanities, Stanford University Editorial board Anne Barton, University of Cambridge Jonathan Dollimore, University of York Marjorie Garber, Harvard University Jonathan Goldberg, Johns Hopkins University Nancy Vickers, Bryn Mawr College Since the 1970s there has been a broad and vital reinterpretation of the nature of literary texts, a move away from formalism to a sense of literature as an aspect of social, economic, political and cultural history While the earliest New Historicist work was criticized for a narrow and anecdotal view of history, it also served as an important stimulus for post-structuralist, feminist, Marxist and psychoanalytical work, which in turn has increasingly informed and redirected it Recent writing on the nature of representation, the historical construction of gender and of the concept of identity itself, on theatre as a political and economic phenomenon and on the ideologies of art generally, reveals the breadth of the ®eld Cambridge Studies in Renaissance Literature and Culture is designed to offer historically oriented studies of Renaissance literature and theatre which make use of the insights afforded by theoretical perspectives The view of history envisioned is above all a view of our own history, a reading of the Renaissance for and from our own time Recent titles include 29 Dorothy Stephens, The limits of eroticism in post-Petrarchan narrative: conditional pleasure from Spenser to Marvell 30 Celia R Daileader, Eroticism on the Renaissance stage: transcendence, desire, and the limits of the visible 31 Theordore B Leinwand, Theatre, ®nance, and society in early modern England 32 Heather Dubrow, Shakespeare and domestic loss: forms of deprivation, mourning, and recuperation 33 David M Posner, The performance of nobility in early modern European literature 34 Michael C Shoenfeldt, Bodies and selves in early modern England: physiology and inwardness in Spenser, Shakespeare, Herbert, and Milton A complete list of books in the series is given at the end of the volume The Rhetoric of the Body from Ovid to Shakespeare Lynn Enterline Vanderbilt University The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Lynn Enterline 2004 First published in printed format 2000 ISBN 0-511-03556-X eBook (Adobe Reader) ISBN 0-521-62450-9 hardback I dedicate this book to my parents, Joyce and Robert Enterline 260 18 19 20 21 22 Notes to pages 207±214 Voluptatis: A Study of Renaissance Erotica (Columbus: Ohio State University Press, 1989), pp 46±8, 119±23, and Frederick Hartt, Giulio Romano (New Haven, CT: Yale University Press, 1958) As Hartt points out, Giulio's prints, though suppressed, were also widely copied and widely destroyed; Frantz points out that when Perino del Vaga and Agostino Carracci imitated Romano, they so in an Ovidian vein by calling them the ``loves of the gods'' (Frantz, p 123) It is the rumor of Romano's work, rather than an actual copy in England, that seems to me important to Shakespeare's reference See Janet Adelman's account of dreams of male parthenogenesis and the problem of the maternal body in this play in Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare's plays, ``Hamlet'' to ``The Tempest'' (London: Routledge, 1992) For further elaboration of this issue, see chapter For an analysis of the role bodies ± especially female bodies ± play in the relationship between desire and ``the drive to know'' in modern narrative, see Peter Brooks, Body Work: Objects of Desire in Modern Narrative (Cambridge, MA: Harvard University Press, 1993) Leontes' devotion to speaking about the fantasized ``truth'' of Hermione's body might usefully be considered part of what Brooks calls ``epistemophilia,'' a project in which we ``tell stories about the body in the effort to know and to have it'' and which results ``in making the body a site of signi®cation ± the place for the inscription of stories ± and itself a signi®er, a prime agent in plot and meaning'' (Body Work, pp 5±6) Recently, Heather Dubrow has argued that we must attend carefully to the complex and often contradictory role of Laura's voice if we are to understand the ``relationship among speech, power, and gender'' in the Rime Sparse and beyond See Echoes of Desire: English Petrarchism and its Counterdiscourses (Ithaca, NY: Cornell University Press, 1995), esp pp 40±48 How To Do Things With Words, ed J O Urmson and Marina Sbisa (Cambridge, MA: Harvard University Press, 1962), pp and Austin lists ``I swear'' as part of a class of ``commissive'' performatives in which conventional phrases are deployed to ``commit the speaker to a certain course of action'' (along with such other verbs as ``promise,'' ``give my word,'' ``pledge myself,'' etc [How to Do Things With Words, pp 157±58] Over the course of his lectures, Austin renders his ``provisional'' performative/constative distinction problematic; he eventually rejects any absolute dichotomy between the two, ®nding that constatives may well have a performative aspect (i.e ``I state that '' p 91) Readers interested in the quali®cations of Austin's initial theory should consult How to Things with Words; the details are not necessary for this argument My point here, rather, is simply to note that in The Winter's Tale, Shakespeare is exploring a distinction analogous to Austin's provisional one ± between statements that report some state of affairs truly or falsely (in this case, the ``state of affairs'' in question being Hermione's ®delity) and other, conventional statements (like ``I swear'') in which saying and doing explicitly appear to converge For a study of performatives in Shakespeare with an emphasis on cultural and Notes to pages 215±217 23 24 25 26 27 28 29 30 31 32 261 institutional authority, see Susanne Wofford, `` `To You I Give Myself, For I Am Yours': Erotic Performance and Theatrical Performatives in As You Like It,'' in Shakespeare Reread: The Texts in New Contexts, ed Russ McDonald (Ithaca, NY: Cornell University Press, 1994), pp 147±69 For my thinking about the relationship between performativity and sexuality I have drawn on several important discussions: Shoshana Felman, The Literary Speech Act: Don Juan with J L Austin, or Seduction in Two Languages (Ithaca, NY: Cornell University Press, 1983); Lynne Huffer, ``Luce et veritas: Toward an Ethics of Performance,'' Yale French Studies (1995): 20±41; and Barbara Johnson, The Critical Difference: Essays in the Contemporary Rhetoric of Reading (Baltimore, MD: Johns Hopkins University Press, 1980) The Literary Speech Act, p 94 Analyzing performative language in relation to the story of Don Juan and of Oedipus, Felman's work is equally telling for the central dilemma of The Winter's Tale: the relationship between theatrical representation and the female body or, more generally in Ovidian narrative, between body and voice Felman writes that ``the problem of the human act,'' in psychoanalysis as well as performative analysis, ``consists in the relation between language and body because the act is conceived as that which problematizes at one and the same time the separation and the opposition between the two The act, an enigmatic and problematic production of the speaking body breaks down the opposition between body and spirit, between matter and language.'' She reminds us of Austin's comment that ``in the last analysis, doing an action must come down to the making of physical movements with parts of the body; but this is about as true as saying something must come down to making movements of the tongue'' (as quoted in The Literary Speech Act, p 94) As quoted in The Literary Speech Act, p 82 Austin explores the contingent and context-bound nature of any speech act in ``the doctrine of Infelicities'' (How To Do Things with Words, pp 14±24) Jacques Derrida's critique of Austin constitutes a sustained analysis of ``the failure'' that is an ``essential'' risk of performative utterances; see Derrida, ``Signature Event Context,'' ®rst published in Glyph (1977) and translated by Samuel Weber and Jeffrey Mehlman in Limited Inc (Evanston, IL: Northwestern University Press, 1988), pp 1±24 For other, related, approaches to the performative in Shakespearean drama, see Joseph Porter, The Drama of Speech Acts: Shakespeare's Lancastrian Trilogy (Berkeley: University of California Press, 1979) and Susanne Wofford, ```To you I give myself, for I am yours': Erotic Performance and Theatrical Performatives in As You Like It,'' in Shakespeare Reread: the Texts in New Contexts, Russ McDonald, ed (Ithaca, N.Y.: Cornell, 1994): 147±69 How To Do Things With Words, pp 16±17 Ibid., p 22 Limited Inc, p 10 Ibid., p 14 Ibid., pp 17 and 18 The Literary Speech Act, p 96; emphasis in original The Critical Difference: Essays in the Contemporary Rhetoric of Reading 262 33 34 35 36 Notes to pages 217±220 (Baltimore, MD.: Johns Hopkins University Press, 1980), p 60 Emphasis my own Johnson adds, ``if one considers the conventionality of all performative utterances (on which Austin often insists), can it really be said that the chairman who opens a discussion or the priest who baptizes a baby or the judge who pronounces a verdict are persons rather than personae? The performative utterance thus automatically ®ctionalizes its utterer when it makes him the mouthpiece of conventionalized authority.'' Or one could say that read rhetorically, the performative utterance may uncover the theatrical nature of such ``ordinary'' social transactions In light of the duality of Hermione's deictics, we might read the speci®cation ``i' th' open air'' within the historical context as well The stage in London's earliest commercial theaters projected into a yard and therefore placed actors ``i' th' open air.'' On the physical conditions of London's public amphitheaters and private halls, see Andrew Gurr, Playgoing in Shakespeare's London (Cambridge: Cambridge University Press, 1987), pp 13±18 Most critics believe The Winter's Tale to have been written for the closed theater of Blackfriars But a note on the play by Simon Forman tells us that at least one contemporary remembers having seen the play performed at the Globe (on 15 May 1611) For an interesting analysis of how important Ovid's poetry was for ``the homoerotics of marriage,'' see Mario Di Gangi, The homoerotics of early modern drama (Cambridge: Cambridge University Press, 1997), pp 29±63 Even in the story of sexual jealousy that orients The Winter's Tale's heteronormative impulses, this sudden reminder of Hermione's transvestite body and voice, as well as the unruly libidinal currents of the Orpheus story that informs the play's dream of a voice that can bring about the changes of which it speaks, continue to trouble the story of gender difference on which the plot relies On Orpheus as a ®gure for libidinal contradiction in the Metamorphoses, see my chapter 2, pages 83±87 For a discussion of where Orpheus' ``misogyny and its homoerotic consequences'' surfaces in early modern English texts, see De Gangi, especially pp 44±50 Encore (Paris: Seuil, 1975), p 55 On the frequent misprision of Lacan's theory as one about ``lack'' rather than the productive process of mis®ring, see The Literary Speech Act, pp 82±84 We can rephrase this issue in the literary language that proposes it: like Daphne's ®gura, forever receding from Apollo's rapacious ®gurae, Hermione's ``maternal'' body exceeds the tropes that point to her Disowning Knowledge in Six Plays of Shakespeare (Cambridge: Cambridge University Press, 1987), pp 193±221, especially p 214 Cavell is, of course, most concerned with Leontes' doubts about his son and his own paternity But in light of Janet Adelman's work on the play one is led to wonder, when poised between these two powerful essays, why it is that the idea of the maternal body sparks Leontes' radical doubt I would add to Adelman's analysis only that it is Hermione's language ± the effects of her voice ± as well as her body that unsettles her husband's sense of himself To Cavell's approach, similarly, I would add only that the play explores the action of Leontes' doubt through the action of language as much as of thought For the scandal of what cannot be known ± the truth about Hermione ± turns, as Notes to pages 220±223 37 38 39 40 41 42 263 we have seen, into an interrogation of the power and the limits of theatrical representation as well as of two kinds of discourse: saying and swearing David Ward, ``Affection, Intention, and Dreams in The Winter's Tale,'' Modern Language Review 82 (1987): 545±54, especially p 552 Ward offers a precise discussion of Leontes' ``affection'' in relation to sixteenth-century faculty psychology, particularly in medical discourse Looking at discussions in Hooker and Burton, Ward suggests that by ``affection'' Leontes is designating a ``disease of the mind'' linked to the faculty of the appetite rather than to the will or to reason; for Hooker, affection is both involuntary (``Wherefore it is not altogether in our power'') and a desire for the impossible, for ``any thing which seemeth good, be it never so impossible'' (as quoted in Ward, p 546) For Shakespeare, Ovid's combined stories of Pygmalion and Orpheus give a distinctive mythographic and erotic turn to affection's involuntary aspect (revulsion from womankind out of grief or disgust) and its connotation of a desire for the impossible (for art to conquer death) See Howard Felperin, ```Tongue-Tied Our Queen?': the Deconstruction of Presence in The Winter's Tale,'' in Shakespeare and the Question of Theory, ed Patricia Parker and Geoffrey Hartman (New York: Methuen, 1985) Although I clearly agree with Felperin's emphasis on the play's selfconsciousness about its own failure to refer, it seems to me that, by framing the question in terms of a continued possibility that Hermione may be guilty, Felperin participates in the very logic he critiques; his reading repeats what it might otherwise analyze ± the question of why language's mis®ring should be represented in cognitive terms as the truth or falsity of the maternal body As attested with particular force in the ®nal lines of the Metamorphoses, Ovid both entertained this dream and remained skeptical of it (see pp 52±61) For my understanding of this scene, I am indebted to conversations with Thomas M Greene on the relationship between poetry and magic See his essays, ``The Balance of Power in Marvell's `Horatian Ode,''' ELH 60 (1993): 379±96 and ``Poetry as Invocation,'' New Literary History 24, no (1993): 495±517 See chapter 2, pp 50±53 Notice, too, that in addition to the other meanings we have explored, animus can designate ``a disembodied spirit, soul, or ghost.'' A hint of such a meaning appears when Polixenes asks Paulina to ``make it manifest where she has liv'd, / Or how stol'n from the dead'' (5.3.112±14) For interesting comments on the ghostly undertone in the scene, see Kenneth Gross, The Dream of the Moving Statue As we have seen, the link became one of the mainstays of a traditional reading of Ovid's poem See Louise Vinge, The Narcissus Theme in Western Literature up to the Early Nineteenth Century (Lund: Gleerups Press, 1967) I learned to attend to the crucial role that Pygmalion and Narcissus play in the Rime Sparse from Giuseppe Mazzotta (The Worlds of Petrarch [Chapel Hill: Duke University Press, 1993]) Stephen Orgel argues that rather than ``mere local allusion,'' the Proserpina story is foundational to the play as a whole As he observes, the story is pertinent not only to the play's preoccupation with time, but also to its dark view of male sexuality ± a view that includes Florizel, the suitor who invokes 264 Notes to pages 223±225 Ovid's chief predators, Jove and Apollo, as precedents for his own behavior and also calls Perdita Flora, the name that Ovid tells us in the Fasti was given to the nymph Chloris after being raped by Zephyrus (see the ``Introduction'' to Orgel's edition of The Winter's Tale [Oxford: Oxford University Press, 1996], pp 43±46) As we have seen throughout this book, a text's internal distance from its own ideology of gender ± particularly as de®ned by the story of rape ± is central to both Ovid's poem and Shakespeare's revisions of it In addition, the Proserpina story, as Orgel observes, is well suited to convey the importance of the daughter's return: ``for Shakespeare's age,'' it is not the restoration of the marriage but ``the restoration of Perdita'' that is ``the crucial element'' (``Introduction,'' p 78) 43 Ovid uses the simile of turning to stone, but says nothing of ``another worlde.'' For another approach to what Ceres' grief means for the play, see T G Bishop, Shakespeare and the Theatre of Wonder (Cambridge: Cambridge University Press, 1996): 125±75 44 Golding, too, preserves the detail of Sicily in his translation: ``But bitterly aboue the rest she banned Sicilie, / In which the mention of hir losse she plainely did espie'' (5.590±92) Understanding Hermione's proximity to Ceres may tell us why Shakespeare makes an otherwise puzzling change of location Where Greene begins Pandosto in Bohemia and later moves to Sicily, Shakespeare opens the story of winter in Sicily only to move, in Act 4, to Bohemia's pastoral landscape Others attending to the play's Ovidian texture have noticed and speculated about this change (see T.G Bishop, Shakespeare and the Theater of Wonder; E.A.J Honigmann, ``Secondary Source of The Winter's Tale,'' Philological Quarterly 34.4 [1995]: 27±38; and Stephen Orgel, ``Introduction'' to his Oxford edition of The Winter's Tale) Index Abraham, Nicolas and Maria Torok, 248 n 47 Acontius, 55±56, 61, 229 n 21 Actaeon, 11, 12, 16, 23, 27, 31, 91, 92, 94, 99±110, 171, 140, 249 n 48 Adams, J N., 243 n address 14±15, 126, 156, 166, 182±3, 203 and the Other, 44, 53, 89, 107±09, 187, 193±97, 223±24 Adelman, Janet, 258 n.18; 260 n 36 Ahl, Frederick, 29±30, 45, 237 n 15; 241 n 60 and n 62; 243 n Althusser, Louis, 25, 32±33, 77, 104, 247 n 37 Anderson, W S., 34, 234 n 57 and n 59; 241 n 67 animation, rhetoric of, 49±74, 179±80 and Apollo, 67±70, 75±77, 191, 207, 223 and apostrophe, 51, 73±74, 115±17, 126±28, 144±46, 170, 188±89, 202, 221±24 and the Bacchae, 75±79, 204±05 and Lucrece, 169±71, 179, 181±97 and masculinity, 67±74, 203±05 and Medusa, 77±83, 121 in Metamorphosis of Pigmalions Image, The, 126±27, 143±44, 203±04 and metempsychosis, 61±67 and music, 68±70, 76±78, 188±97 and Orpheus, 50±51, 70±74, 98, 169±70, 220±24 Ovid's critique of, 74±90 and Ovid's narrator, 49±61, 62±67 and Pan, 77±78, 191, 207 and the performative, 213±18, 260 n 38 and Pygmalion, 71±72, 125±27, 200, 203±04, 221±2 and Pythagoras' theory of metempsychosis, 62±67 in the Rape of Lucrece, 168±70, 188±92 and the reader, 53±61, 148±51, 189, 196±97 in the Rime Sparse, 51±52, 65, 117±124 and sexual difference, 67±83, 150±51, 204±07 and the theater, 202, 206, 220±25 and the unconscious, 50±51 as the wind, 49±52, 54, 121±23, 168±69, 174±75, 179, 181, 189±90, 193±4, 223 in The Winter's Tale, 55, 206, 222±25, 261 n 38 Apollo, 15, 20, 27, 28, 31±32, 51, 68±79, 85, 87, 89, 91±93, 95, 97, 129, 207, 209, 212, 223, 257 n 12 Apollodorus, 30 apostrophe, 21±22, 51±52, 72±74, 115±17, 126, 128, 144±45, 154, 156±57, 166, 170, 179, 181±87, 194±95, 202, 221±23 Arachne, 20, 30, 31, 38, 233 n 54 and Ovid's narrator 34±35, 87, 234 nn 58, 59 Arethusa, 75, 87, 223 Atalanta and Hippomenes, 87 Augustine, Saint, 21, 23, 105, 129, 243 n and autobiography, 23±24, 94±96 and metamorphosis, 95±96 Austin, J L., 214, 217±20, 258 n 22 Bacchae, 19, 38, 42, 75±77, 205, 210 Baines, Barbara, 233 n 51 Bakhtin, Mikhail, 46, 54 Bal, Mieke, 252 n 11 Baldwin, T W., 26 Barkan, Leonard, 59, 201, 211, 225 n 4, 226 n 6, 228 nn 14, 15; 232 n 39, 236 n 7, 244 n 15, 249 n 51, 253 n 28, 256 nn 3, Barthes, Roland, 39, 235 n.1, 248 n 41 Bate, Jonathan, 23, 26, 225 nn 4, 38, 231 n 32, 254 n 50, 257 n 17 Bender, John and David Wellbery, 239 n 36 Berger, Harry, 257 n 14 Bergstrom, Janet, 37 Bishop, T G., 261 n 43 and n 44 265 266 Index body, the see under rhetoric and voice BoÈmer, Franz, 237 n 19, 239 nn 31, 42, 240 n 53 Bonner, S F., 227 n 12, 235 n 1, 238 nn 24, 25, 250 n Booth, Stephen, 251 n Borch-Jacobsen, Mikkel, 183±87, 195 Brenkman, John, 44±45 Brinsley, John, 19±20, 165±67, 231 n 33, 252 n 10 Brooks, Otis, 237 nn 17, 18 Brooks, Peter, 258 n 20 Brundage, James, 233 n 51 Bush, Douglas, 161, 227 n 12, 232 n 38 Butler, Judith, 138±39, 163 Byblis, 11, 21, 88, 140 Caenis, 33, 87, 233 n 50 Calliope, muse and mother of Orpheus, 75±76, 87 Caputi, Anthony, 250 n Cavell, Stanley, 220, 260 n 36 Cawdry, Robert, 26 Cephalus and Procris, 12, 51, 70, 71, 83, 217±18, 230 nn 22, 70 Ceres, 38, 222±24, 261 nn 41, 42 Cicero, 238 n 27 Cintio, Giraldi, 227 n 12 Coleridge, Samuel Taylor, 228 n 13 Couliano, Ioan, 249 n 48 Coward, Rosalind and John Ellis, 234 n 55 Crapanzo, Vincent, 244 n 10 cross-voicing see under Ovid; Shakespeare: transgendered ventriloquism Cunningham, Karen, 228 n 13 Curran, Leo, 84, 229 n 18, 242 n 72 Cydippe, 11, 55±56, 61, 217±18, 229 n 21 Daphne, 6, 19, 20, 31±32, 38, 67±79, 89, 91±92, 188, 205, 207, 217±18, 220 de Man, Paul, 241 n 57 demand, the impossible, 14±15, 95, 115, 172, 253 n 30 Derrida, Jacques, 13, 57, 217±18, 230 n 23, 239 n 45, 259 n 25 de Saussure, Ferdinand, 241 n 57 Deucalion and Pyrrha, 27, 29 Diana, 36±37, 38, 100±02, 103±04, 151, 212 Dido, 21 differential articulation, 88±89, 105±06, 193±94 DiGangi, Mario, 260 n 35, 261 n 44 Drayton, Michael England's Heroical Epistles, 21, 164 Dubrow, Heather, 231 n 29, 258 n 21 Due, Otto Steen, 237 n 18 Dunn, Leslie, 230 n 28, 232 n 37 Durling, Robert, 243 n 10 DuRocher, Richard, 225 n Echo, 12, 38, 44±45, 62, 89, 140, 151, 217±18, 254 n 38 and Ovid's narrator, 34, 56±61, 179 ekphrasis, 249 n 53 Eliot, T S., 228 n 13 Elliot, Alison Goddard, 227 n 12, 236 n and n embodied subject, the, 22±23, 35±38, 108±09, 194±96 Ennius, 56, 60, 61 Erasmus, 25±26 Erysichthon, 85 Europa, 32 Eurydice, 73±74, 111±14, 204 Felman, Shoshana, 216±20, 229 n 22, 259 n 24, 260 n 35 Felperin, Howard, 260 n 38 fetishism, 28, 37, 94±104, 112, 146±51 distinguished from verbal fetishism, 123±24 as object of satire, 130±33, 134±35 and pornography, 136±40, 153 as sign of masculinity's failure 37, 100±04, 119±24, 149±50, 245 n 26, 246 n 28 Fineman, Joel, 157, 162, 174, 176±77, 230 n 24, 249 n 52, 252 n 19, 253 nn 31, 35, 255 n 56 Finkelpearl, Philip J., 250 n and n Frankel, H., 244 n 18 Frantz, David O., 258 n 17 Frecaut, J M., 227 n 12 Freccero, John 95±96, 104±05, 117, 245 n 27 Freud, Sigmund, 33, 50, 85±86, 100±04, 183±87, 242 n 74 Beyond the Pleasure Principle, 244 n 19 ``A Child is Being Beaten,'' 184 The Ego and the Id, 109 ``Fetishism,'' 119, 245 n 24 and fort-da game, the, 98, 204, 245 n 19 The Interpretation of Dreams, 254 nn 42, 45 ``Medusa's Head,'' 16, 119±29, 230 n.26 ``The Splitting of the Ego in the Defensive Process,'' 119, 245 nn 24, 26, 246 n 28 Three Essays on the Theory of Sexuality, 86, 242 n 74 Fuss, Diana, 184 Index Fyler, John, 225 n Gallop, Jane, 108, 245 n 22 Garber, Marjorie, 250 n 58 gender and accident, 103±04 and the blason, 35±38, 99±100, 132±33, 140±42, 162, 190, 248 n 41 as differentially articulated, 15, 17±18, 105±06, 219±21 as ellipsis, 87±89, 101±02, 119, 141, 160, 195±97, 201, 207±08, 212, 246 n 29 in Ovidian tradition, 18±19, 35±38, 83±90, 202±03, 210±11 and Ovidian voices, 15, 20, 74±91, 103, 182±197, 198±99, 202±06, 210±11, 219±21 psychoanalytic critique of, 18, 35±36, 87±88, 93±94, 100±01, 119±20, 146±51, 184±87, 197 in relation to sexuality, 83±90, 119±23, 146±51, 164, 182±187, 202 and taboo, 101±04, 106, 111±12, 117, 119, 138±40, 212 Goldberg, Jonathan, 164 Goldhill, Simon, 238 n 20 Golding, Arthur, 204, 223, 261 n 44 Gorboduc, 25±26 Grafton, Anthony, 253 n 23 grammar school, Elizabethan, 19, 25±27, 128, 155, 163±67, 183±86 and masculinity, 164±67, 186 Gravdal, Katherine, 20, 226 n 5, 228 n 16, 229 n 18, 231 n 34, 233 n 51, 235 n 60 Greenberg, Karen, 226 n Greene, Thomas, 105, 228 n 15, 248 nn 38, 46, 261 n 39 Gross, Kenneth, 203, 256 n 3, 261 n 40 Guillory, John, 10±11, 229 n 19 Gurr, Andrew, 260 n 33 Halpern, Richard, 24±25, 38, 165±67, 231 n 32, 232 n 41 Hartt, Frederick, 258 n 17 Harvey, Elizabeth, 21, 231 nn 35, 36, 236 n Heath, Stephen, 246 n 27 Hecuba, 88 as ®gure for rhetorical copia, 25±6, 166±67 and Hamlet, 25±26, 166, 254±5 n 52 and identi®cation, 166±67, 182±83, 254±55 n 52 and Lucrece, 157, 166±67, 170, 173, 181±85 and Philomela, 169±70, 181±87 267 Hemker, Julie, 229 n 18, 235 n 60 Hermione and Paulina, 208±10, 220±25 as Ceres, 222±25 Hesiod, 230 n 28 Hinds, Stephen, 80, 226 n 6, 235 n 1, 236 n Hollis, A S., 238 n 19 Holsinger, Bruce, 242 n 77 homosociality, 159, 252 and eroticism, 83±90, 136, 147±51, 185±87 and Inns of Court, 22, 129, 135, 144±51, 152 limits to explanatory power of, 36±38, 86±87, 185 and poetry, 36, 72±74, 86±7, 132±33, 136, 144±51, 153, 156, 159, 211±12 Honigmann, E A J., 261 n 44 Horace, 34, 56, 61, 230 n 27, 234 n 56 Hubbard, Margaret and R G M Nisbet, 234 n 56, 241 n 68 Hulse, Clarke, 228 n 13, 250 n Hyacinthus, 87 identi®cation, 25, 165±67, 254±55 n 52 and gender, 184±86 and identity, 183±84, 197 and imitation, 24±27, 165±67, 181±87 and the other, 183, 195±96 and sexuality, 184±85 and the subject's dislocation, 183±87 and the unconscious, 184±86 Inns of Court, the, 128±29, 135±36 internal distance, Ovidian, 20, 33±35, 41, 76±83, 89±90, 204±06, 208±10, 212, 221±25 interpellation, 25, 32, 158±59, 163, 165±66 Io, 11, 12, 27, 45±46, 62, 85 Iphis and Ianthe, 85 Jacobus, Mary, 226 n Jacoff, Rachel, 225 n 4, 256 n Jardine, Lisa, 253 n 23 Johnson, Barbara, 217±18, 250 n 1, 251 n 12, 255 n 58, 256 n 7, 259±60 n 32 Johnson, William, 240 n 48 Jones, Ann Rosalind, 226 n 5, 234 n 59, 231 n 31, 234 n 59, 243 n Jonson, Ben, 129 Joplin, Patricia Klindienst, 226 n 5, 233 n 53 Jove, 28 Kahn, CoppeÂlia, 162±63 Kahn, Victoria, 244 n 11 268 Index Keach, William, 227 n 11 Kendall, Gillian Murray, 228 n 13 Kenney, E J., 57, 237 n 18 Knox, Bernard, 54±5 Kristeva, Julia, 123 Kritzman, Lawrence, 242 n 1, 245 n 20 Lacan, Jacques, 13, 24, 93±94, 105±09, 175, 187, 229±30 n 22, 244 n 13, 248 n 42 address and the Other, 53, 107±08 on father as historical ®gure, 100±101, 105±06, 108±09 and the interdit, 138±40 on knowledge and language, 106±10, 217±18 and the mis®re, 86, 114, 219±20, 260 n 34 and the performative, 217±18 and phantasms of the dismembered body, 1±3, 86, 99, 105 on reading sexuality literally, 101±02, 105±06, 217±18 Lactantius, Lanham, Richard, 225 n Laplanche, Jean on the bodily ego, 109±10 on identi®cation, 195±96 on the imaginary, 53, 109, 187 on retrospection, 159 on sexuality's contingent relationship to objects, 85±86 on sexuality's traumatic character, 86, 242 n 76, 248 n 37, 252 n 14 Lateiner, Donald, 243 n Lavinia, 8, 14 Leach, Eleanor Winsor, 234 n 55, 243 n Leontes and the Bacchae, 210 and Narcissus, 223±24 and Orpheus, 208±10 and Pygmalion, 206±07, 210, 221±24 Levine, George, 229 n 17 Loewenstein, Joseph, 225 n 2, 226 n.7, 235 n 61 Lorch, Lavinia, 243 n Lucrece, 14 and Hecuba, 157, 166±67, 173, 181±85 as instrument, 176±97, 181±82, 185±86, 192±95 and Orpheus, 155, 168±70, 172, 175, 186, 190±92 and Philomela, 155, 172 and Shakespeare's narrator, 155±56, 174, 176±180, 181±87, 188, 195±96 as speaking subject, 162±64, 171±76, 178±81, 186 Lucretia, 11, 158, 180±87 Lucretius, 42±43 Lycaon, 42±44 McMillin, Scott, 255 n 52 Marder, Elissa, 3, 11, 226 nn 5, 6, 227 nn 8, 10, 229 n 20, 251 n Marotti, Arthur F., 250 n Marston, John and the female voice, 142±46, 150±51, 152±53 and Juvenalian satire, 132, 135±36 The Metamorphosis of Pigmalions Image, 2, 21, 125±151, 205, 211 and Petrarchan tradition, 127±33, 203±04 and Pigmalion, 133±36, 143±45, 147±49, 211 and pornography, 137±40, 149±51, 152±53 and sexual difference, 140±51 and verbal fetishism, 127, 130±37, 142, 146±51 Martini, Simone, 96±97, 110±17, 129, 133 Marvell, Andrew, 65, 129 Maus, Katharine Eisaman, 161, 252 n 15 and 18 Mazzotta, Giuseppe, 101, 105, 117, 244 nn 10, 12, 17, 246 n 29, 251 n 10, 261 n 41 Medea, 88 Medusa and Actaeon, 118, 120, 123 and Apollo, 118 and gender indeterminacy, 35, 119±23, 140, 151 and internal distance, 79±83, 89, 120 as metarhetorical ®gure, 28, 29, 35, 79±83, 117±23 as mother of poetry, 79±80 and Narcissus, 120 and the Ovidian subject, 35, 80±81, 120±23 and the phonographic imaginary, 17, 120±23 and Pygmalion, 117±24, 143±44 and rape, 20, 28, 79±83 and the rhetoric of animation, 79±83, 121±22 in the Rime Sparse, 91, 117±23 and the unconscious, 119±20 and verbal fetishism, 117±23 and the voice 16±17, 38, 118±123, 142, 230 n 28 Mendell, Clarence, 227 n 12 Meres, Francis, 26, 165 Index metempsychosis and the rhetoric of animation, 62±67 Midas, 69±70, 85, 236 n 10 Miller, J Hillis, 247 n 33, 249 n 54 Miller, Nancy, 33±35, 226 n 5, 233 n 54, 234 n 58 Modleski, Tanya, 226 n Morse, William, 255 n Mulvey, Laura, 36±37 Murnaghan, Sheila, 59±60 Myrrha, 21, 85, 87, 88 Narcissus, 16, 28, 29, 44±45, 85, 89, 91, 94±95, 97±98, 120, 218 Nashe, Thomas, 26 Newman, Jane O., 253 n 27 Newman, Karen, 231 n 31 Nouvet, Clair, 44±45, 57, 58, 226 n 5, 236 n.13 Ong, Walter, 24, 164±65 Orgel, Stephen, 261 nn 42, 44 Orpheus, 8, 12, 33, 64 and Actaeon, 99, 109, 175 and Apollo, 67±74, 75±77, 205±07, 223, 257 n 12 and Calliope, 75 as ®gure for libidinal contradiction, 85±88, 257 n 13 and gynephobia, 76±7, 205±06 and heterosexuality, 204 and homosexuality, 86±88, 205 and Lucrece, 168±70, 175, 191±92 and Ovid's narrator, 72±74, 98, 112±14, 204, 221 and Pygmalion, 71±72, 98±99, 111±115, 203±05 and the rhetoric of animation, 50±51, 70±74, 75±77, 221±23 Vergil's Orpheus, 72±74 os, oris as favorite Ovidian ®gure, 16±17, 41±61, 188 and ideas of person, 16±17 Ovid and Actaeon, 107±09 Amores, 59, 240 n 49 and Arachne, 34±35, 87, 234 nn 58, 59 Ars Amatoria, 47, 53 authorial self-portraits of, 34±35, 40, 49±50, 52±61, 66, 107±09 and desire, 23, 43±44, 50±51, 83±90 and the drive, 85±86 and Echo, 45, 56±58, 61 and epic convention, 46±57, 59±61 and etymology, 16±17, 29±30, 49±51 269 Fasti, the, 11, 21, 155, 156, 158±59, 162, 164, 180±81 and female voices, 3±5, 15±22, 32±38, 55±56, 72±83, 88±90, 164±65 and Freud, 50±51, 85, 86 , 242 n 74 and Hellenistic poetry, 46±47 Heroides, 11, 21, 25, 55±56, 87, 155, 164 and identity, 34±37, 87±89, 107 at the Inns of Court, 128±29 and Lacan, 24, 53, 86, 236 n 10 Metamorphoses, the, passim and metarhetorical re¯ection, 28±31, chapter passim and modes of interpretation, 23, 26±27 Ovide moraliseÂ, 26 and Petrarchan autobiography, 23±24, 36±37, 93±94 and Philomela, 3±5, 88±90 and practices of reading and writing, 47±49, 52±56, 59±61 programmatic ®gures in, 41±42, 47, 76±83 and prosopopoeia, 48±49, 87±90 and Roman declamation, 48±49 and sexual difference, 32±38, 40, 67±83 and sexuality, 84±86 signatures in, 34, 52±54 and the speaking subject 2, 12±13, 14±15, 18, 22±24, 27±28, 35, 43±44, 50, 78, 80±81, 108±10, 122, 164, 172±76, 193±94, 212, 217 as taught in Elizabethan grammar school, 19±20, 24±27, 155 and transgendered ventriloquism, 11, 21, 40, 74±83, 88±90, 164±67, 224±25 Tristia, 53, 108 and wordplay, 4±6, 29±30, 39, 45, 64±65, 68±69, 83, 89, 92, 130 Pan and the rhetoric of animation, 67±70, 77±78, 207, 250 n 64 paragone, the 110±17, 170, 249 n 51 Parker, Patricia, 231 n 31 Paulina and the Bacchae, 209±10 and Orpheus, 220±22 and Venus, 220±22' pedagogical theory, early modern, 24±27 Penelope, 21 Pentheus, 28, 245 n 21 performative, the, 12, 14, 15, 30±31, 186, 213±25, 229±30 n 22, 259±60 n 33 and Ceres, 223±25 as dream, 14, 30, 125±26, 223±26 and the female voice, 214±25 270 Index performative, the (cont.) and identity, 15, 217±20 and Orpheus, 14, 186, 221±23 and sexuality, 15 and the speaking body, 215±26 and the theater, 214±15, 217±20 and the unconscious, 217±20 Persephone, 32 Perseus, 29, 35, 120±23 Petrarch, Francesco, 91±124 and Actaeon 93±94, 99±110, 212 and Apollo and Daphne, 91±92, 94±95, 104, 212, 223 and Augustine, 21, 93±95 and autobiography, chapter passim autobiography and metamorphosis in, 21±2, 23, 93±95 and desire, 23, 94±95 and Diana, 101, 212 and Echo, 212 and ®gural language, 94±95, 106 and Lacan, 93±94, and Medusa, 117±23 and Narcissus, 94±95, 97±98 and Orpheus, 98, 103±04, 112±17 as Ovidian subject of linguistic exile, 15, 23±24, 29, 36, 93, 108±10, 171±76, 212 and Ovid's female voices, 36±37, 212±13 and Pygmalion, 95±98, 99±100, 102±03, 109, 110±17 as reader of Ovid, 23±24, 35±38, 91±92 Rime sparse, 2, 21, 23, 28±29, chapter passim, 127±28, 131±32, 140±41, 146, 150±51, 160, 171±76, 178, 201±03, 211±13, 223 Secretum, the, 93±94, 97±98 and the unconscious, 93±94, 117, 119, 140, 168 and verbal fetishism, 28, 94±98, 102±06, 112, 123±24, 130±33 Pettie, George, 257 n 16 Phillies-Howe, Thalia, 230 n 28 Philomela, 1±5, 8, 11, 20, 27, 30, 31, 32, 38, 62, 88±90, 139±40, 152±56, 167, 180, 233 n 53 and Actaeon, 171 and Hecuba, 169±70, 181±87 and Lucrece, 171, 182±83, 192±96 and Orpheus, 32, 169±70, 251 n phonocentrism Ovidian critique of, 12±13, 44±46, 56±61, 75±83, 88±89, 176, 188±89 Ovidian fantasy of, 44±45, 54, 58, 61, 208±09 phonographic imaginary, the, 12, 38, 53±55, 125, 156 in the Metamorphoses, 17, 41±61, 81 in the Metamorphosis of Pigmalions Image, 125, 127, 142±45, 203±04 in the Rape of Lucrece, 167±68, 180, 188±95, 201, 202 in the Rime Sparse, 120±22 in Shakespeare's sonnet 81, 189±90 in The Winter's Tale, 203±04, 208±09 Pinch, Adela, 255 n 52 Pindar, 30 political irony, Ovid's, 59±61 Porter, Joseph, 259 n 25 Prince, F T., 161 Propertius, 34, 234 n 57 Proserpina, 75, 222±25 prosopopoeia, see apostrophe Pygmalion, 13, 21, 28, 29, 74, 85, 91, 96±98, 111±17, 125±51, 152±53 as dream about rhetoric, 71±72, 125±26, 203±04 and Medusa, 117±24 and misogyny, 71±75, 101±02, 129, 136±41, 102±03, 200, 205±06, 218, 257 n 16 and Narcissus, 97±98, 129±32, 222, 244 nn 16, 17, 261 n 40 and Orpheus, 71±72, 98±99, 111±15, 204±05, 220±24 and pornography, 137±40, 205±06 and the rhetoric of animation, 71±72, 203±04 and Roman writing, 6±7, 47±48 and verbal fetishism, 96±98, 102±05, 128±51, 211 Pythagoras, 42±44, 59, 62±67 Quintilian, M Fabius, 1, 87, 48±49, 225 n 1, 227 n 12 rape, 20, 31±38, 233 n 51 and aesthetics, 31±35, 200, 211 and the female voice, 152±3, 160±64, 173±76, 177±82, 194±97 and forma, 31, 33 and interpellation, 32±33, 158±59, 163±4 and musical instruments, 68±70, 76±78, 188±97 and the origin of poetry, 79±83 and rhetoric, 7, 10, 31±38, 75±83, 161±67 several meanings of, 32, 233 n 51 and trauma, 159, 173±76 as unspeakable event, 3±5, 88, 139, 152±97, 167, 173±74 reading and writing as material practice, 6±7, 21, 47±48, 54±56, 164 Index Regius, Raphael, 230 n 25, 231 n 33, 257 n 12 representation, as dislocated from experience, 10±11 limits to, 3±5, 138±40, 153, 160±61, 166, 170±73, 175, 181, 217±22 rhetoric as action, 3, 6, 12, 15, 27±29, 31, 38, 51±52, 70, 158, 162±63, 181, 193, 208±210, 213±26, 259 n 24 and the aesthetic, 8±10, 28, 29, 136, 161, 206 and agency, 9±10, 17, 37±38, 82, 89, 122, 157, 159, 166, 176±97, 181±82, 191±93, 196, 199, 208±10, 255 n 56 and authorship, 49±61, 93±94, 155, 168, 179±97 of the blason, 8, 36±38, 99±100, 132±33, 162, 140±42, 190±91 of the boast, 58±59 and the body, 5±6, 15, 18, 39±83, 89±90, 92, 99±103, 108±09, 119, 125, 136±40, 146±55, 153±54, 160, 199±200, 203, 206, 219±21, 259 n 24, 260 nn 34, 35, and 37 and chastity, 157±58, 163, 168, 180±81 and desire, 23, 28±29, 31±32, 84±90, 95±98, 177 early modern training in, 25±27, 163±67 epideictic, 177±78, 202±03, 211, 256 n of the epitaph, 59±61 and experience, 10±11, 37, 39, 150±51, 164 and humanist pedagogy, 22, 164±67 at the Inns of Court, 128±29 limits to instrumental view of, 12, 37±38, 55, 57, 70, 79±81, 175±80 material practices of, 6±7, 21±22, 25, 47±49, 164±67, 186 and Ovidian poetic technique, 8, 39±40, 59±61 and the Ovidian subject, 11, 15, 18, 24, 30±31, 35±38, 40±90, 108±10, 164, 171±76, 208±10, 212, 217, 219±20 and the performative, 12, 14, 210±23, 259 n 24 as persuasion, 15±16, 67±70, 171±2, 198±201, 207 and Pygmalion's statue, 125±26, 203±04 and rape, 7, 10, 31±38, 68±70, 75±83, 153, 161±67 and Roman declamation, 48±49, 128, 238 n 24 and Roman poetry, 39 and sexuality, 7, 10, 27, 40±41, 83±90, 146±51, 220±21 271 and the Shakespearean stage, 199±201, 206 and trauma, 28±29, 86, 119, 153, 104±05, 109, 119±23, 153, 159, 167, 174±6 as trope, 6±7 and the unconscious, 36±37, 50±51, 93±94, 99±110, 117±24, 137±40, 146±51, 183±87, 225±26 and violence, 8±10, 20, 68±70, 80±83, 92, 155±57, 160, 176±77, 181, 225±26 Richlin, Amy, 226 n 5, 229 nn 18, 19 Rico, Barbara, 257 n 16 Riffaterre, Michael, 241 n 57 Rigolot, FrancËois, 234 n 59 Roche, Thomas, 243 n Rodowick, David, 243 n 8, 247 n 30 Roman de la Rose, 244 n 16 Romano, Giulio, 258 n 17 Ronsard, Pierre de Les Amours, 9, 228 n 14 Rose, Jacqueline, 37 Rosenmeyer, Patricia, 239 n 40 Rowe, Kathryn, 228 n 13 Rubin, Gayle, 36 Salmacis and Hermaphroditus, 18 Sandys, George, 239 n 43 scene of writing, the, 6±7, 12±13, 46±49, 53±58, 109±110, 126, 174 Schnapp, Jeffrey, 225 n Scylla, 21, 88 Sedgwick, Eve Kosofsky, 251 n 11 Segal, Charles, 61, 230 n 28, 233 n 55, 236 n 8, 237 n 18, 240 nn 47, 50 Segal, Naomi, 226 n Semele, 11, 28 Seneca, the Elder, 238 n 24 sexuality and etiology, 86 loosened from gender and objects, 83±90, 119±23, 146±151, 164, 182±87, 197, 202, 218±21 as polymorphous, 84±87 Seznec, Jean, 232 n 38 Shakespeare, William and apostrophe, 154, 156±57, 179, 181±87, 193±95, 202±03, 221±24 celebrated as Ovid's imitator, 26±27, 165±66 and critique of Petrarchan convention, 153±57, 178, 202±03, 211 Hamlet, 25±26, 166, 218, 254±5 n 52 juxtaposes Ovid and Petrarch, 23±25, 153±57, 168±171, 178±79, 190±91, 199±200, 202±213, 218, 221±26 and Marston, 152±57, 186, 205 Measure for Measure, 205±06 272 Index Shakespeare, William (cont.) Much Ado About Nothing, and Orpheus, 168±69 and Ovid's female voices, 154±6, 160±62, 168±76, 198±224, 250 n 35 and the performative, 213±25 and Pygmalion, 206 The Rape of Lucrece, 21, 31, chapter passim, 201, 206 and sexual difference, 160, 164, 184±87 sonnet 81, 189 and the speaking subject, 168, 171±76, 185±97, 218±20 Titus Andronicus, 8, 159, 162, 169, 211 and transgendered ventriloquism, 153±61, 162±69, 181±87, 196±97, 201, 219±21 and the transvestite theater, 200±01, 218±225 and the unconscious, 184±86 The Winter's Tale, 18, 20±21, 156, chapter passim silence and agency, 17, 36±38, 116±17, 176±183, 199±201, 221±25 Silverman, Kaja, 245 n 27 Smith, Bruce, 251 n speaking subject, the Ovidian 11±12, 24, 28, 35±38, 44, 78±83, 108±10, 138±40, 171±76, 192, 196±97, 217, 219±20 and identi®cation, 183±87 and masculinity, 35±38, 67±74, 203±05 and the performative, 218±21 and trauma, 3±5, 79±83, 86, 103±04, 119, 139±40, 153±55, 173±5 Spivak, Gayatri, 44, 226 nn 5, 6, 230 n 23 Sturm-Maddox, Sara 243 n Svenbro, Jesper 60, 240 n 54 Syrinx, 38, 69, 77±78, 89, 205, 207, 213, 250 n 64 Vickers, Nancy, 36±38, 100±101, 157, 162, 245 nn 20, 21, 257 n Vinge, Louise, 244 n 16, 261 n 41 Vives, Juan Luis, 26±27, 165±66 voice alienation from the, 2, 31 and passim and authorship, 49±61, 72±74 and the body, 11, 15, 21±22, 40, 61±74, 115±17, 195±96, 202 and critique of agency, 12, 51, 70, 71, 82, 89, 122±23 and epitaphs, 60 failure of, 11±12, 14±15, 41±42, 58±59, 61±62, 171±76, 179±81, 188±89, 192, 217±19 female, 15±22, 18±20, 33±38, 61±62, 74±83, 103, 114±15, 117, 142±46, 155±97, 198±201, 207±08, 212±26, 260 n 35 as fetish, 13, 96±97, 119±20 as hallmark Ovidian ®gure, 13, 41±61, 74±83, 139±40 and identity, 11, 44, 87±89, 107±08, 196±97 and the look, 110±124 os, oris as ®gure of, 16±17, 41±61, 81±83 parted from intention, 44±46, 58±59, 61±2, 70±71, 178, 207, 217±226 in relation to the body, 20±22, 123±24, 137±40 and self-dispossession, 12, 24, 31, 41±45, 57±58, 74±83, 103±04, 106±08, 119±22, 125, 139±40, 144, 170±76, 180±84, 217±21 and taboo, 106, 117, 138±140, 212±13 and transvestite theater, 200±01, 218±25 as unpredictable instrument, 46, 51±52, 77±83 and writing, 12, 52±61, 106±07 Tacitus, 230 n 27 Tarquin, 154±5, 157±58, 159, 161, 171±77, 183, 184, 193±4 Tereus, 157, 183 Tiresias, 97 Traub, Valerie, 242 n 71 Tricomi, Albert H., 162, 228 n 13 Trinkaus, Charles, 243 n Waith, Eugene, 228, n 13 Wall, Wendy, 249 n 48 Waller, Marguerite, 244 n 10 Ward, David, 219±20, 261 n 37 Weber, Samuel, 242 n 78 Wharton, F T., 250 n Wofford, Susanne, 259 n 25 Varro, M Terentius, 63, 241 n 62 ventriloquism, 11, 20±21, 87±90 Venus, 87 Vergil, 43, 56, 59, 72±74, 230 n 27 Vernant, Jean-Pierre, 60 Viarre, Simone, 39, 235 n 1, 238 n 23, 238 n 28, 241 n 58 Ziegler, Georgianna, 258 n 17 Ï izÏek, Slavoj Z on the failure of the signi®er, 108±09, 175±76 on ideology, 104 on subject's place in language and history, 247 n 31 on trauma and the Law, 104, 247 n 37 Cambridge Studies in Renaissance Literature and Culture General editor STEPHEN ORGEL Jackson Eli Reynolds Professor of Humanities, Stanford University Douglas Bruster, Drama and the market in the age of Shakespeare Virginia Cox, The Renaissance dialogue: literary dialogue in its social and political contexts, Castiglione to Galileo Richard Rambuss, Spenser's secret career John Gillies, Shakespeare and the geography of difference Laura Levine, Men in women's clothing: anti-theatricality and effeminization, 1579±1642 Linda Gregerson, The reformation of the subject: Spenser, Milton, and the English Protestant epic Mary C Fuller, Voyages in print: English travel to America, 1576±1624 Margreta de Grazia, Maureen Quilligan, Peter Stallybrass (eds.), Subject and object in Renaissance culture T G Bishop, Shakespeare and the theatre of wonder 10 Mark Breitenberg, Anxious masculinity in early modern England 11 Frank Whigham, Seizures of the will in early modern English drama 12 Kevin Pask, The emergence of the English author: scripting the life of the poet in early modern England 13 Claire McEachern, The poetics of English nationhood, 1590±1612 14 Jeffrey Masten, Textual intercourse: collaboration, authorship, and sexualities in Renaissance drama 15 Timothy J Reiss, Knowledge, discovery and imagination in early modern Europe: the rise of aesthetic rationalism 16 Elizabeth Fowler and Roland Greene (eds.), The project of prose in early modern Europe and the New World 17 Alexandra Halasz, The marketplace of print: pamphlets and the public sphere in early modern England 18 Seth Lerer, Courtly letters in the age of Henry VIII: literary culture and the arts of deceit 19 M Lindsay Kaplan, The culture of slander in early modern England 20 Howard Marchitello, Narrative and meaning in early modern England: Browne's skull and other histories 21 Mario DiGangi, The homoerotics of early modern drama 22 Heather James, Shakespeare's Troy: drama, politics, and the translation of empire 23 Christopher Highley, Shakespeare, Spenser, and the crisis in Ireland 24 Elizabeth Hanson, Discovering the Subject in Renaissance England 25 Jonathan Gil Harris, Foreign bodies and the body politic: discourses of social pathology in early modern England 26 Megan Matchinske, Writing, gender and state in early modern England: identity formation and the female subject 27 Joan Pong Linton, The romance of the New World: gender and the literary formations of English colonialism 28 Eve Rachele Sanders, Gender and literacy on stage in early modern England 29 Dorothy Stephens, The limits of eroticism in post-Petrarchan narrative: conditional pleasure from Spenser to Marvell 30 Celia R Daileader, Eroticism on the Renaissance stage: transcendence, desire, and the limits of the visible 31 Theodore B Leinwand, Theatre, ®nance, and society in early modern England 32 Heather Dubrow, Shakespeare and domestic loss: forms of deprivation, mourning and recuperation 33 David Posner, The performance of nobility in early modern European literature 34 Michael C Schoenfeldt, Bodies and selves in early modern England: physiology and inwardness in Spenser, Shakespeare, Herbert, and Milton 35 Lynn Enterline, The rhetoric of the body from Ovid to Shakespeare