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Coles Aemilia Lanyer as Shakespeare's Rival Poet: The Narrative of Sonnets at Village Green Shopping Centre in Vernon, BC
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Aemilia Lanyer as Shakespeare's Rival Poet explores Shakespeare's sonnet series and A Lover's Complaint , both published in 1609. These poems are viewed in their historical context: in particular, in the context of Shakespeare's patron. Through this prism, the patron's relationship with "both" his poets (Sonnet 83) - the Bard and his Rival - is reviewed. Against linguistic logic, most scholars have dismissed the problematic interchangeability of the second-person address modes (i.e. You/Thou) found in Shakespeare's Sonnets (1609). In contrast, this book examines these two address modes as a primary identification of two distinct styles and personalities. While multiple authorship of The Sonnets was toyed with a century ago, none were based on objective criteria, and none suggested only two poets. This approach opens up an exciting treasure chest of biographical material in the 154 sonnets, but it requires shedding some preconceptions about Shakespeare and exploring the authorship question. As a contribution to the debate about Shakespeare's Sonnets , this book is for researchers in Shakespeare studies and early modern English literature more broadly.
Aemilia Lanyer as Shakespeare's Rival Poet explores Shakespeare's sonnet series and A Lover's Complaint , both published in 1609. These poems are viewed in their historical context: in particular, in the context of Shakespeare's patron. Through this prism, the patron's relationship with "both" his poets (Sonnet 83) - the Bard and his Rival - is reviewed. Against linguistic logic, most scholars have dismissed the problematic interchangeability of the second-person address modes (i.e. You/Thou) found in Shakespeare's Sonnets (1609). In contrast, this book examines these two address modes as a primary identification of two distinct styles and personalities. While multiple authorship of The Sonnets was toyed with a century ago, none were based on objective criteria, and none suggested only two poets. This approach opens up an exciting treasure chest of biographical material in the 154 sonnets, but it requires shedding some preconceptions about Shakespeare and exploring the authorship question. As a contribution to the debate about Shakespeare's Sonnets , this book is for researchers in Shakespeare studies and early modern English literature more broadly.
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