By Associate Professor Gwynne Kennedy
The 1st pupil to enquire the topic of women’s anger in early glossy England, Gwynne Kennedy analyzes portrayals of and attitudes towards women’s anger in published texts through or purporting to be written by way of ladies throughout the period. Kennedy attracts from fresh severe paintings on feelings by means of historians, literary students, philosophers, and psychologists in addition to comparative reports of the sentiments through cultural anthropologists. Kennedy additionally examines a few male-authored works, together with sermons, behavior literature, philosophy, rhetoric, and drugs. the point of interest of her paintings, besides the fact that, is on representations of women’s anger in revealed works signed with women’s names in past due 16th- and early seventeenth-century England. She addresses the methods those writings agree to, clash with, or seem to reconfigure triumphing ideals approximately women’s anger.Kennedy appears at such literary texts as Mary Wroth’s romance, The Countess of Montgomery’s Urania, the 1st fiction via an English girl; Elizabeth Cary’s play, The Tragedy of Mariam, the earliest extant play in English by means of a lady; and Aemilia Lanyer’s verse assortment, Salve Deus Rex Judaeorum. She additionally discusses non secular writings by way of Protestant martyr Anne Askew and Elizabeth Cary’s background of Edward II. Kennedy considers to boot defenses of women’s nature authored via ladies (Rachel Speght and Aemilia Lanyer) or released less than woman pseudonyms (“Jane Anger,” “Ester Sowernam,” and “Constantia Munda”). Kennedy demonstrates the significance of sophistication and race as components affecting anger’s legitimacy and its sorts of expression. She indicates how early smooth assumptions approximately women’s anger may help to create or exaggerate different changes between ladies. Her shut scrutiny of anger opposed to girl inferiority emphasizes the the most important function of feelings within the development of self worth and id.
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Additional resources for Just anger: representing women's anger in early modern England
Still furious and extremely jealous, Cleopatra nonetheless acknowledges that her previous violence was inappropriate. As she explains, "These hands do lack nobility that they strike / A meaner than myself, since I myself/Have given myself the cause" (8385). Jealousy and anger, on the other hand, later push Antony out of control, without an analogous moment of self-correction. 85153). There is also no early modern equivalent to the "romanticizing" of emotion in later centuries. The celebration of emotions as "natural" or genuine (and hence positive) would seem alien to earlier writers.
Both God and Christ get angry; the Psalms display strong righteous anger against God's enemies, and Old Testament prophets are praised for their religious zeal. John Downame, for instance, interprets the anger of "[b] e angry and sin not" and "[L] et not the sun go down upon your wrath" (Eph. 4:26) as just, righteous anger (48). 1). The reason, according to Aquinas, is that anger itself Page 11 involves a number of emotions such as hope and hatred. Accepting Aristotle's idea that anger seeks revenge, he concludes that anger goes in two directionstoward hope (of revenge) and hatred (of the offending party) and thus always has a twofold object.
Angry Wives as Political Subjects: Elizabeth Cary's The History of the Life, Reign, and Death of Edward II 75 5. Angry Lovers: Mary Wroth's The Countess of Montgomery's Urania 115 6. Angry for God: Anne Askew's Examinations 143 Afterword: The Politics of Anger 161 Notes 165 Works Cited 179 Index 193 Page ix Acknowledgments Writing this book has been a long process, as my family and many friends and colleagues well know, and there are a number of people I want to thank. I owe a huge debt of gratitude to Maureen Quilligan, whose graduate seminar on the Sidney circle first introduced me to Wroth's romance and who enthusiastically supported my desire to study early modern women writers.