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Full Description
How an early modern understanding of place and movement are embedded in a performative theory of literature
How is a garden like a poem? Early modern writers frequently compared the two, and as Jim Ellis shows, the metaphor gained strength with the arrival of a spectacular new art form—the Renaissance pleasure garden—which immersed visitors in a political allegory to be read by their bodies' movements. The Poem, the Garden, and the World traces the Renaissance-era relationship of place and movement from garden to poetry to a confluence of both. Starting with the Earl of Leicester's pleasure garden for Queen Elizabeth's 1575 progress visit, Ellis explores the political function of the entertainment landscape that plunged visitors into a fully realized golden world—a mythical new form to represent the nation. Next, he turns to one of that garden's visitors: Philip Sidney, who would later contend that literature's golden worlds work to move us as we move through them, reorienting readers toward a belief in English empire. This idea would later be illustrated by Edmund Spenser's Faerie Queen; as with the pleasure garden, both characters and readers are refashioned as they traverse the poem's dreamlike space. Exploring the artistic creations of three of the era's major figures, Ellis argues for a performative understanding of literature, in which readers are transformed as they navigate poetic worlds.
Contents
Acknowledgements
INTRODUCTION: Poetry and the Pleasure Garden in Early Modern England
CHAPTER ONE: The Kenilworth Revels (I): The Grounds of the Spectacle
CHAPTER TWO: Kenilworth and the Performance of Empire
CHAPTER THREE: Place and Movement in The Defence of Poesy
CHAPTER FOUR: The Garden and the Progress in Sidney's Literary Works
CHAPTER FIVE: The Garden Plot, The Faerie Queene, and the Progress Entertainment
CHAPTER SIX: Calidore, Courtesy, and the Elizabethan Progress
CONCLUSION: "All that moveth": Spenser's Irish Gardens
Notes
Works Cited
Index
