Skip to main content

Masque scenery and the tradition of immobilization in The First Part of The Countess of Montgomery's Urania

Buy Article:

$43.00 plus tax (Refund Policy)

ABSTRACT

This study addresses two of the pivotal magical interventions in The First Part of The Countess of Montgomery's Urania, specifically those in which Wroth makes use of the masque tradition of immobilization: the Three Towers of the House of Love and the Marble Theatre on an island in the Gulf of Venice. In these enchantments, which include architecturally fantastic structures, music, and the symbolically posed, stilled characters, Wroth creates masque-like ‘idealized fictions’ that emblematize the romantic relationships she depicts. They are meant to elevate the sometimes sordid realities of real relationships to a higher allegorical plane on which the virtue of constancy and the vice of inconstancy may contend. Within the narrative as a whole, Wroth uses these aspects of masque tradition to gesture toward and to complicate what Christopher Booker has called ‘the cosmic happy ending.’
No References
No Citations
No Supplementary Data
No Data/Media
No Metrics

Keywords: Campion; Jonson; Urania; Wroth; masques

Document Type: Research Article

Affiliations: Eastern Illinois University

Publication date: 2008-04-01

  • Access Key
  • Free content
  • Partial Free content
  • New content
  • Open access content
  • Partial Open access content
  • Subscribed content
  • Partial Subscribed content
  • Free trial content
Cookie Policy
X
Cookie Policy
Ingenta Connect website makes use of cookies so as to keep track of data that you have filled in. I am Happy with this Find out more