By H. Dubrow
This publication engages with deictics ('pointing' phrases like here/there, this/that) of house. It makes a speciality of texts via Donne, Shakespeare, Spenser, and Wroth specifically, referring to their sorts of deixis to cultural and general advancements; however it additionally indicates parallels with either iconic and overlooked texts from a number of later old classes.
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Additional resources for Deixis in the Early Modern English Lyric: Unsettling Spatial Anchors Like “Here,” “This,” “Come”
Dunn, “Ophelia’s songs in Hamlet: Music, Madness, and the Feminine,” in Embodied Voices: Representing Female Vocality in Western Culture, ed. Dunn and Nancy A. Jones (Cambridge: Cambridge University Press, 1994); Iovan, “Performing Voices in the English Lute Song,” SEL, 50 (2010), 63–81; Lindley, Lyric, Chapter 2, and his subsequent writings, such as “ ‘Words for music, perhaps’: Early Modern Songs and Lyric,” in The Lyric Poem: Formations and Transformations, ed. Marion Thain (Cambridge: Cambridge University Press, 2013); Trudell, “The Mediation of Poesie: Ophelia’s Orphic Song,” SQ, 63 (2012), 46–76.
Here, cousin, seize the crown; Here, cousin, On this side my hand, [and] on that side thine. Now is this golden crown like a deep well. 181–184; emphasis added)12 The contrast between “this side” and “that side” (183) enacts spatially the binary contrast between two styles of kingship and their representatives, while in drawing attention to the embodied hands and the agency they represent, the “this” in line 184 arguably indicates Richard’s spatial proximity to the crown. It may also be close to him inasmuch as he is unwilling to surrender it, or to be seen to do so: the passage plays the balanced deictics and the suggestion that its current owner is willingly handing over the symbol of kingship against the “seiz[ing]” (181) he anticipates, or is it invites?
He briefly relates walking to deixis (99). ” in Key Thinkers on Space and Place, ed. Hubbard and Kitchin, 2nd ed. (Los Angeles: SAGE Publications, 2011). 9 The Poems of John Keats, ed. Jack Stillinger (Cambridge: Belknap Press of Harvard University Press, 1978). ” Although we arrived independently at a few points about the spatial implications of sharing the crown, her discussions of titles and naming, as well as her larger argument about how Richard’s redefinition of ritual informs his subjectivity, incisively extend and enrich my briefer observations.