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The Glasse of majesty: Reflections on new historicism and cultural materialism

The Glasse of majesty: Reflections on new historicism and cultural materialism n Thomas Dekker's 1603 entertainment I given to James I, the massed subjects gathered to behold the acceding monarch's entrance to London are termed 'the glasse alone, Where the neate Sunne eache morne himselfe attires'.l The royal 'Sunne' as an simon wortham eye narcissistically perceives its 'object' as a reflection of 'self. The king as a sun is placed at the origins of the subject's vision, his solar energies enabling the spectatorial TH E GLASSE OF gaze into being, thus pre-empting effects of difference and fragmentation at the scene of MAJESTY rule. At the same time, however, majesty represents itself foremost 'in' its object, reflections on new deriving power precisely as an image 'in' a mirror. This circular play of origin and rep- historicism and resentation between the ruler and ruled con- stitutes a powerful and authorizing meta- cultural materialism physics. Writing of the masque particularly in 'Love's Triumph through Callipolis', Ben Jonson remarks of such scenes of royal dis- dissociation, the masses are - in the very play that '[a]U representations, especially image of the king - invested with mysterious, those of this nature in court, public specta- unrevealed power. Thus Samuel Daniel's cles, either have been or http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Angelaki: Journal of Theoretical Humanities Taylor & Francis

The Glasse of majesty: Reflections on new historicism and cultural materialism

Wortham, Simon
Angelaki: Journal of Theoretical Humanities , Volume 2 (2): 11 – Jan 1, 1997
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The Glasse of majesty: Reflections on new historicism and cultural materialism

Abstract

n Thomas Dekker's 1603 entertainment I given to James I, the massed subjects gathered to behold the acceding monarch's entrance to London are termed 'the glasse alone, Where the neate Sunne eache morne himselfe attires'.l The royal 'Sunne' as an simon wortham eye narcissistically perceives its 'object' as a reflection of 'self. The king as a sun is placed at the origins of the subject's vision, his solar energies enabling the spectatorial TH E...
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Publisher
Taylor & Francis
Copyright
Copyright Taylor & Francis Group, LLC
ISSN
1469-2899
eISSN
0969-725X
DOI
10.1080/09697259708571931
Publisher site
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Abstract

n Thomas Dekker's 1603 entertainment I given to James I, the massed subjects gathered to behold the acceding monarch's entrance to London are termed 'the glasse alone, Where the neate Sunne eache morne himselfe attires'.l The royal 'Sunne' as an simon wortham eye narcissistically perceives its 'object' as a reflection of 'self. The king as a sun is placed at the origins of the subject's vision, his solar energies enabling the spectatorial TH E GLASSE OF gaze into being, thus pre-empting effects of difference and fragmentation at the scene of MAJESTY rule. At the same time, however, majesty represents itself foremost 'in' its object, reflections on new deriving power precisely as an image 'in' a mirror. This circular play of origin and rep- historicism and resentation between the ruler and ruled con- stitutes a powerful and authorizing meta- cultural materialism physics. Writing of the masque particularly in 'Love's Triumph through Callipolis', Ben Jonson remarks of such scenes of royal dis- dissociation, the masses are - in the very play that '[a]U representations, especially image of the king - invested with mysterious, those of this nature in court, public specta- unrevealed power. Thus Samuel Daniel's cles, either have been or

Journal

Angelaki: Journal of Theoretical Humanities – Taylor & Francis

Published: Jan 1, 1997

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