11/4/2023 0 Comments Garden of hesperides thre“Atlas, mindful of an oracle since by Themis, the Parnassian, told, recalled these words, `O Atlas! mark the day a son of Jupiter shall come to spoil for when thy trees been stripped of golden fruit, the glory shall be his.’ Fearful of this, Atlas had built solid walls around his orchard, and secured a dragon, huge, that kept perpetual guard, and thence expelled all strangers from his land.” (Ovid, “Metamorphoses” 4. “The huge Draco, Typhon’s son, which used to guard the golden apples of the Hesperides, he (Herakles) killed near Mount Atlas” (Hyginus, Fabulae 30). 6, citing a work now lost called “the Heraclea” by a Greek poet of the 5th century BC. “Jupiter, in admiration of their struggle, placed it among the stars for the Draco has its head erect, and Hercules, resting on his right knee, tires to crush the right side of its head with his left foot.” (Hyginus, “Astronomica” 2. Thus Herakles (however blasphemous you may consider the idea to be) is portrayed as fulfilling the “Messianic” promise “God said unto the serpent, … I will put enmity between thee and the woman, and between thy seed and her seed it shall bruise thy head, and thou shalt bruise his heel.” (Genesis 3:14,15 KJV). “Some say, however, that he did not take the apples from Atlas, but killed the snake that guarded them, and picked them himself.” (Apollodorus, “Bibliotheca” 2. But now the snake, struck down by Herakles, lay by the trunk of the apple-tree. “the serpent Ladon, a son of the Libyan soil, had kept watch over the golden apples in the Garden of Atlas, while close at hand and busy at their tasks the Hesperides sang their lovely song. Accordingly the quest for immortality by Herakles required him to kill the serpent before he could receive the apples. As noted the Greek serpent is not enticing people to pick from the tree, but like the Cherubim in the Scriptural account, he is portrayed as guarding it “So he drove out the man and he placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every way, to keep the way of the tree of life.” (Genesis 3:24 KJV). The fourth chapter discusses women’s playgoing, play-reading, writings, and their participation from the early eighteenth century to the Shakespeare Jubilee in 1769.Although the serpent Ladon is associated with the tree in the Greek myth, it is apparently the tree of life, and not the tree of the knowledge of good and evil. Chapter 3 focuses on Restoration Shakespeare and female interpreters from 1642 to 1714. The second chapter discusses female readers and writers in Renaissance England and their responses to Shakespeare’s works. In the first chapter, I analyse women’s engagement with theatre in Renaissance England, and consider Shakespeare’s popularity amongst them based on records about female audiences. This thesis is divided into four chapters. I adopt three approaches to provide answers to my research questions in this thesis: reading critical and fictional works by women analysing the descriptions of female readers and playgoers by male writers and conducting a large-scale survey of the ownership history of pre-mid-eighteenth-century printed books of Shakespeare’s plays. In this thesis, I illustrate women’s engagement in the process of the popularisation of Shakespeare by examining the early reception of his works, and to document how individual women’s pleasure of reading and playgoing relates to their intellectual activities. Although women had supported Shakespeare even before his works had established their canonical status, the extent to which female interpreters contributed to the canonisation of Shakespeare, how they participated in the process, and why they played the roles that they did have not yet been sufficiently visible. It is said that since then, he has maintained his position as the ‘national poet’ of England (or Britain). Shakespeare, one of the popular playwrights in English Renaissance theatre, became increasingly famous during the first half of the eighteenth century, and the Shakespeare Jubilee in 1769 marked the climax of the popularisation of his works. The aim of this thesis is to clarify the role that female interpreters in Britain played at an early stage in the canonisation of William Shakespeare.
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