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By Anne Cotterill

Cotterill turns feminist sensitivity towards silenced voices to seem afresh at significant nondramatic texts via Donne, Marvell, Browne, Milton, and Dryden. Anne Cotterill examines richly digressive audio system who carve literary mazes via a perilous international for mental, political, and poetic survival--and assault.

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See Giotto and the Orators (Oxford: Clarendon Press, 1971), esp. chs. i and iii. See David Summers, Michelangelo and the Language of Art (Princeton: Princeton University Press, 1981), on Michelangelo’s ethics and aesthetics of ambiguity and his Neoplatonic licenza and fantasia to uncover things not seen. 94 Cave, The Cornucopian Text, 29, 31. Similarly, in The Garden of Cyrus, Browne refers to networks of relation among words and within the physical, natural world as expressive, like lattices that both reveal and conceal, of a vast principle of fertility that leads those who see clearly from visible to invisible dimensions of existence.

91 Both theoreticians of rhetoric distinguish between empty loquacity and rich fluency, and they distinguish digressio, a particular device that extends a discourse, from the broad notion of rich, plentiful eloquence referred to by the word copia. For the seventeenth-century writers represented in this book, the classical notion of copia, particularly as interpreted by Erasmus early in the sixteenth century, offered a model for the association of fertile literary power with the production of abundant, protean language whose plentitude and playful productivity gives pleasure.

64 Dorothy Stephens, The Limits of Eroticism in Post-Petrarchan Narrative: Conditional Pleasure from Spenser to Marvell (Cambridge: Cambridge University Press, 1998), 10. 28 Introduction Killigrew, Eleonora, Anne Hyde, the Duchess of Ormonde, and those eloquent female beasts, the Hind and the Panther, whose ladylike composure struggles to subdue animal instinct. The feminine subject that the male writer may address, praise, or ventriloquize appears to allow him access to otherwise inexpressible feelings of sadness and loss, vulnerability and threat, rage and transgressive freedom.

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