Redeeming Eve: Women Writers of the English Renaissance by Elaine V. Beilin

By Elaine V. Beilin

An advent to ladies writers of the English Renaissance which takes up forty four works, many as thumbnail sketches; exhibits how women's writing used to be hampered by means of the idea that poets have been male, through limit to pious subject material, through the doctrine that in basic terms silent girls are virtuous, by way of feedback that praised ladies as consumers or muses and neglected their writing, and certainly via crippling academic theories.

Originally released in 1987.

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Redeeming Eve: Women Writers of the English Renaissance

An creation to girls writers of the English Renaissance which takes up forty four works, many as thumbnail sketches; indicates how women's writing used to be hampered by means of the idea that poets have been male, by way of restrict to pious subject material, via the doctrine that merely silent girls are virtuous, via feedback that praised girls as buyers or muses and missed their writing, and notably through crippling academic theories.

Extra resources for Redeeming Eve: Women Writers of the English Renaissance

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Such a girl I should prefer to three boys. (Let­ ters, 155) The most unusual evidence of Roper's obedience and com­ pliance with her father's ideas is the supposedly puzzled au­ thorship of the "letter" from Margaret Roper to Alice Alington, her stepmother's daughter. " 23 Although Margaret Roper's authorship has always been questioned, the very debate is instructive. Since it is clear that there are two distinct voices in the letter, one appropriate to a young woman and the other to a wise man, the readers and critics who have doubted Roper's authorship seem unable to accept that a woman could mimic a man's language and style.

112) Both father and daughter wrote a treatise on the Four Last Things, and Stapleton claims that More "affirmed most sol­ emnly that the treatise of his daughter was in no way inferior to his own. As St. Augustine had his Adeodatus, whose ad­ mirable talents he could never sufficiently admire, so had More his Margaret" (113). While Margaret Roper was viewed as a physical and intellectual reflection of her father, such praise of her erudition may well have been conditioned not only by the biographers' purpose in writing—to canonize More—but by their basic assumptions of what women were capable of achieving.

Their care should MARGARET MORE ROPER be their houses, not verses, and "how much more convenient the needle, the wheele, the distaffe, and the spindle, with the name and reputation of grave and honest matrons is for them, then the book and pen with an uncertaine report: if in them there be more learning than honestie and vertue" (G2). Bruto's image of a woman's mind seems to be of a tiny, fixed space that can only contain so much—if more learning, then less virtue. " (H2). Given her intellectual inferiority, even woman's piety is deficient.

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