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Summary

Chapter 2 turns to examine early modern song culture at Wilton House. The work of Herbert’s aristocratic cousin William Herbert, third Earl of Pembroke (1580–1630), provides a focal point for ideas about the collaborative enterprise of poets and musicians in the early seventeenth century. Pembroke was a patron of poets and musicians, and much of his verse survived in songbooks and musical settings by some of the leading composers of his day. In Pembroke’s collected Poems (London, 1660) we have a volume in which the voices of poets and musicians – those who compose and sing and preserve these poems – meet and combine and compete with one another. Noting George Herbert’s involvement in this literary and musical coterie, the chapter examines the implications of Pembroke’s patronage on Herbert’s verse, and demonstrates how Herbert’s verse critiques and transforms the worldly dynamics of patronage operating within the Wilton coterie.

What would Pindar and Aeschylus have talked about had they met at some point during their overlapping poetic careers? How do we map the space shared by these two fifth-century choral poets? In the first book-length comparative study of Pindar and Aeschylus in over six decades, Anna S. Uhlig pushes back against the prevailing tendency to privilege interpretive frames that highlight the differences in their works. Instead, she adopts a more inclusive category of choral performance, one in which both poets are shown to be grappling to understand how the vivid here and now of their compositions are in fact a reenactment of voices and bodies from elsewhere. Pairing close readings of the ancient texts with insights from modern performance studies, Uhlig offers a novel perspective on the 'song culture' of early fifth-century BC Greece.

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Chapter 2 - Communities of Voices

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Theatrical Reenactment in Pindar and Aeschylus

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Chapter 2 - Communities of Voices

Summary

Theatrical Reenactment in Pindar and Aeschylus