Music in Shakespeare : A Dictionary

Wilson, Christopher R.; Calore, Michela

doi:10.5040/9781472555045

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Horatius His Golden Feathers1

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Cited by 4 publications

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“…They were the preserve of male society of all social groups'. 27 The largely male social group of the audience of the Red Bull theatre would, by their participation in the song, have been coerced into a grotesque reenactment of the violence of the rape of Lucrece. This metatheatrical return of the rape, this re-witnessing of the occluded event, implicates the audience in the immorality of the act.…”

Section: Horatius His Golden Feathersmentioning

confidence: 99%

Sung Silence: Complicity, Dramaturgy, and Song in Heywood’s Rape of Lucrece

Bretz¹

2016

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The songs of Valerius in Thomas Heywood’s 1607 The Rape of Lucrece negotiate the line between ironic distance and genuine compassion for the victim of sexual violence. Valerius sings them as a traumatized response to his own complicity in the rise of the Tarquin regime, a trauma that effectively silences his participation in politics. His final song, ‘Did he take faire Lucrece by the toe man?’ acts as a metatheatrical return of the rape, which forces the audience to verbally re-enact the occluded violence, but also allows for Valerius to rediscover his voice and ability to act politically.

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Section: Horatius His Golden Feathersmentioning

confidence: 99%