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Tears of perfect moan using .net toinclude data matrix 2d barcode in asp.net web,windows application ASP.NET poetry. The figu data matrix barcodes for .NET re of birth, as we saw earlier, was also commonly used as a figure for the imagination in the poetry of the age.

So why should it have been so hard to figure it elaborately for the purposes of praise Part of the answer lies, I believe, in the personal specificity of epideictic rhetoric. As I observed briefly in Part I, it was rare for a preacher to claim that either a death in childbed or the sickness of a particular person were punishment for individual sins (in satire, on the other hand, and in fire and brimstone sermons, the gloves could come off). The poetic culture may have displayed the same scruples and been loathe to approach the figure as a biographically particular referent because of its close association with the general condition of original sin.

Women who wrote about their own experiences (women like Alice Thornton, Elizabeth Egerton, and Mary Carey) could refer all they wanted to their own immersion in original sin because they were confessing their own sinful natures and trying to give themselves over to God s justice and mercy, but a poet may not have wanted to presume to judge, or even seem to judge. I would like to suggest, however, that while this dynamic surely played a role, the primary causes of poetic unease about elaborating too fully on the specifics of maternal mortality were a combination of theological paradox, the ironies that attended the imperative that aristocratic families felt toward dynastic continuity, and male guilt over exemption from this sort of suffering. In addition, certain aspects of the genre itself, its reliance on motifs drawn from both funeral rites and marriage rites, may have in some cases complicated the conventional rhetorical construction of poems that made explicit mention of the childbed.

Together, these complicated a powerful and specific kind of grief, and made it hard for the conventional modes of mourning verse to represent it and adequately provide consolation. For example, the seemingly decorous topics that, as I mentioned before, could be used to accommodate childbed death to the conventions of the genre required a complex discourse on the need for sacrifice, on the fragility of noble lineages, on a web of biblical touchstones, and on the nature of original sin itself, particularly its guilt-laden gender specificity. A seeming symmetry (for instance that men might die on trading missions or in war, etc.

) might have seemed not only asymmetrical but also weighted with a peculiar psychological burden when consideration of the relationship of. See, for example , Heather Dubrow s discussion of John Collop s grotesque poems in Foreign Currencies: John Collop and the Ugly Beauty Tradition, Women s Studies 24 (1994), 165 87. An even more striking example of this grotesque mode can be seen in the opening episode of Michael Drayton s The Moone-Calfe, a long satire published in the same volume as the Fallowfield elegy. The opening of Drayton s poem is indebted to, among many other things, the birth of Gargantua.

. Milton and Maternal Mortality childbed death t o sexual intimacy with men was added to the picture. This asymmetry took on a further social and ideological complexity when the role played in reproduction by male desires and dynastic hopes, as well as by rape and seduction outside of wedlock and across class lines, was considered with any seriousness. All of these considerations suggest very vexed questions of theology and sociability, and they required more complex forms of theodicy and social reflection than could normally be offered in an occasional poem.

An evocation of death in childbed also brought certain conventional elegiac motifs into conflict with one another, complicating the formulae by which such poems were often written. These motifs, broadly speaking, are those derived from epithalamia on the one hand, and from funeral imagery and ritual on the other (the former as part of the consolation, the latter as part of the complaint). This rhetorical problem may have made it difficult for poets to reach toward the more complex discourses that might have enabled the genre to adequately confront death in childbed.

Elegies often made use of motifs derived precisely from the very human rituals (wedding and funeral) that collided in the childbed, where the ends of marriage (physical love and procreation) became its end in death, presenting yet another paradox insoluble by conventional rhetorical means. Milton, as I will show, used a solution to the latter of these problems as a means of solving the former, resolving the generic tension in an ambitious literary and typological allusion. In addition, he accommodated the problem of male guilt to his epitaph s ideologically motivated critique of John Paulet, and resolved the problem of competing decorums by maintaining a high level of mythopoeic abstraction.

We can see these processes at work most clearly, however, if we compare Milton s epitaph to Michael Drayton s elegy Upon the Death of Mistris Elianor Fallowfield. Milton may have known Drayton s poem and used it as a model, but even if he did not, a comparison will allow us to see him ambitiously solving a problem that Drayton courted but could not solve. drayton s upon the death of mistris elianor fallowfield Drayton s elegy provides an indication of some of the anxieties that underlay the subject of childbed death, and put strange demands on a funeral elegy that attempted to deal with the subject.

The poem confronts these anxieties more directly than any other early-modern English elegy of which I am aware (Milton s aside), making remarkably explicit use of generic.
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