Le Simplegadi

I masque Neptune’s Triumph for the Return of Albion (Jonson, 1624), Tethy’s Festival (Daniel, 1610), e Love’s Triumph through Callipolis (Jonson, 1631) mettono in scena, in modi diversi, la rappresentazione del potere patriarcale nelle corti Stuart di Giacomo I e Carlo I, sia sul piano privato che su quello politico. A partire dall’analisi della rappresentazione di genere e genitorialità, questo saggio si propone di confrontare le immagini acquatiche di grotte manieriste che compaiono in questi tre spettacoli al fine di ricostruire la complessa ricezione, alla luce dei ruoli materni e paterni di Anna di Danimarca e Giacomo I, da parte di Carlo I, e di come essa ne abbia influenzato l’iconografia nei successivi spettacoli di corte.

DOI: 10.17456/SIMPLE-78

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