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The Iconology of Law and Order (Legal and Cosmic)

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The Iconology of Law and Order (Legal and Cosmic) Eastern and Western Traditions of European Iconography THE ICONOLOGY OF LAW AND O DE (LEGAL AND COSMIC) Edited by GY% GY E. S'(NYI ANNA )* CHY JATEPress Szeged 2012 Pape s in English & Ame ican Studies is published by the Institute of English & Ame ican Studies (IEAS, of the Uni.e sity of Szeged Gene al Edito / GY0RGY E. S23NYI (Di ecto of PEAS, Publishe 4s reade / Pat ic5 Ale6ande Co.e design/ ETEL7A S23NYI The co.e illust ation 8as designed on the basis of a public domain photog aphic rep oduction of 92012 Uni.e sity of Szeged, IEAS H-6722 S2EGED, Egyetem u. 2. >888.a ts.u-szeged.hu? 9 2012 JATEP ess >8882.u-szeged.huABatep essA? ISSN ISCN CONTENTS CONTENTS ........................................... ...........................5 End e Ham.as ........................................ .............................7 Time and ete nity. Some ema 5s on the connection bet8een the ast al po8e s and magic in the He metic lite atu e ................................. .............................7 7o.Ecs Im e ......................................... .............................17 The Ri.als/ Romanos I Le5apenos and Constantine FII Po phy ogennetos. Fine A ts, Relic cult, and Litu gy in the Se .ice of Cyzantine Impe ial Legitimacy Fine A ts, Relic cult, and Litu gy in the Se .ice of Byzantine Impe ial Legitimacy . ...........................17 I.an Ge Et .......................................... ..............................26 The T ials of the Ma ty s H Legal and Cosmic Aspects of Late Mediae.al Fisual Topoi ........26 Geo ges Ma tyn ...................................... .............................I8 Inspi ing Images fo Judges. Late Medie.al Cou t Room Deco ations in the Southe n Nethe lands ........................................ ...........................I8 PKte Bo5ody ........................................ .............................51 Justice, Lo.e and Rape Giotto4s Allego ies of Justice and Injustice in the A ena Chapel, Padua ................................................... ...........................51 2enLn Luis-Ma tMnez ................................. ..............................6I The La8 of Gen e and the O de of Discou se/T8o Instances of Regicide in Tudo Histo ical D ama.............................................. ..........................6I E zsKbet St Lbl..................................... ...............................77 Luna Image y and Royal Panegy ic in John Lyly4s Plays . .............................77 Dana Pe cec ......................................... .............................88 Sha5espea e and Elizabeth I/ Royal Insignia of Ea thly and Di.ine Po8e ..................88 Ani5L O oszlEn ...................................... .............................NN The Iconog aphy of Renaissance Playing H Rules and Fiolato s ...........................NN GyO gy E. SzPnyi ..................................... ............................110 O de and Its Sub.e sion in D ess-Code/ C ossd essing . ............................110 Qgnes TRnde TanEcs ................................. .............................12I Cosmic O de on the Anatomy Table . ...........................12I Agniesz5a Su5o8s5a .................................. ............................1I0 The O de ed Pe fo mance/ Animated Emblems of the Stua t Cou t MasTue ...............1I0 Alessand a Ta abochia.............................. ...............................140 Figu es and Symbols of Law and Order in Cesa e Ripa4s Iconologia .........................140 Alison Saunde s ..................................... .............................151 VLa8 of the Jungle4 o Lo e of the JungleW . ..............................151 Ge ha d F. St asse .................................. .............................168 Li. e dXEnigmes. Legal and Cosmic O de in an Ea ly 17 th -Centu y P oto-Emblematic Manusc ipt by JacTues de Fonteny . .........................168 LubomM KoneYnZ ..................................... ...........................180 Pie e-Paul P ud4hon4s La Justice et la Vengeance divine poursuivant le Crime and the Emblem T adition.......................................... ...........................180 ME ton SzentpKte i .................................. .............................186 Temple of Encyclopaedia. A Symbol of -ni.e sal Wisdom in Johann Hein ich AlstedXs Wo 5s ................................................... ..........................186 Ist.En Be szEn ...................................... .............................1NN Rep esentation as ma5ing belie.able . ..............................1NN Daniela Ca pi ....................................... .............................208 Iconological sub.e sion of the la8 in P.D. James4s A Certain Justice ........................208 7o inna CsetKnyi .................................... .............................217 Images of La8lessness in Stephen King4s The Long Walk ................................217 DL a Szaute ........................................ .............................22I On Abst action H Iconoclasm and Iconolat y . .............................22I Anna KK chy......................................... ............................2I0 Diso de in the Museum. Recycling Waste and Cultu al T auma in the Chapman C othe s4 AbBect A t................................................ ..........................2I0 Szil.ia CsanEdi-CognE .............................. ..............................244 Illegal A t and the Wa of Images ...................... .............................244 2sLfia Anna TLth................................... ..............................251 [The Defense Rests.” Pictu ing the Un est of La8 and O de in Chicago ...................251 PKte Kecs5Ks ....................................... .............................25N [Cosmog ams” E6hibition and P esentation . ............................25N Erzsé,et Str%,. Lunar Imagery and oyal 3anegyric in 8ohn Lyly’s 3lays On the second of Feb ua y of the [8ond ous yea ” of 1588 John Lyly4s play Andimion, The Man in the Moon 8as p esented in f ont of the Tueen. It 8as a g eat success and the play8 ight4s ambi- tions 8e e e8a ded by the Tueen4s ema 5 that he 8ould ma5e a good Maste of the Re.els at cou t. A decade late , anothe play by Lyly The Woman in the Moon echoing the subtitle of Andimion 8as published . Fo the fi st time, Lyly 8 ote the te6t in blan5 .e se and the p ologue announced that it 8as [but a Poets d eame,A The fi st he had bpc but not the last, unless the fi st displease” (P ologus 17H1N,. The 8o 5 tu ned out to be the last one by Lyly; p esumably, it did not a ouse the acclaim the 8 ite e6pected. In both plays, the luna image y and its association 8ith po8e and the female p inciple 8e e dominant. While the fi st used the Moon in an encomiastic manne to compliment the Tueen, the latte elied on the negati.e associations of the image. The fol- lo8ing pape claims that the diffe ences of the Vluna 4 language used by Lyly in his cou t plays ma 5s the dete io ation of his success and hopes fo a cou t ca ee . Fu the mo e, it 8ill a gue that the change of the luna image y is pa t of a mo e gene al disillusionment 8ith the e6t eme allego ical mode of the cult of the mona ch and signals a shift in the iconology of the moon f om panegy ic to a mo e c itical .oice in the late 15N0s. F om the late 1570s, aueen Elizabeth 8as celeb ated in pageant y, poet y, and sho8s in the language of allego y that app op iated elements of classical mythology. One of these t opes 8as he association 8ith the Roman goddess Diana. Many 8 ite s, among them Geo ge Peele, Si Walte Ralegh, and John Lyly used the image y of the moon to compliment the Tueen. Lyly, be- sides efe ing to epithets of Diana in his language, e6plo ed fu the themes elated to the Diana cult/ the conflict bet8een duty and lo.e, female po8e and chastity. The most int iguing e6p es- sion of the Diana cult of the queen can be found in his play Andimion, 8hich d a8s a st i5ing pa - allel bet8een the celestial body and the cha acte of the queen. Yet the moon4s negati.e connotations 8ith the unde 8o ld and 8itchc aft Tuic5ly found thei 8ay into the 8 itings of the age. In all of Lyly4s 8o 5s, the e is an unde cu ent of c iticism of the life at cou t. As Philippa Ce y says/ [Coth his p ose and d amatic 8o 5s sound an occasional note of scepticism about the cou tly .alues 8hich he supe ficially appea s to be p omulgating” (Ce y 1N8N, 112,. As the play8 ight g e8 olde in the se .ice of the cou t and ne.e achie.ed the post of the Maste of the Re.els that he so dea ly hoped fo , 1 his .oice embitte ed. In his final 8o 5 The Woman of the Moon, the Diana cult of the Tueen tu ns into [a melancholy instance of an image ta nished and an image lost” (Ce.ington 1N68, 185,. The Diana Motif The ph ases “Fi gin Queen” and “aueen Elizabeth I” ha.e been identical in the cultu al memo y of the last fou hund ed yea s, yet the young p incess 8ho stepped on the English th one in 1558 8as not e6pected by he contempo a ies ne.e to ma y and to put an end to the Tudo dynasty. 1 See his t8o disappointed petitions to the Tueen (Cond 1N7I, I/67H71,. 78 E zsKbet St Lbl In spite of he fi st public speech as a queen 8he e she e6p essed he 8ish to emain unma ied, 2 he cou tie s, he pa liaments and he subBects e6e cised a constant p essu e on Elizabeth to choose a husband in o de to p oduce an hei to the th one. Se.e al ente tainments staged fo he contained efe ences to he futu e ma iage and 8elcoming hosts 8ished he the blessings of the state of mat imony. Ne.e theless, Elizabeth
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