Epicoene


Also found in: Wikipedia.

Ep´i`coene


a.1.Epicene.
Webster's Revised Unabridged Dictionary, published 1913 by G. & C. Merriam Co.
References in classic literature ?
'Epicoene, the Silent Woman,' ridicules various sorts of absurd persons;
For examples of the latter, in a climactic sequence in Poetaster (1601) Crispinus vomits chunks of Marston's vocabulary to the accompaniment of multiple Os--first four, then two, then three more (5.3.500-5); (18) in Epicoene (1609) first Morose, with his aversion to noise, twice reacts to the sound of drum and trumpets with 'O, o, o', and later LaFoole reacts to the tweaking of his nose with 'Oh, o-o-o-o-o-Oh' (3.7.46, 49; 4.5.29-30).
(1) Certainly no other extant play of the late 1580s or early 1590s withholds a disguise-discovery this way, and not until the next century would other playwrights again occasionally decide to keep a disguise secret from playgoers in such plays as Francis Beaumont and John Fletcher's Philaster, Ben Jonson's Epicoene, William Rowley's A Match at Midnight, Jasper Mayne's The City Match, and James Shirley's The Sisters.
Everyman in his Humor (1598) 30 ohs/119 Os Everyman Out of his Humor (1600) 12 ohs/231 Os Poetaster (1602) 22 ohs/229 Os Sejanus (1603) No ohs/60 Os Volpone (1605-6) 12 ofts/87 Os Epicoene (1609) No ohs/l 17 Os Catiline (1611) No ohs/99 Os The Alchemist (1612) No o/is/199 Os Bartholomew Faire (1614) No ohs/l 16 Os (31) Erne, Shakespeare as Literary Dramatist, 3.
The next two chapters deal with William Shakespeare's A Midsummer Night's Dream in terms of hypallage or, in Puttenham's irresistible locution, "The Changeling," and Ben Jonson's Epicoene in terms of enallage, or (again, Puttenham) "The Figure of Exchange." These two chapters, in my view, clarify the main difference between Mann's work and Parker's: while Parker will trace the spoor of a pun or trope to the end of the chase, regardless of an unknown or improbable outcome, Mann limits the field.
(33.) Ben Jonson, Epicoene. or The Silent Woman, ed.
Two of Stephanson's conclusions underscore this reading: first, he finds that the language of what he terms "epicoene friendship" was not mutually exclusive with homophobic beliefs; second, he argues that these letters could also reflect "scenarios of a shared phallic aggression in which male friends traffic in figurative women or exchange female principles within a homocentric erotic economy" (160; 162).
Indeed, Epicoene's Jack Daw "buys titles" but has "nothing else of books in him" (1.2.72-73), a description that resonates with Thomas's blunders as well as Underwit's lack of martial knowledge.
Maxwell Baldwin, who claims that the duel is always presented favorably in plays before 1615, hasn't looked closely at Henry V (or Othello or Romeo and Juliet or the comic examples of dueling in Twelfth Night and Jonson's Epicoene).
Epicoene, or The Silent Woman, Ben Jonson; dir: Michael Sexton.
For Moulton, this erotic subgenre in England moved from later sixteenth-century "disorderly effeminacy" to "masterful masculinity" (211) in the seventeenth, and one of the prime catalysts, of course, was the wildly popular Ben Jonson, whose character Dauphine in Epicoene "represents a dream of masculine authorial autonomy in which the feminine is utterly rejected--a dream that for Jonson can be fully realized only by an aristocratic homoerotic male in a homosocial male society" (218).