Abstract

This paper sheds new light on the creative power of play that informs the tale of Madonna Isabella by viewing it primarily not from the perspective of the players but from the changing, kaleidoscopic perspectives arising from the play itself. Special attention is given to the play of the text, which, as it mimics the key features of IsabellaÕs play, acts as a force that at once emphasizes her ludic inventiveness and sets limits to her exuberant sexual desires.

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