How do we think of ways to track the progression of

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How do we think of ways to track the progression of this material? o Comparing two similar characters whom were written in different times? o How do the plays end? Mosca
o Resplendent flowering of the idea of the clever servant—traced back to classical Roman drama o Greco-Roman represents two different cultural legacies Greek: poetical, spiritual; sense of tragic, sense of comedy; poetics of how we can understand our feelings Roman: material, laws, courts, etc. Technically antithetical, then mixes with Christian tradition in EM moment If Greeks gave us Homer, Romans gave us Virgil: Homer is raw genius, Virgil is polished, epic poet Classical Greek material comes from hopelessly confused Greek myths Ovid polishes the myths; Ovid becomes the schoolhouse for writers looking for materials Romans took the Greek tradition, and ran with it—Seneca Revenge mode is one contribution Tragic model was Seneca for Elizabethans The Greeks are not usable for Elizabethans; so the Roman’s interpretation of Greek tradition, is usable Plautus and Terence—Comedy The clever servant comes from these traditions The Shakespearean clown, or fool—earlier periods; by now, this is the clear emergence of the clever servant The Malcontent—disillusioned of the world, criticizes the world o Agent of satiric expose o Stage manager within the play; puts on endless scenarios within the play o Can be everything to everybody (Castiglione) o Critical sociology? How may we construct it? o Leads to the ruined courtier o Why is there so much about servitude? Scam artist plot as beautiful bubble o Precisely his point: no one is immune because it’s seductive o Design of scammer’s plot being infinitely attractive, almost super normative Relentlessness—no one is immune, besides the two index characters (Bonario and Celia) o Given that, does it succeed? Or its very relentlessness, its extremism, its problem? o Relentlessness of the degenerativeness of the world has made poetry degenerate o Jonson wants to raise poetry again
o To what extent is human vice amenable to relentless critique? Would relentless critique counter-productive? Presentation Shakespeare made “individuals” instead of characters Contemporaries portray madness realistically, they never write as if they’ve ever been mad; Bill writes as though he’s been there and knows what it’s like Shakespeare borrowed a lot from contemporaries, but went farther than them Individual, very interior depths of a character A man’s life became very public; Elizabethan—what the does state need of the man who rules it? Jacobean—what happens to the man as he rules? Shakespeare takes general mood and feeling of Jacobean period; darkness, slow progression downwards Presentation Jacobean break from Elizabethan thought was epistemological, not religious Jacobeans had an artistic vision, not literal; don’t want to answer man’s

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