Quotulatiousness

October 24, 2023

What is a man?

Filed under: Health, History — Tags: , , , — Nicholas @ 03:00

Rob Henderson recently gave a lecture at the University of Richmond as part of their “Masculinity in a Changing World” series. Part of the lecture involved exploring the question “what is a man?”

Of course, there are many ways of understanding what being man is about, and there are many valid ways to be a man. However, regardless of how it is expressed, it usually has something to do with strength and toughness and productivity.

In his cross-cultural research, the psychologist Martin J. Seager has found 3 consistent requirements to achieve the status of manhood in various societies around the world.

First, the individual must be a fighter and a winner.

Second, he must be a provider and protector.

And third, he must maintain mastery and control of himself at all times.

Across cultures, there seems to be an implicit understanding of what being a man is.

Indeed, in a widely-cited study of 25 cultures—including New Zealand, Finland, Zimbabwe, Malaysia, Pakistan, Bolivia, and Trinidad—definitions of masculinity and femininity hardly fluctuated at all. As a rule, participants in this study said they did not believe that men and women differed in all respects, and they did not view one sex as inherently superior to the other. But in every culture, men were seen as active, adventurous, dominant, forceful, independent, and strong.

Contemporary polemicists will rhetorically ask questions like, “What is a woman?” But seldom does anyone ask, “What is a man?” People seem to already know.

Indeed, many individuals resort to commonplace expressions such as, “Man up”, or “Be a man”, or, more crassly, “Grow some balls”. In polite society, people won’t publicly express such remarks, but many will still think them.

Men, of course, are responsive to these statements. In a famous literary illustration, Shakespeare’s Lady MacBeth reinforces the conception of manhood as strength. Early on in this 17th century play, she receives a letter from her husband. The letter details an encounter with 3 witches and their prophecy that her husband Macbeth will take over the throne from King Duncan.

Lady Macbeth is eager for this power and insists that she and her husband must murder the King themselves in order for this prophecy to come true. Lady Macbeth expresses her concerns however, when she grows worried about whether her husband will be manly enough to follow through with this agreement. Her fears are confirmed when Macbeth, upon reflecting on the consequences of treason, subsequently backs out of the plan.

Lady Macbeth then persuades her husband when she proclaims that if he were to go through with the murder, then he would not only be a man, but “so much more.”

By dangling the enticing reputation of manliness over her husband, Lady Macbeth succeeds in getting him to kill the king, and subsequently setting in motion the chaotic events of the rest of the story.

Shakespeare was clearly a keen observer of human nature in general and of men’s anxieties about their masculinity in particular.

Such anxieties regarding the belief that manhood is something that must be achieved through action appear to be ubiquitous around the world.

I’ll offer a few brief examples.

On the Greek Aegean island of Kalymnos, many of the inhabitants make their living by commercial sponge fishing. The men dive into deep water without the aid of special equipment, which they scorn. Diving is a gamble because many men are stricken and injured. Young divers who take precautions are mocked as effeminate and ridiculed by their peers.

Halfway around the world, in the high mountains of Melanesia, young boys undergo intense trials before achieving the status of manhood. Young boys are torn from their mothers and forced to undergo a series of brutal masculinizing rituals. These include whippings, beatings, and other forms of terror from older men, which the boys must endure stoically and silently. This community believes that without such hazing, boys will never mature into men but remain weak and childlike. Real men are made, they insist, not born.

To this extent, the psychologist Roy Baumeister has pointed out that, “in many societies, any girl who grows up automatically becomes a woman … Meanwhile, a boy does not automatically become a man, and instead is often required to prove himself, usually by passing stringent tests or producing more than he consumes.”

In many non-industrialized small-scale societies, girls are believed to become women when they are physically able to produce children. The ability to have kids is considered a major contribution in itself to the community. Boys, in contrast, do not have a clear and visible biological indicator of manhood, and must often endure culturally sanctioned rituals and painful trials to become men.

Indeed, masculinity is widely considered to be an artificially induced status, achievable only through testing and careful instruction. Real men do not simply emerge like butterflies from their boyish cocoons. Rather, they must be carefully shaped, nurtured, counseled, and prodded into manhood.

The literary critic Alfred Habegger has remarked that masculinity “has an uncertain and ambiguous status. It is something to be acquired through a struggle, a painful initiation, or a long and sometimes humiliating apprenticeship.”

May 12, 2023

QotD: Great (but young) Romantic poets

Filed under: Britain, Education, History, Media, Quotations — Tags: , , , , — Nicholas @ 01:00

History being the study of human beings and how they do, you need a baseline grasp of how humans are. It doesn’t matter how smart you are — if you don’t have a good baseline grasp of human nature, History, the discipline, will always elude you.

[This is true of any Humanity, of course. Shelley and Keats have to be in the conversation for “greatest English poet,” right up there with Shakespeare. One or both of them might’ve been more naturally talented than the Bard. But Shakespeare was clearly a man of long, deep experience, whereas the Romantics … weren’t. For every “Ozymandias” or “To a Nightingale”, there’s at least one reminder that these guys died at 29 and 25, respectively. To call “The Masque of Anarchy” sophomoric is an insult to sophomores. “Like lions after slumber, In unvanquishable number.” Ugh. Good God, y’all].

Which is why that “social construction” stuff is so popular. Yeah yeah, it has some real (though really limited) explanatory power, but mostly it’s an excuse for kids who believe themselves clever to avoid contrary evidence. Calling, say, “masculinity” “just a social construction” frees you of the burden of entering the headspace of men who do things as men, because they’re men. To stick with a theme: Shakespeare could’ve written something like “the Masque of Anarchy” — probably as a wicked bit of characterization in Hamlet: The Wittenberg Years — but Shelley never could’ve written MacBeth’s “sound and fury” soliloquy. Shakespeare had obviously seen violent death; Shelley obviously hadn’t.

Knowledge of human nature is almost nonexistent in the Biz.

Severian, “How to Teach History”, Rotten Chestnuts, 2020-12-23.

November 26, 2022

QotD: The search for “authenticity”

Filed under: Health, Quotations — Tags: , , , , — Nicholas @ 01:00

The search for authenticity is not only futile but actively harmful, both psychologically and socially, for in general, authenticity is thought to require behavior without the restraints of normal civilized conduct, amongst which are the capacity and willingness on occasion to be hypocritical and insincere. Of course, the precise amount of hypocrisy and insincerity that one should indulge in is always a matter of judgment, but authenticity is brutish if it means saying and doing whatever one wants whenever one wants it.

Shakespeare knew that authenticity, in this sense, is for most people impossible and in all cases undesirable. The first few lines of Sonnet 138 should be enough to prove it:

    When my love swears that she is made of truth,
    I do believe her, though I know she lies,
    That she may think me some untutored youth,
    Unlearnèd in the world’s false subtleties.
    Thus vainly thinking that she thinks me young,
    Although she knows my days are past the best,
    Simply I credit her false speaking tongue:
    On both sides thus is simple truth suppressed.

Should Shakespeare abandon his love because he knows she is inauthentic in what she says? Of course not:

    Oh, love’s best habit is in seeming trust …

Away, then, with your self-esteem, your true self and your authenticity, and all the bogus desiderata of modern psychology.

Theodore Dalrymple, “Lose Yourself”, Taki’s Magazine, 2018-11-10.

October 12, 2022

History’s Real Macbeth

Filed under: Britain, Food, History — Tags: , , , , , , , — Nicholas @ 04:00

Tasting History with Max Miller
Published 11 Oct 2022
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August 27, 2022

Ex Dissed Him Publicly … Turned BRUTAL Insult Into An 80s Classic | Professor of Rock

Filed under: Britain, Media — Tags: , , , — Nicholas @ 02:00

Professor of Rock
Published 8 Apr 2022

One of the most heart wrenching love songs of the 80s steeped in a happy go lucky feel. “Romeo and Juliet” by Dire Straits is a bit of conundrum. Find out what this riddle of a song means from their 1980 classic album Making Movies and how Mark Knopfler took a breakup and made it an all-time standard next on Professor of Rock.

Hey music junkies and vinyl junkies Professor of Rock always here to celebrate the greatest artists and the greatest 80s songs of all time for the music community and vinyl community with music history video essay’s including today’s Dire Straits story of “Romeo and Juliet” and Dire Straits reaction. If you’ve ever owned records, cassettes and CD’s at different times in your life or still do this is your place. Subscribe below right now to be a part of our daily celebration of the rock era with exclusive stories from straight from the artists and click on our Patreon link in the description to become an Honorary Producer.

The British rock band Dire Straits formed in London in 1977. Their original line-up consisted of Mark Knopfler on lead vocals and lead guitar, his brother David on rhythm guitar, John Illsley on bass and Pick Withers on drums. In 1978 they released their self-titled debut which included the singles “Water of Love” and “Sultans of Swing”.

In 1979, they released their follow-up Communique, putting out the singles “Lady Writer” and “Once Upon a Time in the West”. For their third album, Dire Straits traveled to New York, and set up shop at a studio called the Power Station. They got to work on June 20, 1980. The album, called Making Movies was co-produced by Mark Knopfler and Jimmy Iovine, who had been the engineer and mixer on Bruce Springsteen’s Born to Run. Due to this connection, Iovine was able to secure E Street Band keyboardist Roy Bittan for the sessions.

It was the first time the band had ever fully worked a keyboardist into its lineup, but Knopfler’s arrangements were expanding musically and getting more complex. And Bittan was just the man for the job. Going into the studio, Mark had written a lineup of several great songs, “Tunnel of Love”, “Skateaway”, “Expresso Love”, “Romeo and Juliet” … And there was a sense within the group that this album was going to be something very special.

But for all the promise on the horizon, Dire Straits’ increasing success had exhausted one of its members. Dave Knopfler, more than anyone else in the band was struggling. And if the intense march to fame and fortune wasn’t hard enough, Dave also had the distinct challenge of living in shadow of his brother Mark … who was the undisputed leader of the band.

Through the first few weeks of recording Dave’s dissatisfaction felt like a dark cloud. And it followed him wherever he went. With eyes averted to the floor, he and Mark had all but stopped talking. And the resentment and gloom were dragging everyone down. It all came to a head one day when Dave showed up to the studio empty-handed. Responsible for a fairly simple guitar part on “Romeo & Juliet”, Dave just hadn’t bothered to practice it. So, Iovine told him to go away and learn it.
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August 9, 2022

QotD: Fusty old literary archaism

Filed under: Books, Europe, History, Quotations — Tags: , , , , — Nicholas @ 01:00

For as long as I can remember, readers have been trained to associate literary archaism with the stuffy and Victorian. Shielded thus, they may not realize that they are learning to avoid a whole dimension of poetry and play in language. Poets, and all other imaginative writers, have been consciously employing archaisms in English, and I should think all other languages, going back at least to Hesiod and Homer. The King James Version was loaded with archaisms, even for its day; Shakespeare uses them not only evocatively in his Histories, but everywhere for colour, and in juxtaposition with his neologisms to increase the shock.

In fairy tales, this “once upon a time” has always delighted children. Novelists, and especially historical novelists, need archaic means to apprise readers of location, in their passage-making through time. Archaisms may paradoxically subvert anachronism, by constantly yet subtly reminding the reader that he is a long way from home.

Get over this adolescent prejudice against archaism, and an ocean of literary experience opens to you. Among other things, you will learn to distinguish one kind of archaism from another, as one kind of sea from another should be recognized by a yachtsman.

But more: a particular style of language is among the means by which an accomplished novelist breaks the reader in. There are many other ways: for instance by showering us with proper nouns through the opening pages, to slow us down, and make us work on the family trees, or mentally squint over local geography. I would almost say that the first thirty pages of any good novel will be devoted to shaking off unwanted readers; or if they continue, beating them into shape. We are on a voyage, and the sooner the passengers get their sea legs, the better life will be all round.

David Warren, “Kristin Lavransdatter”, Essays in Idleness, 2019-03-21.

July 25, 2022

Yond Cassius has a lean and hungry look; He thinks too much: such men are dangerous

Filed under: Books, Europe, History — Tags: , , , , , — Nicholas @ 03:00

Rob Henderson considers the character of Julius Caesar (as filtered through Plutach and Shakespeare), and the “Dominance-Oriented Status Seekers” identified in a recent paper:

La morte di Cesare (The death of Caesar)
Oil painting by Vincenzo Camuccini between 1804 and 1805. via Wikimedia Commons.

In the opening scene of Shakespeare’s Julius Caesar (which is drawn from Plutarch’s Lives), the commoners of Rome are seen celebrating Caesar’s recent triumph over Pompey.

Two tribunes (elected officials), Flavius and Marullus, accost two of the commoners, asking them to name their trades and explain why they are out in their best attire rather than working.

The commoners respond to the tribunes’ condescension with indirect answers and puns that annoy the tribunes even more.

Eventually, Flavius and Marullus learn that the plebeians are cheering Caesar. The tribunes scorn them for doing this.

They tell the commoners that Pompey was a Roman too. So Caesar’s success was not truly a triumph for Rome.

Flavius later tells Marullus that they should remove the decorations from Caesar’s statues during Caesar’s parade.

Marullus questions this plan, stating that it also happens to be the Feast of Lupercal, a celebration of fertility.

But Flavius is adamant that they remove the ornaments, because the removal will help prevent Caesar from seeing himself as too great.

This first scene of Julius Caesar shows that the tribunes want to prevent the rise of a potential tyrant. But they themselves are more than willing to push the commoners around.

Later, two other prominent Romans — Brutus and Cassius — are likewise shown expressing their concerns about Caesar’s growing popularity.

Cassius asks Brutus how Caesar has any more right to greatness than Brutus or himself.

Cassius tells Brutus a story: When they were young, Cassius saved young Julius Caesar from drowning. Cassius always viewed himself as superior for rescuing Caesar. He is now aggravated that Caesar has risen above him.

Cassius decides to orchestrate Caesar’s assassination. Cassius gradually convinces other members of the Roman elite to help him carry out the conspiracy.

Meanwhile, Caesar himself, speaking privately with Mark Antony, expresses suspicions about Cassius:

    CAESAR
    Let me have men about me that are fat,
    Sleek-headed men, and such as sleep a-nights.
    Yond Cassius has a lean and hungry look.
    He thinks too much. Such men are dangerous.
    ANTONY
    Fear him not, Caesar; he’s not dangerous.
    He is a noble Roman, and well given.
    CAESAR
    Would he were fatter! But I fear him not.
    Yet if my name were liable to fear,
    I do not know the man I should avoid
    So soon as that spare Cassius. He reads much,
    He is a great observer, and he looks
    Quite through the deeds of men. He loves no plays,
    As thou dost, Antony; he hears no music;
    Seldom he smiles, and smiles in such a sort
    As if he mocked himself and scorned his spirit
    That could be moved to smile at anything.
    Such men as he be never at heart’s ease
    Whiles they behold a greater than themselves,
    And therefore are they very dangerous.
    I rather tell thee what is to be feared
    Than what I fear; for always I am Caesar.
    Come on my right hand, for this ear is deaf,
    And tell me truly what thou think’st of him.

Caesar is saying all men are hungry, either for food, entertainment (“he loves no plays … he hears no music”), or power. If prosperous men aren’t tempted by food and entertainment, then they crave power. Thus, prosperous men who are lean are dangerous.

Mark Antony dismisses Caesar’s concerns about Cassius, because Cassius is a “noble Roman”. But as events unfold, we see that Antony was misguided.

Caesar was correct in his judgment of Cassius.

The eminent literary critic (and my former professor) Harold Bloom has stated that Caesar’s “estimate of Cassius shows him to be the best analyst of another human being in all of Shakespeare”.

Bloom goes on to characterize Cassius as embodying a “spirit of resentment, unhappy as he is at contemplating greatness beyond him”.

Cassius secretly arranges to have fake notes sent to Brutus, who is fooled into thinking the notes have been written by ordinary Roman citizens who want the Roman elites to stand up against Caesar.

When persuading the other conspirators to help him carry out the assassination plot, Cassius’s stresses his concern for the future of Rome.

But Cassius’s story to Brutus indicates that the assassination was in part fueled by his resentment that Caesar grew into someone more powerful than himself, thus upending their former status disparity.

Rowan Atkinson & Hugh Laurie – Shakespeare and Hamlet (1989)

Filed under: Britain, History, Humour, Media — Tags: , , , — Nicholas @ 02:00

Nathaniel Brechtmann
Published 1 Sep 2011

A sketch called “A Small Rewrite”, performed by Hugh Laurie (aka House) as Shakespeare and Rowan Atkinson (aka Mr Bean) as the editor.

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December 29, 2021

A history of and my first go at MEDIEVAL TENNIS

Filed under: Britain, France, History, Sports — Tags: , , , , , — Nicholas @ 02:00

Lindybeige
Published 28 Sep 2021

Thanks to Audible for sponsoring this video. New Audible members get a 30-day free trial. Visit http://audible.com/lindybeige or text “lindybeige” to 500 500 to try Audible today.

Tennis is a very old sport, going back at least to the 1200s. Here I try my hand at it for the very first (but not last) time, and talk about the history of it a bit.

Many thanks to Jesmond Dene Real Tennis Club (https://www.jdrtc.co.uk) where this was shot.

Editing this took a LONG time. We had three cameras recording at the same time, and synching the footage up took an age. The sound consisted mainly of echoing footsteps and ball bounces, and the fact that the main microphone kept glitching did not help (you will notice some of the patches to the sound using other mics, but most I made fairly smooth).

Court map by Atethnekos at English Wikipedia, CC BY-SA 3.0, https://commons.wikimedia.org/w/index…

Anne Boleyn picture by English school – https://thetudortravelguide.com/2019/…, Public Domain, https://commons.wikimedia.org/w/index…

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Lindybeige: a channel of archaeology, ancient and medieval warfare, rants, swing dance, travelogues, evolution, and whatever else occurs to me to make.

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November 3, 2021

QotD: English literature

Filed under: Books, Britain, Europe, Quotations — Tags: , , , , , — Nicholas @ 01:00

Here one comes back to two English characteristics that I pointed out, seemingly rather at random, at the beginning of the last chapter. One is the lack of artistic ability. This is perhaps another way of saying that the English are outside the European culture. For there is one art in which they have shown plenty of talent, namely literature. But this is also the only art that cannot cross frontiers. Literature, especially poetry, and lyric poetry most of all, is a kind of family joke, with little or no value outside its own language-group. Except for Shakespeare, the best English poets are barely known in Europe, even as names. The only poets who are widely read are Byron, who is admired for the wrong reasons, and Oscar Wilde, who is pitied as a victim of English hypocrisy. And linked up with this, though not very obviously, is the lack of philosophical faculty, the absence in nearly all Englishmen of any need for an ordered system of thought or even for the use of logic.

George Orwell, “The Lion And The Unicorn: Socialism and the English Genius”, 1941-02-19.

June 14, 2021

Movies based on “classic literature”

Filed under: Books, Humour, Media, USA — Tags: , , , , , , — Nicholas @ 03:00

Severian considers the relative glut of movies more-or-less based on the classics of literature from his formative years:

When I was a young buck, there was a fad for making movies out of “classic literature”. Scads of chick flicks, of course — Jane Austen’s complete works, the Brontës, and so on — but they also took a stab at Shakespeare. Mostly they stuck to the comedies — and trust me, watching Keanu Reeves trying to handle Much Ado About Nothing is hilarious, in all the wrong ways — but they’d occasionally give the tragedies a shot. Kenneth Branagh’s Hamlet is pretty good despite all the distracting cameos, his Othello is at least sincere (ye gods, imagine trying to make that today!), I think I’m forgetting a few. Mel Gibson gave Hamlet a go back in the early 1990s, and so on. Again, I’m pretty sure I’m forgetting a few.

It always struck me as odd. Unless they timed the theatrical releases to midterm and finals week, hoping to hoover up the dollars of desperate sophomores who didn’t do the homework, it didn’t make much sense, marketing-wise. We were a much more culturally literate people once, it’s true*, but there’s just not much of an audience for the Bard anymore. Nor was it a case of SJWs trying to destroy something good just on general principles. I’m sure Gwyneth Paltrow was bad as Emma, but the idea of retconning every single female in the Western Canon into a Strong, Confident Woman(TM) was still in its infancy. My only other guess was that, since college enrollments were skyrocketing, maybe the parents of all those first-gen college kids were feeling mal-educated and trying to catch up …? Lame, I know, but it was the best I could do.

Looking back on it now, I see my problem: I was looking at it from the demand side. Silly and naive as I was, I assumed that Hollywood’s primary concern was making money, so they went out and found what the people wanted to see, then gave it to them. For instance, I thought Titanic was going to be a huge flop. I mean, the boat sinks. We know that. How do you squeeze any dramatic tension out of it? I should’ve realized they’d be playing it as a doomed-lovers tragedy — girls love that shit, what with the big flouncy costumes and all. Once I realized that, I thought I had it all figured out — every girl I, personally, knew found the works of Jane Austen tedious, but that’s because (I reasoned) you have to supply the images for yourself. Put Hunky McBeef up there in breeches and a peruke, Waify Beecup in a Regency dress, and it’s chick crack …

Or so I thought. Looking back on it now, that’s as dumb as my opinion that Titanic would bomb. Hollywood doesn’t care what you want. I doubt if Hollywood has ever cared what you want, but if they ever did, that time probably ended in tandem with Clara Bow’s career. Hollywood wants what they want, and so will you, because whaddaya gonna do, not watch it? The reason they made all those “classic literature” films in the 1990s, then, wasn’t because they thought we wanted (or needed) some cultural uplift.

No, the reason was: By the 1990s, the last of the old guard in Hollywood was dying off, replaced by the new guard, the Baby Boomers. As we know, it’s not enough for Boomers to control everything while making a shitload of money. No no, for them everything has to be deep and meaningful. They thought of themselves as artistes, not entertainers, so they had to put out a bunch of highbrow stuff, and we had to watch it. This is the sole reason goofy-looking Kenneth Branagh and his horse-faced wife (at the time) were a big cultural force. They made Shakespeare sexy, by which I mean, they allowed the studio heads to think of themselves as the arbiters of culture, not the carny trash they were and are. That some decent movies got made because of it, is entirely incidental.**

    *Last summer, during the worst of lockdown mania, I introduced my little nephews to Bugs Bunny. The real ones, from the 40s and 50s, not the crap they put out ten, twenty years ago. I am an educated man by modern standards, but a lot of that stuff flew over my head … and they used to show these in front of popular movies, on military bases, etc.! There’s the classic Wagner one, of course — kill da wabbit!! — but another one involves The Barber of Seville, which I haven’t seen performed and had to look up. Even the “throwaway” music was classical — they could assume, in other words, that your average workaday guy or GI had a fairly large repertoire of classical pieces in his head, enough to recognize bits from Strauss, Chopin, Schumann, etc.

    **I do kinda regret bashing Sir Kenneth, as wiki tells me he now is. I enjoyed Hamlet (again, despite the annoying cameos), and some of his other work was pretty entertaining, even, in a limited way, visionary — a quirky little picture like Dead Again didn’t do much in 1991, but it would clean up now (a PoMo costume drama!). I’m one of the few people who liked Mary Shelley’s Frankenstein, which again despite terrible casting (Robert De Niro? Seriously?) was loads of fun. Shelley’s novel as written is ludicrous, therefore unfilmable, but Branagh admirably captured the spirit of it. It’s as Goth as can be, in the original sense of “Gothic”. Wonderful stuff.

April 16, 2021

“Students will find in Shakespeare absolutely no moral compass”

Filed under: Britain, Education, History, Media — Tags: , , , — Nicholas @ 05:00

Sky Gilbert responds more than adequately to a demand to “Cancel Shakespeare” that also appeared in The Line recently:

This was long thought to be the only portrait of William Shakespeare that had any claim to have been painted from life, until another possible life portrait, the Cobbe portrait, was revealed in 2009. The portrait is known as the “Chandos portrait” after a previous owner, James Brydges, 1st Duke of Chandos. It was the first portrait to be acquired by the National Portrait Gallery in 1856. The artist may be by a painter called John Taylor who was an important member of the Painter-Stainers’ Company.
National Portrait Gallery image via Wikimedia Commons.

Allan thinks that Shakespeare’s language is difficult and old fashioned, and that students today find analyzing the complexities of his old-fashioned rhetoric boring and irrelevant. Yes, Shakespeare essentially writes in another language (early modern English). And reading or even viewing his work can be a tough slog. Not only did he invent at least 1,700 words (some of which are now forgotten today), he favoured a befuddling periodic syntax in which the subject does not appear until the end of a sentence.

But a study of Shakespeare’s rhetoric is important in 2021. There is one — and only one — exceedingly relevant idea that can be lifted from Shakespeare’s congested imagery, his complex, sometimes confusing metaphors — one jewel that can be dragged out of his ubiquitous references to OVID and Greek myth (references which were obviously effortless for him, but for most of us, only confound). And this idea is very relevant today. Especially in the era of “alternate facts” and “fake news.”

This idea is the only one Shakespeare undoubtedly believed. I say this because he returns to it over and over. Trevor McNeely articulated this notion clearly and succinctly when he said that Shakespeare was constantly warning us the human mind “can build a perfectly satisfactory reality on thin air, and never think to question it.” Shakespeare is always speaking — in one way or another — about his suspicion that the bewitching power of rhetoric — indeed the very beauty of poetry itself — is both enchanting and dangerous.

Shakespeare lived at the nexus of a culture war. The Western world was gradually rejecting the ancient rhetorical notion that “truth is anything I can persuade you to believe in poetry” for “truth is whatever can be proved best by logic and science.” Shakespeare was fully capable of persuading us of anything (he often does). But his habit is to subsequently go back and undo what he has just said. He does this so that we might learn to fundamentally question the manipulations of philosophy and rhetoric — to question what were his very own manipulations. Shakespeare loved the beautiful hypnotizing language of poetry, but was also painfully aware that it could be dangerous as hell.

In fact, Shakespeare’s work is very dangerous for all of us. That’s why students should — and must — read it. Undergraduates today hotly debate whether The Merchant of Venice is anti-Semitic, or whether Prospero’s Caliban is a victim of colonial oppression. Education Week reported that “in 2016, students at Yale University petitioned the school to ‘decolonize’ its reading lists, including by removing its Shakespeare requirement.”

It’s true that Shakespeare is perhaps one of the oldest and whitest writers we know. (And sometimes he’s pretty sexist too — Taming of the Shrew, anyone?). But after digging systematically into Shakespeare’s work even the dullest student will discover that for every Kate bowing in obedience to her husband, there is a fierce Lucrece — not only standing up to a man, but permanently and eloquently dressing him down. (And too, the “colonialist” Prospero will prove to be just as flawed as the “indigenous” Caliban.) William Hazlitt said: Shakespeare’s mind “has no particular bias about anything” and Harold Bloom said: “his politics, like his religion, evades me, but I think he was too wary to have any.”

Shakespeare Summarized: King Lear

Filed under: History, Humour, Media — Tags: , , — Nicholas @ 02:00

Overly Sarcastic Productions
Published 22 Jul 2014

Sorry it’s been a while. Summer vacation plays merry hell with both my work ethic and my voice. *discreetly hacks up a lung*

King Lear! He’s not a very good king, and he’s not a very good father! Good thing that, by the end, he’s neither of those things.

February 14, 2021

Shakespeare Summarized: A Midsummer Night’s Dream

Filed under: Humour, Media — Tags: , , — Nicholas @ 02:00

Overly Sarcastic Productions
Published 27 Feb 2014

Finally, a summarized comedic romance! And it was almost out in time for Valentine’s Day, when it would have been legitimately appropriate to release!

…I’m making progress, guys. Cut me some slack. 😛

Midsummer Night’s Dream is one of Shakespeare’s best plays. And nobody died this time! What a twist!

January 28, 2021

QotD: Art for art’s sake

Filed under: Economics, History, Media, Quotations — Tags: , , , , — Nicholas @ 01:00

Théophile Gautier didn’t actually say “Art for art’s sake,” but even if he did, it was only about 100 years ago. The notion that a true ahr-teeeeeste would never sully his hands with shekels comes from the fin de siècle, when a bunch of nancy boys sponging off their parents decided their works could only be properly appreciated by other useless mooches. William Shakespeare — a true artist, the finest writer in the history of the English language — would’ve laughed right in these guys’ mincing little faces, because as Larry Correia says, the writer’s prime directive is GET PAID. Shakespeare worked for a living, which means he wasn’t above a fart joke. Whatever got the job done. Ditto Mozart — The Magic Flute was the Bill and Ted’s Excellent Adventure of its day — and all the rest. The “artist” who trumpets his intention to produce “art” is a poseur, always and everywhere.

Severian, “The Entertainer”, Rotten Chestnuts, 2020-10-08.

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