viernes, 30 de abril de 2021

Estilo indirecto libre en Richardson

 

Escribe Clarissa (Vol. III, carta LXXXV) a Anna Howe, describiendo los engaños de Lovelace, con el burdel en el que la alojaba, y con sus falsas primas aristócratas:

 

He always loved to speak as he found. No man in the world had suffered more from calumny than he himself had done.

Esto, por supuesto, es estilo indirecto libre. No es Clarisa describiendo lo que opina del carácter de él, o de si ha sido víctima de la calumnia, sino transmitiendo lo que Lovelace dice sobre sí mismo. Y así seguimos:

Women, he owned, ought to be more scrupulous than men needed to be where they lodged. Nevertheless, he wished that fact, rather than surmise, were to be the foundation of their judgments, especially when they spoke of one another.

He meant no reflection upon her ladyship's informants, or rather surmisants (as he might call them), be they who they would: nor did he think himself obliged to defend characters impeached, or not thought well of, by women of virtue and honour. Neither were there people of importance enought to have so much said about them. 

The pretended Lady Betty said, All who knew her would clear her of censoriousness: that it gave her some opinion, she must neds say, of the people, that he had continued thereso long with me; that I had rather negative than positive reasons of dislike to them; and that so shrewd a man as she heard Captain Tomlison was, had not objected to them.

I think, Niece Charlotte, proceeded she, as my nephew has not parted with these lodgings, you and I (fo, as my dear Miss Harlowe dislikes the people, I would not ask her for her company) will take a dish of tea with my nephew there, before we go out of town, and then we shall see what sort of people they are. I have heard that Mrs. Sinclair is a mighty forbidding creature.

With all my heart, madam. In your ladyship's  company I shall make no scruple of going any whither.

It was ladyship at every word; and as she seemed proud of her title, and of her dress too, I might have guseed that she was not used to either. 

What say you, Cousin Lovelace? Lady Sarah, thogh a melancholy woman, is very inquisitive about all your affairs. I must acquaint her with every particular circumstance when I go down. 

With all his heart. He would attend whenever she pleased. She would see very handsome  apartments, and very civil people.

The deuce is in them, said the Miss Montague, if they appear other to us.

They then fell into family talk, family happiness on my hoped-for accession into it. They mentioned Lord M.'s and Lady Sara's great desire to see me. How many friends and admirers, with up-lift hands, I  should have! [O my dear, what a triumph must these creatures, and he, have over the poor devoted all the time!] What a happy man he would be! They would not, the Lady Betty said, give themselves  the mortification but to suppose that I should not be one of them!

Presents were hinted at. She resolved that I should go with her to Glenham Hall. She would not be refused, although whe were to stay a week beyond her time for me. 

She longed for the expected letter from you. I mot write to hasten it, and to let Miss Howe know how everything stood since I wrote last. That might dispose me absolutely in their favour and in her nephew's; and then she hoped there would be no occasion for me to think of entering upon any new measures. 

Indeed, my dear, I did at the time intend, if I heard not from you by morning, to dispatch a man and horse to you, with the particulars of all, that you might (if you thoughtt proper) at least put off Mrs. Townsend's coming up another day. But I was miserably prevented.

(...)

—oOo—



 

Los teatros más espectaculares del mundo

 Los teatros más espectaculares del mundo:

https://www.facebook.com/elgranteatrodelmundo/posts/1053331668029066

lunes, 26 de abril de 2021

An Accident at the Flying Coaches

A curious passage from Samuel Richardson's Clarissa (1748). Lovelace descanting on the fate of the World's Fair at the Great World Fair. Note well the description of an Early Modern Merry-Go-Round:

 

It is certainly as much my misfortune to have fallen in with Miss Clarissa Harlowe, were I to have valued my reputation or ease, as it is that of Miss Harlowe to have been acquainted with me. And, after all, what have I done more than prosecute the maxims by which thou and I and every rake are governed, and which, before I knew this lady, we have pursued from pretty girl to pretty girl, as fast as we had set one down, taking another up; just as the fellows do with the flying coaches and flying horses at a country fair, with a Who rides next! Who rides next!

But here, in the present case, to carry on the volant metahor (for I must either be merry, or mad), is a pretty little miss just come out of her hanging-sleeve coat, brought to buy a pretty little fairing; for the world, Jack, is but a great fair, thou knowest; and, to give thee serious reflection for serious, all its toys but tinselled hobby-horses, gilt gingerbread, squeaking trumpets, painted drums, and so forth.

Now behold this pretty little miss skimming from booth to boothe, in a very pretty manner. One pretty little fellow called Wyerley perhaps; another jiggeting rascal called Biron, a third simpering varlet of the name of Symmes, and a more hideous villain than any of the rest, with a long bag under his arm, and parchment settlements tagged to his heels, ycleped Solmes; pursue her from raree-show to raree-show, shouldering upon one another at every turning, stopping when she stops, and set a spinning again when she moves. And thus dangled after, but still in the eye of her watchful guardians, traverss the pretty little miss through the whole fair, equally delighted and delighting: till at last, taken with the invitation of the laced-hat orator, and seeing several pretty little bib-wearers stuck together in the flying coaches, cutting safely the yielding air, in the one go-up the other go-down picture-oft-the-world vehicle, and all with as little fear as wit, is tempted to ride next. 

In then suppose she slyly pops, when none of her friends are near her: and if, after two or three ups and downs, her pretty head turns giddy, and she throws herself part of the reach when at its elevation, and so dashes out her pretty little brains, who can help it? And would you hang the poor fellow whose professed trade it was to set the pretty little creature a flying?

'Tis true, this pretty little miss, being a  very pretty little miss, being a very much-admired little miss, being a very good little miss, who always minded her book, and had passed though her sampler doctrine with high applause; had even stitched out in gaudy propriety of colours, an Abraham offering up Isaac, a Samson and the Philistines, and flowers, and knots, and trees, and the sun and the moon, and the seven stars, all hug up in frames with glasses before the, for the admiration of her future grandchildren, who likewise was entitled to a very pretty little estate: who was descened from a pretty little family upwards of the hundred years' gentility; which lived in a very pretty little manner respected a very little on their own accounts, a great deal on hers:—

For such a pretty little miss as this to come to so great a misfortune, must be a very sad thing: but, tell me, would not the losing of any ordinary child, of any other less considerable family, of less shining or amiable qualities, have been as great and as heavy a loss to that family, as the losing this pretty little miss could be to hers? 


(Vol. III, 316-17)


—oOo—


Shakespeare in Spain

 

González, José Manuel. (U de Alicante). "Nothing Like the Sun: Shakespeare in Spain Today." From Multicultural Shakespeare: Translation, Appropriation and Performance  9.24 (2012): 34-52.*

         DOI: 10.2478/v10224-011-0014-5

Online at   Repozytorium Uniwersytetu Lódzkiego.*

         https://dspace.uni.lodz.pl/handle/11089/9459

         2021


Mover cosas con la mente

 

martes, 20 de abril de 2021

(Re)defining Gender in Early Modern English Drama

 

Martínez-García, Laura, and María José Álvarez Faedo, eds. (Re)defining Gender in Early Modern English Drama. (Critical Perspectives on English and American Literature, Communication and Culture, 25). Bern, Berlin, Brussels, New York, Oxford: Peter Lang, 2021.* (I. Introduction; II. Negotiating Gender Off-stage: Patronesses, Celebrities and Playwrights; III. Women Acting: Performance, Identity and Power; IV. men on Stage: Buttressing and Questioning Notions of Manhood; V. Women Rewriting Men: Aphra Behn on Masculinity).

 

Martínez-García, Laura (U de Oviedo). "(Re)Defining Gender in Early Modern British Drama." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 11-19.*

Rodríguez-Loro, Nora. (U de Sevilla). "Charles II's Mistresses and Patronesses of Drama: The Dedications Addressed to Cleveland, Gwyn, and Portsmouth." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 23-48.*

Oroszlán, Anikó (U of Pécs, Hungary). "'The Female Humourist, a Kickshaw Mess': The Identities of the 'Man-Woman' Performer in Early Modern England." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 49-72.*

Álvarez Faedo, María José. (U de Oviedo). "How Emotions Were Used as Strategies of Power in the Plays and Memoirs of Margaret Cavendish." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 73-91.*

Vicente Calvo, Manuel (UNED). "'Our Worser Thoughts Heaven Mend!' Because Shakespeare Wouldn't: A View on the Construction of Femininity in Antony and Cleopatra." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 95-116.*

Borham Puyal, Miriam. (U de Salamanca). "Romantic Readers on Stage: How Don Quixote Became a Woman and Attempted to Change the World." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 117-38.*

Vazifehshenas, Sara, and Nahid Shahbazi Moghadam. (Semnan U, Iran). "Arche-Violence and Rape in Thomas Middleton's Women Beware Women." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 139-59.*

Pikli, Natália. (Eötvös Loránd U, Hungary). "'Gallops to the Tune o' "Light o' Love"': Hobby-Horses, Stigmatised Women and Male Riders in The Two Noble Kinsmen." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 163-87.*

Serrano González, Raquel. (U de Oviedo. "The Double Marriage: a Gendered Approach to Politics and Power." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 189-204.* (Fletcher/Massinger).

Figueroa Dorrego, Jorge (U de Vigo). "'I Have Had Enough of Variety': Reclaiming the Rake in The Debauchee." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 207-24.* (Anon., related to Brome's A Mad Couple Well Match'd, 1639, pub. 1653).

Tomé Rosales, Ángeles (Centro de Lenguas, Fundación U de Vigo). "'Onely Cheated, Robb'd, Abus'd, and Undone, Sir': Wine and the Whiggish Merchant in Behn's The Revenge: Or, A Match in Newgate (1680)." In (Re)defining Gender in Early Modern English Drama. Ed. Laura Martínez-García and María José Álvarez Faedo. Bern: Peter Lang, 2021. 225-40.*

 

 


Only the play has a plot

lunes, 19 de abril de 2021

La Teoría de la Mente y el receptor implícito

Pequeño Teatro

"Era una adolescente cuando llegó a mis manos Pequeño Teatro, la inmortal novela de Ana María Matute. Ocurría en un pueblo con puerto del Norte, pequeño, costumbrista y asfixiante para su joven protagonista. A menudo se dice que leer hace nuestro mundo más grande, pero ese libro me descubrió el encanto de lo pequeño, de lo propio. Me hizo entender que era absurdo pretender que mis historias transcurrieran en Boston o en Nueva York si no era primero capaz de admitir mi origen, que aborrecerlo era parte del proceso de juzgarlo, exonerarlo y llegar a perdonarlo. Que si no hacía las paces con mi origen no sería honesta, que detestar en la adolescencia el lugar donde uno ha nacido es tan natural como detestar el modo en que se ondula tu pelo, y que aprender a amar eso mismo proviene de una madurez que nada tiene que ver con crecer." 


(Dolores Redondo, prólogo a Los privilegios del ángel, 2021)

El teatro aficionado se reinventa