My thoughts on Arlecchino, The Servant of Two Masters

Last night my husband and I (and the baby, of course) went to see Arlecchino, The Servant of Two Masters. This probably sounds bad, but I wasn't expecting much; I just wanted to get my extra credit. But I was pleasntly surprised by how well it was done. It is very obvious that everyone worked VERY hard on it, and the acting was pretty good. It was neat to see some of the students in our class in a different light. Elizabeth played Brighella, an innkeeper - she was great. She stuck out her hips and constantly twirled her hair around her fingers. Abby (who is very quiet in class) played Smeraldina the maid, and she was so adorable and lively. William (another quiet one) played Arlecchino, the main character, and did an impressive job. Those are a lot of lines to memorize!! Everyone was great, but I have to say that my favorite character was Scaramouccia, the son of Dr. Lombardi. His part was so dramatic and overdone (intentionally, I'm sure), and it just made me laugh. Overall, the entire play was silly and funny, and it was nice to find out where the term "slapstick comedy" comes from.

For those who didn't get a chance to go, the play is mainly about a servant who undertakes to serve two equally demanding masters. He makes several comical errors in the process but also manages somehow to bring all the lovers together in the end (including himself). And since we are still discussing Twelfth Night, I thought I should mention that this play also contains a crossdressing sister (Beatrice Rasponi dressed up as her deceased brother).

It's kind of a shame that I'll be leaving the area now that I've finally discovered one of Beaufort's hidden treasures (I've only been a student since...well, a long time). I wish I could see more productions, and I even fantasize about reliving my high school freshman drama class days by being on the stage instead of in the audience - it looks like so much fun!!

Oh, and the best part: the baby didn't cry or pass gas too loudly! Hooray!! (Ok, now I'm just being dumb - I'll stop now).

Twelfth Night is pretty funny : > )

I really wish that Dr. Tombe offered a course on Shakespeare comedies. I'd consider taking that one just for giggles. So far I've only read act I, but I thought it was hilarious. I'm afraid that this will make me seem dumb, but when act I, scene 3 begins and it states: "Enter SIR TOBY [Belch]..." I honestly thought that "Belch" was a stage command. It's so fitting too. Sir Toby is a lush. (Perhaps I'm no less of a "natural" than Sir Toby or Sir Andrew.)

Anyway, I particularly love this scene - especially when Sir Andrew shows up. The conversation is priceless. Maria is quite correct in her statement that Sir Andrew is a "natural" (the footnote states that "idiots and fools were called naturals"). He just doesn't get it (Sir Toby is no genius for that matter). He begins the mess by calling Maria a "fair shrew" (1.3.43). Of course I didn't quite understand the joke until I read the very helpful footnote, but either way it's pretty funny. Sir Andrew seems to be attempting to flirt with the "Good Mistress Mary Accost" (which is also very silly) as is evident by his playful banter. The two make plenty of jokes back and forth, but Maria of course thinks Sir Andrew is a complete moron (which he seems to be thus far). He thinks he is so witty. What's silly is that Sir Toby seems to idolize his drinking buddy. He builds Sir Andrew up to be someone very cultured and learned. He tells Maria that he makes a lot of money and that he "speaks three or four languages word for word without the book (1.3.24-25). Apparently French is not among the three or four he managed to learn. Sir Toby simply asks why in French and Andrew totally misses the mark. This leads to a strange conversation that makes absolutely no sense because the two gentlemen continue misunderstanding each other, but neither will ask for clarification because they are so afraid of the other discovering their ignorance.

So that's where I stand so far with Twelfth Night. I really like it so far, and I hope that it will continue to provide the comic relief that is lacking in the copious amount of reading I have to do this week (although I am reading the chapter on sex in my psychology class).

John Donne: Rake to Religion

That's the tentative title of my paper/presentation. We haven't yet covered Donne, but I'm a fan and somewhat familiar with some of his poems. It is interesting to note the difference in his early poems vs. the holy sonnets of his later years. I'm sure most of you have already read "The Flea." Well, if you have then you know it's an elaborate pick up line (he's trying to get her in bed). Compare "The Flea" to sonnet 14, also called "Batter My Heart." (I'm not including this in my presenation - it's just an example.) Click on the link to see the poem. http://www.bartleby.com/105/74.html

I won't go into great detail just yet, but notice the conceit he uses. I've read that it's actually supposed to give one the impression of a ship being tossed about at sea, but it is difficult not to see sexual elements in this sonnet. Perhaps the words "enthrall," "chast[e]," and "ravish" only help to solidify this idea - strange choice of words for someone invoking God, huh?

I've included a couple books that will help get my presentation going (not MLA format):

• Harold Bloom, John Donne and the Seventeenth-Century Metaphysical Poets


• Cleanth Brooks, The Well-Wrought Urn: Studies in the Structure of Poetry

Duessa and Lady Macbeth

For some reason I find the villainess to be significantly more interesting than her male counterpart. I am by no means inspired by wicked women - just strangely fascinated. I am not a huge fan of Duessa, but she does remind me a bit of my favorite villainess, Lady Macbeth. Both women have a high degree of duplicity. It is quite obvious that Duessa is pure evil, but Lady Macbeth's villainous status is slightly less defined (she does display her guilty conscience in her sleep). While both women commit their evil deeds for different reasons, they both focus greatly on keeping up their appearances (I've noticed that appearance vs. reality seems to be a common theme among Renaissance literature). Duessa covers her ugliness and fiendishness with magic and beautiful, rich clothing, and Lady M tries to hide her sins with royal regalia. Lady M sums it up perfectly when she says that she will "look like th'innocent flower / But be the serpent under't" (1.5.65-66), and like Duessa, she succeeds in manipulating a weak and well-intentioned man. Duessa is ultimately exposed to be an ugly, deformed old hag in Book I, Canto 8, stanzas 47-48 (kind of reminds me of what Grendel's mother would look like) and is released to cause more mischief, I presume. We never actually see Lady Macbeth's evil deeds being exposed, but it is implied that she took her own life (and she probably proceeded to join Duessa in the underworld). I'd bet that Lady M looks on the inside how Duessa looked after being exposed (did I say that right?).