Further thoughts from Steiner, and also inspired by Steiner: 1) The dilemma of tragic drama in the modern world, he claims, was that the two main “ideologies” available (at the time of writing, 1961) are Marxism and Christianity, both of which are “anti-tragic.” 2) Steiner . . . . Continue Reading »
Ibsen, Steiner argues, did not write tragedies. Ibsen wrote “dramatic rhetoric” calling society to reform. For real tragedy, there is no such “solution” to be found, there is no remedy, except destructive sacrifice and perhaps a deus ex machina. From this angle, tragedy is . . . . Continue Reading »
Some more quotations from Steiner’s Death of Tragedy : “We cannot understand the romantic movement if we do not perceive at the heart of it the impulse toward drama . . . . The romantic mode is neither an ordering nor a criticism of life; it is a dramatization. And at the origins of the . . . . Continue Reading »
Steiner notes that, following the Renaissance, European drama operated under the shadows of neo-classical and Elizabethan dramatic practice, the former “closed” and rigidly adhering to Aristotelian criteria, the other open and experimental. He discusses the theory of Thomas Rymer (a . . . . Continue Reading »
George Steiner in his Death of Tragedy describes the “Shakespearean difference” as mainly due to Shakespeare’s avoidance of fascination with Hellenic models: “The neo-classic view [which rigidified Aristotelian conceptions of tragedy] expresses a growing perception of the . . . . Continue Reading »
Speaking of James Wood, there’s a devastating review of his novel, The Book Against God in the December issue of First Things . Dermot Quinn is underimpressed with Wood’s “painterly” writing style, and pans the supposed depths of the issues that Wood raises. According to . . . . Continue Reading »
James Wood has an intriguing and self-revealing review of new translations of Leon Battista Alberti’s Momus and Erasmus’s The Praise of Folly in the December 22 issue of The New Republic . He begins with a contrast between antique comedy, which is “comedy of correction” and . . . . Continue Reading »
Doug Jones read Flannery O’Connor’s story, “Parker’s Back” at our weekly disputatio today. What a wonderful story! It includes a burning bush and theophany; a baptismal vigil that ends with the main character, O.E. Parker, bearing a tattooed picture of Jesus on his . . . . Continue Reading »
A touch of Spenserian humor: Spenser has a witch create a false Florimell (Book 3) for her slothful and unattractive son, who is smitten with the beauty of the real Florimell. The witch uses materials from Petrarchan love sonnets to construct the lady ?Eactual lamps for eyes, actual golden wire for . . . . Continue Reading »
Spenser might provide a Milbankian response to Milbank’s endorsement of homosexual sex and “threesomes.” In Book 3 of The Faerie Queene , Spenser’s heroine is Britomart, the lady knight who represents a militant chastity directed toward marital and sexual consummation rather . . . . Continue Reading »
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