Category Archives: Generic types

Death and Its Release

Given the setting of the drama and the attitudes during the time it wouldn’t be a stretch to say that death was a release for the Duchess and the ones truly close to her. Instead of being bound by the rules and laws that are present she is able to escape all that. Death does not represent to her an end but rather a beginning. For in the next world she would be able to live freely and as she wishes (granted this would mean that there is a life after death but…this is not the time to argue on that matter). Granted at the time she thought that Antonio and her children were dead, so this furthered her belief that death would enable her to reunite with them. While we as the audience know that this is not the case at the moment, it allows her to face her impending execution with courage  and defiance.

Frankly I’m glad that the Duchess was killed. Had she remained alive it would’ve been for no other reason then for Ferdinand to gloat over the so-called power he has over her. With her execution Ferdinand kinda lost what he was trying so hard to keep in the first place. I could imagine the Duchess smiling down from whatever astral plane she is on and remarking on how she won in the end. True her death could have been avoided and maybe something could have happened that might have resulted in a happier ending, but given the circumstances it played out quite well.

 

 

 

Posted in Life vs. Death, Love relationships, Power struggles, The Duchess of Malfi, Tragedy | 3 Comments

A Strong Female Force

The Duchess of Malfi is a tragedy  that clearly depicts female social issues. Since this play illustrates the Duchess going against the male figures in her life, it is ironic to realize females were still not allowed to act on stage. When the Duchess chose to marry Antonio, she put her desire before what her brothers wanted. This showed her using power to make her own decisions.

Both Ferdinand and the Cardinal tried to control the Duchess. They prove to have no boundaries and even go to the extent of murdering at an attempt to regain their power. The brothers keep Bosola under their control until he realizes once again payment isn’t guaranteed. At the end, the character they used to destroy others (Bosola) ends up destroying them. Furthermore, the more they tried to control the Duchess the more everything spun out of control.

Even though it may seem the play ended on a bitter note for the Duchess and female empowerment, there was still hope. The eldest son of Antonio and the Duchess shows their actions were not all in vein. The Duchess still maintained control of her estate by having it left to her child from the husband she chose. This play depicts women to have a great deal of power by showing the danger of trying to trap in a strong, independent, female character.

Posted in Power struggles, Psychological detail, The Duchess of Malfi, Tragedy | 1 Comment

Loyalty like a Fly

From the beginning it is clear that Mosca’s relationship to Volpone is rooted in the delicate acts they construe.  They function as a finely tuned machine of trickery that operates seamlessly, even in the face of unforeseen obstacles. Throughout his servitude to Volpone, Mosca is undoubtedly loyal, and receives the greatest satisfaction at his successes in the name of their bizarre game. While Volpone seems to derive satisfaction from the sheer thrill, Mosca nourishes himself on the scraps of this profound enjoyment, much like a parasite would his host. He is an unswerving and irreplaceable aspect of Volpone’s grand ruse. Until he isn’t. Much like others in the play, he is forced to sacrifice his bizarre code of honor in the face of self-interest, which, oddly enough forces Volpone to do the same. Although portrayed rather abruptly, it would seem that this inevitable reversal is something Jonson is keenly fascinated with, an altogether unsurprising conclusion.

These shifts occur at key junctures. As soon as Volpone commits the fatal flaw of violating their relationship status, by elevating him beyond his well-accepted boundaries, he forces the break in Mosca’s otherwise solid code. In this darker take on the pitfalls of honor, the near inability of it to exist, one finds that the root of this falls to nature, and the movement of people. In such a city, marred as it is by strains of depravity, but also, resting on these shifting, oozing grounds as foundation. Mosca begins to realize that his affection for the con is growing beyond his bounds of loyalty.

Willing his estate to Mosca, forgetting his ultimate reliance on the cunning man, is symbolic for each misstep. And in committing this motion Volpone has allowed himself to fall victim to his own devices. The only way to right this imbalance is to essentially ‘reset’ by self-incrimination and acceptance of guilt. Thus they are all wrapped up in varying levels of greed and conditions for individual honor, and until the final unraveling, this suspends each character against the chaos of the cityscape of Venice.

Ultimately what does this mess present as a central theme? At the risk of oversimplification, some light cliche, and grandiose generalizations, the work as a whole takes a very hopeless turn for those mired in greed and depravity. It would seem that once tainted, various indiscretions are impossible to wash off.

Posted in Power struggles, Psychological detail, Satire, Uncategorized, Volpone | 1 Comment

The Shoemaker’s Holiday: The Wheel of Fortune

When finishing The Shoemaker’s Holiday, by Thomas Dekker, I was surprised to find it a very light play in comparison to the past ones we’ve read. Every character ended up in a favorable position, even the so called antagonists, Oatley and Lincoln. First, Lacy who rebelled against Lincoln and the English in general, was not only allowed to keep his marriage but also knighted by the King; Lincoln and Oatley got over their obsession over social standing because of this event. Simon Eyre changed from a lowly shoemaker into the high position of a Mayor, taking the place of Oatley. The shoemakers gained a holiday despite any actions of their own and the King was so pleased with Eyre that he obliged to his request for Leadenhall. Ralph was able to reunite with Jane.  It may seem that only Hammon didn’t come out favorably in this play; however that is not really an option for him since it didn’t seem he was very driven for Jane anyway. He wagered money over her and even before meeting her, he had his fickle mind set on Rose.

So what does this make for the purpose of this play? I wondered about this, seeing that many plays we’ve read already presented very serious messages, going as far as murder in order to get them across. Is this simply a grown-up fairy tale in that everyone has their happy endings with a multitude of crude humor mixed in? Well, it could very well be that this play was made for this reason, maybe because of tragedy-based plays being presented during the Renaissance Era or maybe it could be a voice for different social classes in the English audience; where characters like Firk and Ralph can shine as unexpected heroes and instigators despite the higher authority they might be facing, be it Oatley, Lincoln, or Hammon. Simon Eyre can also serve as an escape for older members of the audience who dream of changing their economic standing despite the odds. It’s funny to think that the kind of messages this play sends out was even performed in front of royalty, who would probably relate the least to the main characters in the play.

Posted in Comedy, Power struggles, The Shoemaker's Holiday | 2 Comments

The Shoemaker’s Holiday – Scene Study

http://www.youtube.com/watch?v=hFX50ZlpYNM

In planning this scene study, our group came up with several ideas on how to go about presenting this scene. We decided to film in the library although we preferred to have a more classic background which was not available for us in the area. In order to depict where Scene 16 was taking place, we displayed a drawing of the Old Ford, Oatley’s estate, to provide a backdrop for us. Also, we ran into the problem of not having any people on hand to film for us, realizing that all four of us had to be on camera at a particular time. Thus, we decided to have a stationary camera as we filmed our scene.

As for the dialogue, it consisted for very dynamic expressions at certain points, especially Firk’s quips and remarks, and also changes in mood throughout the scene. So we added some background music to help in setting the mood as certain characters entered the scene. We were fortunate enough to have a quiet setting to film our scene and did not have a difficult time hearing our voices played back through the video. Overall, it was a smooth filming session and gave us more insight into the detailed work required for live theatre.

– Jillian Gritz,  Jasmine Bajraktari, Peter Wang ,Melissa Salamat

Posted in Comedy, The Shoemaker's Holiday | Tagged | 1 Comment

Shoemaker’s Holiday

Thomas Dekker’s play The Shoemaker’s Holiday is based around the buying and selling of goods. His play is a working class success story showing that true human value is measured in honest work instead of high class and social connections. During the time the play was written England was going through financial expansion and capitalism was on the rise. Throughout the play, the labor of shoemaking becomes a disguise in helping Lacy and Eyre to succeed.

Simon Eyre began the play as a middle-class shoemaker. After luck and with the help of Lacy, he ends up the Lord Mayor of London. However, it wasn’t the actual shoemaking which caused him financial gain but from pretending to be wealthy and sneakily buying a very profitable ship of goods. Lacy had helped him to do this buy getting the ship’s skipper drunk and giving him a down payment. He was then able to make his social climb.

In the same way Lacy set Eyre up in gaining his fortune, Eyre also gave Lacy the opportunity to work for him. Lacy, disguised as a Dutch shoemaker, was able to reconnect with Rose and ended up fitting her for shoes. At that point they then planned out their marriage. Ralph was also another main male character caught in a romance plot. However, shoemaking did not take the same disguise as it did for Lacy; instead the aftermath of war did. Ralph went off to war and came back physically unrecognizable. Unable to find his wife, he went back to the craft of shoemaking. While working, a servingman comes acquiring a shoe to be made for Hammon and his bride. He also gave a shoe to fit for size and Ralph realizes it is his wife who is to be married. Realizing his wife is alive, he is able to find her and take her home where she belongs.

All three of these men were able to obtain what they wanted through honest labor but very different approaches. Eyre shows human value by being an honest shoemaker most of his career. Although his gain of the ship was sneaky, it was given freely. By him helping Lacy and hiring him, it brought him success. Lacy’s new job of being a shoemaker and working helped him to get the girl. Ralph was honest throughout the play and went off to war even when he was just married. Even after war he continued to labor making shoes and was connected with his wife again. Shoemaking in this play was used to symbolize honest work of the middle class and the triumphs gained from it.

 

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The Shoemaker’s Holiday: Beyound the bawdy jokes

The Shoemaker’s Holiday is a comedy filled with sexual humor but there are much deeper meanings behind the bawdy jokes. Dekker’s play is a citizen’s comedy and it clearly and explicitly represents the voice of the upward rising class of the craftsmen.

Simon Eyre and also Roger Oatley are successful working class men who, by acquiring positions in city government got additional respect and also political power above their financial strength. What they also represent is a strong criticism toward the aristocrats. They are conscious representatives of their own class who have disdain toward courtiers. In Scene 1 Oatley doesn’t want Lacy for his son in law. To have one’s daughter marry with an aristocrat should be desirable, but for him to have a husband for his daughter from his own class is much more important. Eyre further reinforces this opinion in his advice to Rose in Scene 11 about who should she marry to. His advice to the fellow craftsman’s daughter furthermore has a universal, ever valid connotation: don’t judge a person by his external appearance. People can be well dressed but have nothing in the inside.

Juxtaposing Lacy’s and Ralph’s situation in Scene 1 is also a great example for this aforementioned additional meaning behind the explicit sexual humor. Both young men have to go to the war in France. Lacy as a courtier appointed by the king to be the chief colonel of the London’s company sent to the war. Ralph as a shoemaker was drafted as a soldier. Lacy deserts the army because he is in love with Rose and doesn’t want to leave her. In a romantic play this would represent the greatness of love, that can go beyond any boundaries. But Dekker’s play is not like that. There is Ralph’s figure in the other corner. He is a young husband deeply in love with his wife and not just a guy who having a secret affair with someone. Eyre and his men are trying to persuade the captains (who are – so brilliantly written – Lacy and his cousin) not to take him to France, but poor Ralph never says a word. He arrived with gun and gunpowder, ready for the battle. Deserting the army was never in the mind of the young craftsman.

There is so much more in this sort scene. Yes, it is filled with bawdy jokes that are the trademarks of Firk’s character and are there to make the comedy more enjoyable (or more offensive for others). But among these it is showing how virtuous is the working class and how prone to vice are the aristocrats. There is the master who is willing to suffer financial loss just to save his worker, there is the young craftsman who is ready to go to war, and on the other side there is Lacy, the aristocrat showing his true character. I believe that Lacy had the power to discharge Ralph, yet he does nothing. Even if he really couldn’t do anything, he is a true hypocrite. A man presented to him in a really similar situation as himself; nevertheless he cares nothing about him. He is already made his decision to desert the army for her love but he is telling Jane that his husband must go because his country needs him.

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The Shoemaker’s Holiday: Concealed Lover

Thomas Dekker’s The Shoemaker’s Holiday brings a change of pace to the usual blood, vengeance, and death I’ve grown accustomed to reading in the past few plays.  Dekker’s play, being a comedy, encompasses the up spirited topic of love.  Rightly so, this topic is usually what makes up most of our current day comedies.  Yet, at the same time, love makes up much more than a comedy altogether; it provides conflicting emotions and the intriguing chase for a lovers’ embrace.  Dekker elects Hammon to be Cupid’s target practice.

If Hammon were around today he would surly be the quirky main character of a romance/comedy who bides his time until the girl he loves finally notices his affection toward her. Given that we are studying English Renaissance Drama, the struggle for one girl’s affection is not enough.  Hammon claims love for both Rose and  Jane.  Love is always a dangerous thing because it tricks you.  Why does Hammon have this conflict between Rose and Jane?  He seems like a completely suitable man yet the love he claims to have for them goes unwanted and unnoticed.  Does he have this conflict because he doesn’t truly know what love is? Is he proclaiming love just for the slim chance that he might get noticed? I believe so.

Hammon’s going from one girl to the next announcing his love proves just how little he knows of it.  His conversation with Jane in scene 12 shows that maybe Hammon is throwing love around in hopes that he may enjoy the more physical nature of love. Hammon being ‘muffled’ at the start of the scene can also suggest that his true motives are concealed and that his urge for physical attention drives him to fall in love quickly.  There is something off with Hammon and I’m hoping that there is some perverse nature underlying his gentle, loving outward form in order to make things a bit more interesting.

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The Shoemaker’s Holiday, Love, Fate, and No Bloodshed

Up to the point of scene 13, we as a class have taken a harmonious holiday from the bloody affair that is love in Renaissance drama.  Unlike The Spanish Tragedy, Dekker’s characters have proposed a dubious, yet non-lethal scheme to achieving inter-class love.  Rose is attempting to reclaim her affair with Lacy but through his new identity of Hans.  Rather than Rose killing off her father or herself for love’s sake, she has devised a romantic plan of deception and triumphant love.  Surprisingly enough, Lacy seems to agree, and exits scene 13 with Sybil to go see Rose.  Ironically, the two characters are not desperately searching for each other, but have shown that they desperately love each other.  They fatefully cross paths at a celebration for Eyre.  It seems to me that Dekker substitutes bloodshed for fate.  If fate achieves love, then bloodshed may be avoided.

Also adding an ironic twist, Dekker gives us Hammon.  He desperately seeks love but cannot obtain it from a woman.  Whether from Rose or Jane, Hammon just wants somebody to love.  He “will do any task at your command” he tells Jane (12.37).  Hammon is a “gentleman” and from descriptions a handsome man, but he cannot woo a woman to love him.  What seems like fate to him, Ralph’s name on the list of the dead, is actually a lie.  After seeing Ralph’s name, Jane forces herself to agree that if she marries another man it would be Hammon.

It seems as though Dekker has removed the bloodshed to project his opinion on fate.  In the case of Rose and Lacy/Hans, their love is true and not sought for class, wealth, or to fill loneliness.  On the other hand is Hammon.  He so desperately wants love, but everyone he seeks it with loves another person.  His persistence forces Jane to believe her love is dead but gains no love for himself.  I can only hope in the following scenes that fate brings Jane and Ralph back together to show that fate and true love prevail.

Posted in Comedy, Love relationships, Power struggles, The Shoemaker's Holiday, Uncategorized | 1 Comment

Shoemaker’s Holiday and Humor?

Humor. It differs from person to person in their ability to perceive it or react to it. This is either due to culture, religion, or other factors. In The Shoemaker’s Holiday the humor is very geographically and culturally based. Which makes sense since it is an Elizabethan play. But because of the way the humor is presented, it often causes confusion and bewilderment from readers that don’t come from London. This was the case when I was reading it. Half the time I couldn’t understand what they (the actors) were saying and the other half was spent in re-re-reading what I had just read because I couldn’t believe what I had just read.

That being said the play itself, once you get over the odd humor, is quite sexual. At every turn there seems to be some sexual joke or hint that seemingly comes out of nowhere each and every time. At the end of each one you would probably scratch your head in confusion and need to refer to the footnotes and definitions just to understand what the actors mean.  Like in scene 7 where Firk, Hodge, and Eyre are mentioning the various ways they will “firk” or “take down” various women. Or how Firk mentions how he “For yerking and seaming let me alone, an I come to’t.” and that he will “deal with her.” At first glance their little conversation makes no sense but reading deeper into it you realize exactly what Firk wants to do with Sibyl.

The rest of the play goes along the same lines. There are references to sexual acts and actions that seem to mean one thing often turn into something more…carnal. The entire play seems to be one long sex comedy that’s been “hidden” by the citizen comedy it tries to portray itself as. Granted I’m not positive since the entire play still has me scratching my head!

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