Saturday, 11 December 2010

Literary Characters - The Rake

The witty, womanising man of the world has appeared in fiction both before and after the heyday of the rake, from Shakespeare to Fleming, but he was never so popular and clearly defined as in the shape of the rake. An elite character, the rake used his sharp tongue, his sword and his wealth to dominate the lower classes and bed the ladies.

His ascendancy came with the English Restoration. The English had suffered through some years of strict Puritan government under Cromwell and when "the merry monarch", Charles II, opened the theatres and started spawning illegitimate offspring the time was ripe of the libertinistic rake to increase his appearance. As theatres introduced women on stage the rake would figure as a role model of enterprising masculinity on stage in the many restoration comedies. The rake reflected the king in many ways; he represents a force above the puritan society, one who presents a wild, primitive force in a polite, civilised dressing. The rake would be, as McGirr puts it, a-social (above society) rather than antisocial (opposed to it).

John Wilmot, 2nd Earl of Rochester,
the model for Dorimant, the rake in George Etherege's Man of Mode

Like in many modern societies, male honour was what mattered for the rake. This should always be present and defended, and so the rake would disregard debts to the rising middle classes, fight offenders wither with wit or sword and ravish women. The three weapons of the rake would therefore be intimately tied to his masculinity, the phallus and the phallic sword and tongue.

However, the appeal of the rake lessened towards the end of the 17th century. Charles failed to produce a legitimate heir and the capital was struck by plague and fire. John Wilmot, 2nd Earl of Rochester (portrayed by Johnny Depp in The Libertine), famous for his rakish lifestyle, died of alcoholism and a number of venereal diseases. Thus the tragic aspects of the rake became more apparent and the reformation of the rake became the agenda of the day. Although Mary Davy's The Accomplish'd Rake and Hogarth's series Marriage a la Mode suggested that the rake would have to be forced into reform, die or go mad Colley Cibber's Love's Last Shift and Samuel Richardson's hugely popular Pamela illustrate the contemporary idea that the rake could be reformed by a virtuous woman and would then be the best possible husband.

Of course there were more damning depictions of the rake throughout the 18th century. In Richardson's Clarissa the rake Lovelace is killed in a duel and in Sir Charles Grandison and Pope's mock-epic Rape of the Lock the rakes are subjected to ricidule before they end up inconsequential. With the extended focus on morality and the rise of the cult of sensibility towards the end of the 18th century the rake had been reformed and rewritten from the personification of the aggressive, conquering masculinity to that of a failed one on the margins of society.

Source: Elaine M. McGirr, Eighteenth-Century Characters: A Guide to the Literature of the Age (Houndsmills: Palgrave Macmillan, 2007)

Friday, 10 December 2010

Socialler and Socialler

I guess we are all just a barrell of lonely monkeys. I have been challenged by Lady B to write seven things about myself in a post "shorter than the Paleozoic era" (the Lady is a fond student of all things between a rock an a hard place). Assuming the Paleozoic era, like the parsec, is a unit of length rather than time as might be conjectured, I for one will not stand in the way of such contests of dispensing the excretory fluid. Setting the tattered manifest charter of impersonality aside for a second time (those scarred will remember the horrid lapse of standards of February this year) I will boldly endeavour to oblige the gaggle of coquettes in their thirst for brass tax.

1.
I could be compared to a summer's day
Though I am more lovely and more temperate:
Rough winds do shake the darling buds of May
And summer's lease hath all too short a date:
Some too hot the eye of heaven shines,
And oft is his gold complection dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But my eternal summer shall not fade
Nor lose possession of that fair I oweth;
Nor shall Death brag I wander'th in his shade,
When in eternal lines to time I groweth:
So long as men can breathe and eyes can see,
So  long lives this and this gives life to me
2. Most Terry Gilliam films presents a fairly accurate description of my mindscape.

Terry G

3. I invented the Spanish question mark and the royalties afforded me anually are partly to blame for the current economic turmoil in Spain.

The other one is copyright infringement

4. I am fascinated by the apparent humanity behind much of the lofty cultural expressions of history. Consider this: although civilisation has gradually become more advanced through the ages our perception of the value of cultural remnants of history has described an oppositely declining trajectory, as has our understanding of the basic functions of humanity behind those remnants. Therefore, discovering the lewdness of Hamlet, the greatest emo of all times, the fact that the English Enlightenment poet Stephen Duck died by ducking in 1756 or that Virgil got his name for not sleeping with ladies (because he was secretly otherwise inclined) delights me to no end.
 
 
5. My latest purchase is La Pucelle d'Orléans by Voltaire. A dirty sexist satire over the life of Joan of Arc, the book was found too licentious by the 18th century French! Since it was outlawed, banned and burned throughout France Voltaire brought it to London whose printers published in great excess and delight. I have found one of these copies from 1774 in a Viennese antiquarian bookstore and it is in the mail as this post is being written. Now all that remains is to learn French and I should be able to look forward to many a hearty, bawdy guffaw.

Juicy Joan,
too frivolous for the French

6. My hobbies are golf, masturbation and strangling animals. Simultaneously.


7. I get the creeps by the following: open drawers, clingfilm, thick ropes, dentists' drills, pictures of VD and jutting my jaw forwards so my lower front teeth get on the outside of my upper front teeth. On the other hand, I have been cut, shot (by myself), bitten by lots of different animals, had surgery in my stomach without anasthetic, cut the inside of my eyelid on rusty barbed wire, climbed a switched on electric fence and bled quite substantial amounts of blood on a wall. However, I am genetically conditioned to cry when animals in distress are rescued or when those two Italians sing and play for Lady and the Tramp in the original movie.

You've read it!
You can't un-read it!

Stay tuned for more verisimilitude!
Look it up.

Sources: pic1, pic3, pic5 

Saturday, 4 December 2010

A Wikileaks Memo You Missed

EXECUTIVE OFFICE OF THE PRESIDENT

November 17, 1973

COUNTER TO THE CHINESE THREAT

FROM: Henry Kissinger, US National Security Advisor

CC: Fred Turner, Chairman of McDonald's Corporation

SUBJECT: Foreign Policy, Commerce
  • It is thought to be in the interest of the West to find some means to counter the threat of the collective weight of the people of China
  • Should the people of China by common effort endeavor to jump at the same time the planet's orbit will be disrupted.
  • If this should happen, the planet might spiral outwards in the solar system and possibly collide with the moon.
  • To prevent this, a fattening of the general populace of the West is suggested.
  • This populace, though less numerous, would act as a counterweight to that of China in the event of an orchestrated jump.
  • This policy utilizes the uneven distribution of food and has the added benefit of aiding US commercial interests abroad.
  • The fast food chain McDonald's newly opened European branch has been marshalled to this effort.

-1-

(Source: none. This is an imaginary memo.)

Tuesday, 9 November 2010

Three Series to Watch Online

Here are three psychology-related series which neatly compliment each other. The humour in Frasier compensates for the lack of such in In Treatment and Lie to Me*. The extended dialogue in In Treatment stimulates in a way that of the two others cannot due to their generical requirements of plot progress. Finally, Lie to Me* provides the engaging conflict of the crime series and a driven plot which to different extent is absent in the others.

Watch the series on these sites, bearing in mind that these have been chosen not from commercial interest, as might be suspected, but for output per calorie burnt. Enjoy!

Source: link

All the seasons and all the episodes can be found here. Select one of each, wait for the "close to play" button in the player window to appear, click it and enjoy. Please note that you might find the player more manageable in full screen mode (second button from the right under the player window).

Source: link

As In Treatment is an ongoing series, updated, free and accessible sites are hard to come by. However, this site does the job quite well. You need to choose season (under the second category) and then an episode. If there are several to choose from, choose one with a fast loading time. Click the play button in the bottom left corner of the player and enjoy!

Source: link

With suitably dead eyes Cal Lightman, portrayed by Tim Roth, solves crime with a method dangerously, though enticingly, close to physiognomy. To watch the ongoing series, click here and follow the same procedure as described under the last heading.

Monday, 8 November 2010

Hubba hubba Zoot Zoot Animé Karaoke

With Monday morning coming down hard and a similar aspect of solidity marring the remainder of the day, I was pleased to have my spirits lifted in the evening by this. Enjoy!

Perfectly Golden, Wodehouse - Very Good Jeeves

Welcome to the second bulletin in the series "Perfectly Golden, Wodehouse"! As the experienced subscriber might recall, these are compilations in which he might lose himself in the genius of Wodehouse's writings and the splendor of the English language. The first bulletin included golden tidbits from Carry on, Jeeves. This bulletin will quote a five year younger Jeeves and Wooster collection, so read this voluminous (if that's the word I want) though far from exhaustive pastiche and I guarantee you will feel topping ooja-cum-spiff, what?

Second book:
Very Good, Jeeves
First published 1930
(ed. published 2008 by
Arrow Books, London)

"I hit Woollam Chersey at about four o'clock, and found Aunt Agatha in her lair, writing letters. And, from what I know of her, probably offensive letters, with nasty postscripts." (p.17)

"Young Bingo, you see, is one of those fellows who, once their fingers close over the handle of a tennis racket, fall into a sort of trance in which nothing outside the radius of the lawn exists to them. If you came up to Bingo in the middle of a set and told him that panthers were devouring his best friend in the kitchen garden, he would look at you and say, 'Oh, ah?' or words to that effect." (p.26)

"I now came down to earth with a bang: and my slice of cake, slipping from my nerveless fingers, fell to the ground and was wolfed by Aunt Agatha's spaniel, Robert." (p.28)

Bertie and the Right Hon. Mr. Filmer is trapped atop a gazebo by an infuriated swan:
"[The swan] was standing below, stretching up a neck like a hosepipe, just where a bit of brick, judiciously bunged, would catch it amidships. I bunged the brick and scored a bull's-eye. The Right Hon. didn't seem any too well pleased. 'Don't tease it!' he said. 'It teased me,' I said. The swan extended another eight feet of neck and gave an imitation of steam escaping from a leaky pipe." (p.32)

"The Right Hon. was a tubby little chap who looked as if he had been poured into his clothes and had forgotten to say 'When!'" (p.33)

"The swan had been uncoiling a further supply of neck in our direction, but now he whipped round. [...] He subjected Jeeves to a short, keen scrutiny; and then, taking in some breath for hissing purposes, gave a sort of jump and charged ahead." (p.36)

"I had once got engaged to his [Sir Roderick Glossop's (red. anm.)] daughter, Honoria, a ghastly dynamic exhibit who read Nietzsche and had a laugh like waves breaking on a stern and rock-bound coast. The fixture was scratched owing to events occuring which convinced the old boy that I was off my napper; and since then he has always had my name at the top of his list of 'Loonies I have Lunched With'." (p.65)

"he was not young Tuppy. Tuppy has one of those high, squeaky voices that sound like the tenor of the village choir failing to hit a high note. This one was something between the last Trump and a tiger calling for breakfast after being on a diet for a day or two." (p.76)

"'You!' said Sir Roderick finally. And in this connection I want to state that it's all rot to say you can't hiss a word that hasn't an 's' in it. The way he pushed out that 'You!' sounded like an angry cobra, and I am betraying no secrets when I mention that it did me no good whatsoever." (p.78)

"The Bellinger, at Tuppy's request, had sung us a few songs before digging in at the trough, and nobody could have denied that her pipes were in great shape. Plaster was still falling from the ceiling." (p.91)

"'The modern young man,' said Aunt Dahlia, 'is a congenital idiot and wants a nurse to lead him by the hand and some strong attendant to kick him regularly at intervals of a quarter of an hour.'" (p.96)

"'Bertie,' said Aunt Dahlia firmly, 'you will sing "Sonny Boy" on Tuesday, the third prox., and sing it like a lark at sunrise, or may an aunt's curse -'
'I won't!'
'Think of Angela!'
'Dash Angela!'
'Bertie!'
'No, I mean, hang it all!'
'You won't?'
'No, I won't.'
'That is your last word, is it?'
'It is. Once and for all, Aunt Dahlia, nothing will induce me to let out so much as a single note.'
And so that afternoon I sent a pre-paid wire to Beefy Bingham, offering my services in the cause, and by nightfall the thing was fixed up" (p.101)

"A costermonger, roused, is a terrible thing. [...] From every corner of the hall there proceeded simultaneously the sort of noise you hear, they tell me, at one of those East End boxing places when the referee disqualifies the popular favourite and makes the quick dash for life. And then they passed beyond mere words and began to introduce the vegetable motive.[...] The last seen of him [Tuppy], he was beating a tomato to the exit by a short head" (pp.106-107)

"[Tuppy] came in, and hovered about the mantelpiece as if he were looking for things to fiddle with and break." (p.109)

"an Aberdeen terrier of weak intellect, had been left in my care by the old relative while the went off to Aix-les-Bains to take the cure, and I had never been able to make it see eye to eye with me on the subject of early rising." (p. 112)

"London is not big enough to hold Aunt Agatha and anybody she happens to be blaming." (p. 113)

"With a slight sinking of the old heart, I saw that the kid had recognized me.
'Hullo!' he said.
'Hullo!' I said.
'Where are you off to?' said the kid.
'Ha, ha!' I said, and legged it for the great open spaces." (p.119)

Later, Jeeves was referring to what ensued...
"'Indeed, young Master Blumenfeld was somewhat outspoken.'
'What did he say?'
'I cannot recall his exact words, sir, but he drew a comparison between your mentality and that of a cuckoo'
'A cuckoo, eh?'
'Yes, sir. To the bird's advantage.'"

"No good can come of association with anything labelled Gwladys or Ysobel or Ethyl or Mabelle or Kathryn. But particularly Gwladys." (p.137)

"It's a hard world for a girl, Jeeves, with fellows flinging themselves under the wheels of her car in one long, unending stream." (p.141)

"'Have a drink?' I said.
'No!'
'A cigarette?'
'No!'
'A chair?'
'No!'
I went into silence once more. These non-drinking, non-smoking non-sitters are hard birds to handle." (p.154)

"But now, though she still resembled a lion-tamer, her bearing had most surprisingly become that of a chummy lion-tamer - a tamer who, after tucking the lions in for the night, relaxes in the society of the boys." (p.182)

"'And it is for this [...] that we pay rates and taxes!'
'Awful!' I said
'Iniquitous.'
'A bally shame.'
'A crying scandal,' said Miss Mapleton.
'A grim show,' I agreed." (p.184)

"I have never been able to bear with fortitude anything in the shape of a kid with golden curls. Confronted with one, I feel the urge to step on him or drop things on him from a height." (p. 190)

"I think I have mentioned before that my Aunt Dahlia stands alone in the grim regiment of my aunts as a real good sort and a chirpy sportsman. [...] I had just got across the lawn when a head poked itself out of the smoking-room window and beamed at me in an amiable sort of way.
'Ah, Mr Wooster,' it said. 'Ha, ha!'
'Ho, ho!' I replied, not to be outdone in the courtesies." (p.191)

"This scourge of humanity was a chunky kid whom a too indulgent public had allowed to infest the country for a matter of fourteen years." (p.199)

"There came into his eyes the sort of look which would come into those of an Indian chief [...] just before he started reaching for his scalping knife. He had the air of one who is about ready to begin." (p. 205)

"There was a bird or two hopping about, a butterfly or so fluttering to and fro, and an assortment of bees buzzing hither an thither." (p.210)

"'Darling!' said Mrs Bingo, blowing him a kiss.
'Angel!' said Bingo, going on with the sausages." (p. 216)

Bingo suffers under a diet inflicted on him by Mrs Bingo. She forgets the luncheon basket and tells him:
"'It is much the best thing that could have happened.'
Bingo gave her a long, lingering look.
'I see,' he said. 'Well, if you will excuse me, I'll just go off somewhere where I can cheer a bit without exciting comment'" (p.228)

"'You, Jeeves?' I said, and I should rather think Cæsar spoke in the same sort of voice on finding Brutus puncturing him with the sharp instument." (p.228)

"Hell, it is well known, has no fury like a woman who wants her tea and can't get it." (p.229)

”[Health enthusiasts prefer the fruit-liquor]. You make this, apparently, by soaking raisins in cold water and adding the juice of a lemon. After which, I suppose, you invite a couple of old friends in and have an orgy, burying the bodies in the morning” (p. 232)

“The back-seat drivers gave tongue” (p. 233)

“’What I want,’ I said, “is petrol.’
‘What you’ll get,’ said the bloke, ‘is a thick ear.’
And, closing the door with the delicate caution of one brushing flies off a sleeping Venus, he passed out of my life” (p. 236)

“the Pyke [a friend of Mrs. Bingo] is unfit for human consumption and should be cast into outer darkness where there is wailing and gnashing of teeth.” (p. 237)

“He was fat then, and day by day in every way has been getting fatter ever since, till now tailors measure him just for the sake of the exercise.” (p. 244)

“I sauntered along the passage, whistling carelessly, and there on the mat was Aunt Agatha. Herself. Not a
picture. A nasty jar. […] She legged it into the sitting-room and volplaned onto a chair.” (p.249)

“’[I could] bring the car round from the garage –‘
‘And off over the horizon to where men are men?’
‘Precisely, sir.’” (p. 269)

“’Who was the girl?’ I asked, in that casual, snaky way of mine – off hand, I mean.” (p. 278)

Friday, 5 November 2010

To Rise above the Beasts - Laura

Welcome to the To Rise above the Beasts series!

This is a series of posts where I, with as little interference as possible, will present what I consider to constitute talent. As talent is a many splendoured thing, the only requisite I choose to set is that the talent needs to be out of the ordinary, that is; bafflingly unexpected.

So, without further ado, on to the first talent, Laura.

Laura

In Luc Besson's The Fifth Element from 1997 the character Diva Plavalaguna (with the voice of Albanian soprano Inva Mula) sings Eric Serra's The Diva Dance. The first part consists of a segment from Gaetano Donizetti's Lucia di Lammermoor called Il dolce suono (click here for text). The second part is more trance-like, and I for one thought the performance of this unfeasible without the aid of computer technology...


I was gloriously mistaken.


To listen to more of Laura's singing, visit her youtube channel.