The Norton edition is based on the Oxford Shakespeare, edited by Stanley Wells and Gary Taylor, so the reader seeking specific references should find no difficulty.
Again overtones of A Midsummer's Night Dream not to mention cruel to the donkey.
This casting of Clarke as Bottom does point to him as seen as getting above himself. It also shows graphically, behind the polite words we usually get about the Prince Regent's court as bawdy, how very out of control and cruel it was.
As you point out, this episode with Clarke and his disoriented, frightened reaction, was widely publicized, apparently in a way that ridiculed him rather than attacked the PR. No wonder JA despises the PR and balked at dedicating her novel to such a complete callous asshole.
What a jerk the man was.
He didn't just treat his wife abominably, he spread the suffering around, and I would not be surprised to learn of other examples of where unfortunate underlings of his were made to suffer public humiliation when for whatever reason the impulse seized the Prince.
Which suddenly makes me connect the dots between Clarke's involuntary Petworth Frolicks the title of the Cruikshank caricature and the following speech by Henry Crawford in Mansfield Park: Henry Crawford, to whom, in all the riot of his gratifications it was yet an untasted pleasure, was quite alive at the idea.
I feel as if I could be anything or everything; as if I could rant and storm, or sigh or cut capers, in any tragedy or comedy in the English language. Let us be doing something. Be it only half a play, an act, a scene; what should prevent us?
Not these countenances, I am sure," looking towards the Miss Bertrams; "and for a theatre, what signifies a theatre? We shall be only amusing ourselves. Any room in this house might suffice. Don't you see, Henry Crawford in this moment is the Prince Regent himself, always in search of " an untasted pleasure" "in all the riot of his gratifications"!
And yet somehow it is still mainstream Austen scholarship that JA was flattered in a modest way that the Prince wanted her to dedicate Emma to him? What other evidence would it take to prove it, if this doesn't?
I think that there is a strong sense that she doesn't quite know how to deal with him--deal with him she must, but I wonder if she's simply keeping him at a distance. Is she not sending him the same disingenuous boiler plate she sends to the Countess of Morley?
At first I was taking it seriously, but now I wonder if her over-the-top worries about Emma's reception are a deliberate overplaying of her hand. It's clear to me that she felt a strong contempt for him, precisely because he WAS such a hypocrite, such a toady, so willing to go beyond all bounds of self respect, in order to please the Big Boss.
I forgot to reemphasize one point that epitomizes Clarke's impossibly deep lack of integrity and self respect.
Did he think that JA lived in a cave and had not read or heard about that incident? Whatever sympathy she felt for Clarke was, I think, overpowered by her contempt for his obsequious willingness to do his master's bidding, his staggering blindness to how he appeared to others.
As for her overplaying her hand, I don't agree. I'd say that Twelfth Night shows what it means to really overplay one's satirical hand. They waste no time and proceed to ratchet up from leaving the fake letter for him to find, about five levels, to where they falsely imprison him in the dark, and try their best to make him believe he is insane.
To the point where Olivia, at the end of the play, when she becomes aware of what the pranksters have all done to Malvolio, expresses real dismay. And of course Malvolio curses them roundly. But Clarke never said to the Prince anything resembling "I'll be revenged on the whole pack of you.
But, in contrast to what happens to Malvolio in Twelfth Night, JA clearly stopped at the first stageher joke on Clarke was a private joke, of which he was, as far as we can know, never even awarehe can hardly suffer today from the world's realizing in the 21st century the full extent of JA's joke at his expense-just as Mr.
Collins never knows that Mr. Bennet has been getting his jollies letting him make a fool of himself. That's what takes what JA did out of the realm of true cruelty, for me. She knew she had stumbled upon a real life man who made Mr. Collins look like an amateur, because whereas Collins only got next to Lady Catherine, Clarke had succeeded in getting himself close to the most powerful person in England.
So he became the King of the Toadies, if you will. She simply could not resist the challenge of constructing the matrix of satire that I have now fleshed out. For those who had eyes to read the Jane Austen Code, this was her message, saying, being powerless does not mean you have to surrender all self-respect.
He may be one these people who can only understand people as above him or below him, never as equal humans. That would irritate AustenOct 06, · Much Ado isn't so far above, say, Twelfth Night or As You Like It, in my opinion, because they're all good plays, but I find Beatrice probably the most relatable of the female leads in the comedies.
Viola is a bit too depressed/passive, and I just don't identify with Rosalind very much. A Midsummer Night's Dream (Bloom's Shakespeare Through the Ages) But we remember Falstaff as we want to remember him. his catastrophe is his dreadfully authentic love for Hal.
Shakespeare is able to exemplify how meaning gets started rather than just renewed. The plight of Sir Andrew in Twelfth Night signals the grupobittia.com’s. All Love Is Unrequited: She has a rather big crush on the (and towards Wilf, as well) in a tear-jerkingly realistic way. When the Doctor realises how severe it gets, he calls her out on it quite hard.
The Determinator: In "The Power of Three", he spent an entire year watching the cubes, day and night, even when everyone else had given. In Love’s Labour’s Lost Shakespeare has the comic pedant Holofernes characterize Ovid by ‘the elegancy, facility, and golden cadence of poesy’ (–15), and it is hardly possible to doubt that Shakespeare himself saw these qualities in the Latin poet.
To wit: in her three flattering, faux-confessional letters to Clarke, JA has, to a tee, in several key particulars, emulated Shakespeare's arch-satirist Maria, in Twelfth Night, as Maria is cheered on by her madcap allies Sir Toby, & Aguecheek, in the Box Tree scene.
Shaina Taub’s joyful and sunny updated musical version of Shakespeare’s comedy, "Twelfth Night," is back in a full production courtesy of Free Shakespeare in the Park and Public Works which premiered an earlier production for four performances during Labor Day Weekend