8/8/2000
The Black Swan by Mercedes Lackey
Siegfried’s
response of what he would od it as an old man he discovered his young wife
having an affair, “I shall magnanimously forgive her and send Lancelot packing
to a monastery, probably singing soprano so he won’t be tempted by the sin of
lust again” (62).
Very
good and one of her better novels. Good
progression in the characters of Odile and Siegfried. Nice that Odette gets fleshed out as well.
The
growth of the prince is seen from his repentance of his “rape” of the gypsy girl .
Is then believable that he and Odette fall in love. The change in Odile is seen as well,
illustrated by the journey and her relationship with the girls. Her anger at the father is building throughout
the whole book.
The
flock seems to be somewhat underdeveloped, too vague and identical.
Like the
ending. It is a beginning and yet is
left up to the reader’s imagination. It
is good that Lackey only hints at a romantic relationships between Beano and
Odile, and doesn’t force it to happen quickly.
So the reader can imagine the romance happening after the end of the
book.
Like
Odile’s notice of her father not punishing the fragility of men. Also interesting how women progress in regard
throughout the novel. Thanks to Odette
and Odile the prince and others no longer see women as things. The prince was already changing in this view
and hints further change with first Odile and then Odette in the council.
The
Baron would not follow this change because his view of women as faithless
creatures. Nor could Clotilde, though
she wanted power, she could not get in the world of men. She is not willing to let her son take over
and tries to control him. There is no
reason to presume that Siegfried wouldn’t have given her a position his
council. Both the Baron and the queen
use their power to keep change from occurring, to keep their power in the
current form that they have it. The
Baron is just as guilty as the Queen for he does not love his daughter in the
same the queen does not love her son.
They use/control their children.
Some of the crimes that the queen is accused of by the Baron also apply
to him.
It is
the ones who change, Odile, Siegfried, and others who survive and flourish. Not because of the young vs old, for Wolfgang
changes but changeability vs rigidness.
8/9/2000
Path of the Eclipse by Chelsea Quinn Yarbro
[Note- Count St. Germain series]
T’ian is
very much like Rangaude from Better in the Dark. Both women outside the traditional bounds of
the accepted role in society. The
count’s desire to keep these women alive is strange. T’ian turned down his offer to change her
before he battle and he never made such an offer to Rangedaude. He wants them to forgo their honors so their
lost love does not disturb him.
Nice to
see that his relationship with Pardemi ended well. As well as the fat that she was an older
woman.
Count
seems to be drawn to outsiders like himself, finding them more attractive than
the women who accept their role in society.
What are
the ghouls only men?
She
should write a book about the Count’s early years.
Interesting
to not that when Pardemi asked him if he loved both men and woman he answered
yes. Yet in his catalog of lost loves
only women are mentioned. Did he lack
something with men>
Interesting
tie-in with the letters.
8/11/2000
Stratford-Upon-Avon Studies: Shakespearean Comedy ed
David Palmer and Malcolm Bradley
“The Presentation of Comedy: The First Ten Plays” by John
Russell Brown
He does not exactly describe what he means by
a disinterested viewer of the paper.
Also he sees Claudio’s emotions for Hero as pure and shy. I don’t think he is correct about the
disinterested viewer. Also his reading
of Twelfth Night seems not to be well done.
“Were man but constant, he wee perfect: Constancy and
Consistency in The Two Gentleman of Verona” by Inga-Stina Eubank
Interesting
read of Verona, comparing to the sonnets but it still offers no solution to the
play.
“Shakespeare without Sources” by Stanley Wells
Why
don’t Titania and Bottom count as lovers? Because of the love flower with
Titania is subjected to?
Good
point in comparing The Tempest to romance but condensed in space and
tone.
Interesting
comparison of watching of plays in both Love Labors Lost and A
Midsummer’s Night Dream is trying to show the correct way to behave at the
play.
“Grace, Art, and the Neglect of Time in Love Labor’s
Lost” by John Dixon Hert
Didn’t
read it because I really dislike the play.
“The Merchant of Venice or the Importance of Being Earnest” By D J
Palmer
Don’t exactly buy his theory that Portia is
not marrying a stranger while Jessica does.
Portia is in fact marrying a stranger who seeks her funds. The use of the caskets seems to be the only
way to insure that Portia marries a stranger, Jessica at least knows
Antonio. Portia desires (sexually) Bassano.
Portia
trying to save her husband’s friend is not acting out of self interest?
Seems to
disregard Jessica as the “bad” way to marriage.
But Jessica rebels against unjust/uncaring father, Portia follows the
strange marriage rules.
Do not
agree with is reading of Bassano, makes him too innocent. Bassano to me has always seemed lacking. Not truly heroic, but a user.
“The Owl and the Cuckoo: Voices of Maturity in
Shakespeare’s Comedies” by R. A Toakes
On
Jacques in As You Like It, “He can equally be seen as a “comic pointer’
exposing the folly of others, of courtiers living in the woods” (122).
Always
wonder about that detail myself.
Good
observation on Much Ado About Nothing.
Never saw Hero and Claudio’s love as a social declaration. Plays makes more sense that way.
On
Beatrice and Benedick, “The point is that the witty poise they begin from, and
only lose in flashes that revel the strength of their feelings, includes and
transcends such a relationship as Claudio and Hero can hope for” (132).
Not sure
that I agree with reading of Theseus. Thesis
always seemed to want to hurry the marriage along.
“Shakespeare’s Fools: The Shadow and the Substance of
Dreams” by Gareth Llyod Evans
Interesting
concept of fool and influence of the part upon the actor.
“As You Like It and Twelfth Nigh: Shakespeare’s
Sense of Ending” by Anne Burton
She does not seem to get to her point and there does not
seem to be too well supported.
“Theatrical Trompe l’oeil in Measure for Measure” by Joselyn Powell
Makes
the play somewhat clearer.
“Two Unassailable Men” by A D Nutall
Don’t
know if I would classify The Tempest as a comedy.
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