Sunday Papers "william wilde edition"
national |
politics / elections |
opinion/analysis 
Monday June 26, 2006 00:51
by iosaf
(((it helps if you're brainy to read the Sunday Papers)))
It has long been observed et cetera.., As your national poet & someone who has read Chomsky's tarot cards, I want to move the Irish cultural narrative beyond the Othello quotation frenzy of C.J. Haughey's state funeral & draw your attention to the European Day of Action yesterday to close migrant internment camps. This is where our 25 states send mostly Africans & Moors so we don't see thier desperation.
The title of this edition of The Sunday Papers is a play on nomencliture
being both a simultanteous play on the name of Oscar Wilde's father Sir William Wilde
and Alderman Dr William Shakespeare H.dip.Ed. F.R.C.S.I., M.B.E.,
gather round!
for the first time since the "exodus edition" of the Sunday Papers, iosaf is going to tell you a story.
if they cross the border of Europe - they've reason to be Proud. some day they will get a Pride day. just like NYC paddy's day & some of our community ;-)
I have often wondered, what was more shocking to the audience of thier time-
Is it the life of William Wilde, optician to the King of Sweden and how he coped with his wife's trials for treason? or Is it the crux moments in Shakespeare's play "Titus Andronicus" (the only of his two plays with prominent African or Maghrebi characters). When they can no longer hear the words of one of the actors on stage, the actor playing the part of Lavinia, the daughter of Titus Andronicus. She has been mutilated and left without her hands and tongue so she can bear no witness to her past, she just can't talk. Ah! the audience shout (some heckle) "give her something to write on" Without reflection on how amazing it was that by that time most theatre goers were mildly literate.
Certainly that is not the most shocking moment of Shakespeare's play, let us remember the moment in the final act when after Titus has slain the empress's sons in revenge (they were defilers of his daughter and caused the murder of his sons) He invites Caesar and his perfidious wife the empress to his house, they both thinking him mad. Naturally they think him mad, his house is no "Unicorn restaurant".., he las long left the interlocking circles of power.., discredited Titus can only He has spend the weeks distributing amongst the citizens of Rome certain letters damning Caesar and Senate in the name of mute Lavinia. A matter of which no-one really gives a damn. Shakespeare's prototype of his obligatory cycled Leaving Certificate English course doesn't really pay attention.
So, full of arrogance both Caesar and the empress come to his house, to eat a humble pie. A humble pie whose blood and offal have been collected by the mute Lavinia at her father Titus' bidding, from the slain bodies of the now discovered sons. At last the fact known to the audience in the drama but "unsaid" in the real world of the stage is revealed :- the identity of "rape & murder". The spectators are shocked, they're no longer eating thier snacks. No consumption, no silent exits to the toilets to sneak in a cigarette. Then the bard drops the bombshell -
Titus tricks Caesar into approving by classical court of law references a death sentance on Lavinia.
He murders his own daughter with imperial permission, for she was a victim of a horrible crime and can not live beyond that point in "her public shame". So he breaks her neck.
"jayzhus why you do dat?" asks Caesar ( & most of the audience).
General Titus explains that she was a "shameful victim" (of the kind we don't have in Eire anymore because we're all liberal now) of a the crime they had just been talking about. Caesar has heard it all before. No protest, no pamphlet, no crime, no rape can really ruffle Caesar's feathers.
name the villains is the emperor's only response.
& you know what?
Titus tells him it was his wife's sons.
& then he shares the recipe of the pie with his guests.
Caesar "the idiot" through all the play has had no idea all along - he is so "out of touch" - he has no idea who fathered his wife's sons, he has no idea who really killed who, he has no idea if Aaron the Moor prototype to Othello in all but virtous words, his "special security advisor" was really a monster - he has no notion how to deal with the goths or vandals of the north, but yes but
he now knows what was in the pie.., the humble pie he has just eaten.....
BANG! it all ends.......
they're all dead..............
"dats the romans for u................says Shakespeare".
curtain goes down.
or did contemporary audiences find it more shocking to deal with the moment when Oscar fingal Flaterty wilde told his parents Esperanza & William Wilde that he was into piccadilly rent and posh english boys?
Of course William Shakespeare wanted to follow up on Titus Andronicus & Oscar Wilde didn't really at the crucial end want all the public feedback.
More than half of North Great George's Street Dublin has signed thier name to the academic reputation of such theses. But Othello wasn't really what Shakespeare intended to be the sequel of Titus Andronicus nor De Profundis really what Oscar Wilde intended to be the end of his work. That is merely a comparison based on prejudice, be it positive or negative, on racist profiling assumptions or even - vice in drama.
This last week, We have seen Mary Harney and Michael Mc Dowell in a Public display of Affection assuming affectation.
We have noted the man who's not eating on Kildare Street.
We still want a caravan for the mammy.
We have all got word about the bouncy castle.
We're mostly eating God
Bless us.
its holidays.
only the grass roots pay attention.
I suggest you listen to popcorn whilst reading this article.
(being the 1974 popular BBC music themetune, now remixed with copyright on 16 tracks and reproduced on 3 editions ((annual)) of "now That's music" if you ate "Milk Tray delight" or took MDMA in any adulterated form you heard the tune popcorn) fnord
Have a good week.
Comments (7 of 7)
Jump To Comment: 1 2 3 4 5 6 7NomenCLITure, or is it part of the game?...
Sorry to be picky, about the thing , but if every single word is important
the insertion of the typo can be questioned. It could be a slip of the tongue,
freudian slip or maybe the pervasiveness of the lack of braininess of
aped male strictures endemnic in protest, media and state has infected
you too.
Please do tell-
Pardon me: I should have written 'structures'.
I delight in them. "NO-MEN-cliture" you're very straight for not getting that one. or- why didn't I write "willy wild" instead of "william wilde" and what exactly does "a the "noun"" mean?
Oscar Wilde's mother was very understanding of him to a point.
a critical point, WB Yeats arranged for an escape route to France the night between he losing to Carson and being charged with thodomitey.
She told him to refuse the Yeats escape -"face the english like an irish gentleman".
anyway, General Titus is still on Kildare Street.
moving the crystal clear analysis of contemporary and historic Ireland on a little bit from the niggling doubts as to the intended meaning of "no-men-clit-culture", I want to publically wonder this;
Why of all the characters on the stage in 1895 was it W. B. Yeats who arranged for a carriage to take Oscar Wilde out of London at top speed to a southern English port where a ship was about to set steam for France & exiled safety & his passage bought?
& Why did his mammy tell him to stay? She knew, they all knew Wilde was about to be arrested, Edward Carson had just proved Queensbury had not libeled Wilde by callign him a thomdomite (an late 19th century popular brand of suitcase), ergo Wilde was guilty of something or other & his enemies were going to bring him down.
This has nothing to do with Titus......directly
another story please!
what was really going on 111 years ago?
& I enjoy a 15 minute video-conference with Chomsky every monday afternoon, (as part of my extended junior cert repeat thesis writing project) & he doesn't remember having his tarot cards read.
(Chomsky was well out of it on drugs that time so he wouldn't remember.)
W.B. Yeats was under oath to assist Oscar, as were many others, but Yeats held the managerial role for such things and thats how he got the cash together so quickly. They both were masons and also initiates of the Golden Dawn hermetic order. The events of 1895 shocked young W.B. into making his first overtures of physical love to women all over the shop. I sometimes think of 1895 as the year of the closet. By the time Wilde came out of prison, Mr Yeats was no longer honouring his fraternal bonds and though still spending time in London had at last found a "girlie" who let him go all the way. He thus lost his virginity at the age of 30 and with such a momentous change behind him he soon became a "prude". That prudery would lead to the Blythe Street riot which saw the Golden Dawn in London split, when Yeats only a few years after delighting in drawing room witicism would find enough spleen to use the phrase "moral reprobate" in reference to any bisexual act. If anything else the process of Wilde's trials and social damnation, of him in his mother's words "facing the english as an Irish gentleman" the effect on the acceptance of "bisexuality" in males has not yet been given full attention. English speaking cultures would wait till the inter-war generation for writers such as ....
I'll tell you tomorrow night how our proud queer community adopted LGBT and not BGLTvTs.
General Titus is still on Kildare Street.
Of course there had to be asplit in occult circles. You even see such splits today. See the war between the Republican Wiccans and McGraths Monarchist Druids.
The Golden Dawn split got rather nasty. Aleister Crowley and WB Yeats fell out and were on to the cops trying to get eachother evicted from the Cabals HQ. Crowley later claimed that Yeats had (unsuccessfully) tried to use Black Magic against him.
Thats a bit like when Trots split, they cite Spells (passages from Marx, Lenin, Trotsky) against eachother.
"Make the doors upon a woman's wit, and it will out the casement:
shut that and 'twill out the key hole: stop that, 'twill fly with the smoke
out the chimney".
As You like It :- Act Four ,Sc :one.
Or what is Rosalind?
...which saw the hermetic order of the golden dawn split. Pat correctly said that Yeats played in hindsight a squeeling grassie call the cops part. And both sides of hysterics and fantasists were indeed to curse each other at great length not only in the immediate weeks after but for almost two decades later by which stage the great world war of trenches had given that type something meatier to write poetry or propaganda about or in the irish contigent's case (with the sole exception of yeats) go to lefty politics and armed rebellion.
As for the use of black magic, well that has been a bit overblown. Neither side took DNA samples of the other and cloned mamalian or reptilian hybrids of their foes. Crowley's version never went further in maledictive detail than a comical description of the reception he got in the paris lodge after failing to get the "secret scrolls and phone books" out of blythe road London and past our own YB Yeats. He found a very piqued McG who as grand master had sent Crowley to get the scrolls from London, shaking black peas in a sieve and muttering in what victorian types thought was egyptian. Their split and battle simply went a stage beyond exchanging cruel letters in the fashionable press. Wilde's prison sentance had already taken its toll on µ London,s libertine circle (dressed up in egyptian stargate costumes or not) the english lodges had already seen a huge drop in attendance or interest from the scintilating list of a fw thousand men and women who had taken an interest in the whole thing (perhaps they very millenial). which is why Yeats got to play the historic officious role of splitting the GD and all as a result and accompaniment to losing his virginity. what differences a fez years could make.
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