English Literature
4 | 2017

English Literature
4 | 2017

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Vol. 4 | Num. 1 | Dicembre 2017

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English Literature | 4 | 2017

The Actor, the Mirror, the Soul and the Sylph
Finding the Passions

Margaret A. Doody
Notre Dame University
Margaret.Doody.1@nd.edu

DOI 10.30687/EL/2420-823X/2017/01/003

Submitted 09 Set 2017
Accepted 12 Nov 2017

Abstract

The ‘unnatural’ mixed emotions of Chimène, heroine of Pierre Corneille’s Le Cid (1636), almost destroyed the dramatist. The 17th century brought strong new attempts to create a taxonomy of clearly defined and acceptably knowable ‘passions’. Stimulated by Descartes, Charles Le Brun produced his famous graphic representations of individual emotions as physically expressed in the face. Such catalogues of emotions attracted English theorists of acting, such as Aaron Hill whose Art of Acting interested Samuel Richardson. A standard feat of English poets from Dryden to Gray and Collins is to run through the passions, briefly exhibiting the activities and nature of the distinctive emotions. That the passions could be so well noted and imitated produced new problems, rendering representation of the passions doubtful, chicanery lacking in soul, as the acting of Garrick seemed to Diderot. New interest in mixed emotions and more fluid affections turned against the single passion and the encyclopedic list. Literary works moved towards a more dynamic and changeable account of emotional states and possibilities. Innovative large mirrors brought the self more literally to the eye, stimulating reflection on variability; we glimpse the possibility of future emotions and affective states not yet known. Mixed emotions and half shades become more engrossing than grand passions. Pope’s Sylphs, rooted in Paracelsian fiction, proffer new versions of both self and emotions, or emotional states. The mirror becomes not a diagnostic instrument detecting moral defect, but, as in Richardson’s novels, an opening to a possible future self.

Keywords
Passions. Seventeenth-century theatre. Acting. Eighteenth-century poetry. Representation of the soul.

Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License 

Sommario
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Campo DC Valore

dc.contributor.author

Doody Margaret A.

dc.title

The Actor, the Mirror, the Soul and the Sylph

dc.type

Journal Article

dc.language.iso

it

dc.identifier.uri

http://doi.org/10.14277/2420-823X/EL-4-17-2

dc.description.abstract

The ‘unnatural’ mixed emotions of Chimène, heroine of Pierre Corneille’s Le Cid (1636), almost destroyed the dramatist. The 17th century brought strong new attempts to create a taxonomy of clearly defined and acceptably knowable ‘passions’. Stimulated by Descartes, Charles Le Brun produced his famous graphic representations of individual emotions as physically expressed in the face. Such catalogues of emotions attracted English theorists of acting, such as Aaron Hill whose Art of Acting interested Samuel Richardson. A standard feat of English poets from Dryden to Gray and Collins is to run through the passions, briefly exhibiting the activities and nature of the distinctive emotions. That the passions could be so well noted and imitated produced new problems, rendering representation of the passions doubtful, chicanery lacking in soul, as the acting of Garrick seemed to Diderot. New interest in mixed emotions and more fluid affections turned against the single passion and the encyclopedic list. Literary works moved towards a more dynamic and changeable account of emotional states and possibilities. Innovative large mirrors brought the self more literally to the eye, stimulating reflection on variability; we glimpse the possibility of future emotions and affective states not yet known. Mixed emotions and half shades become more engrossing than grand passions. Pope’s Sylphs, rooted in Paracelsian fiction, proffer new versions of both self and emotions, or emotional states. The mirror becomes not a diagnostic instrument detecting moral defect, but, as in Richardson’s novels, an opening to a possible future self.

dc.relation.ispartof

English Literature

dc.relation.ispartof

Vol. 4 | Num. 1 | Dicembre 2017

dc.publisher

Edizioni Ca’ Foscari - Digital Publishing

dc.date.issued

2017-12-18

dc.dateAccepted

2017-09-09

dc.dateSubmitted

2017-11-12

dc.identifier.issn

2385-1635

dc.identifier.eissn

2420-823X

dc.rights

Creative Commons 4.0 Attribution alone

dc.rights.uri

http://creativecommons.org/licenses/by/4.0/

dc.subject

Passions

dc.subject

Seventeenth-century theatre

dc.subject

Acting

dc.subject

Eighteenth-century poetry

dc.subject

Representation of the soul

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