POETIC LOGICS NO-2
The opportunity to learn about the wonder of Elizabethan England and the emergence of restructural theater in the middle ages has been a very important to my understanding of world progressional-ism and cultural evolution. This is a subject that lies at the very core of our understanding of human values and human relationships and the breath of this subject extends to include the heart of what it means to be a human being ( based on the documented experiences of the last three thousand years). In our classroom lectures and readings, Professor friedberg has given us an opportunity to gain insight into the role aesthetics has played in the ritualization of cultural dynamics and human speculation. This is so because in seeking to understand the thrust continuum of the Elizabethan era, we are in fact looking into one of the most important time periods of human development preceding the industrial revolution. To experie-nce the works of Sydney on through to Shakespeare one can sense fresh efforts to translate memory ( and ‘states of memory’) into a new spectra of communication and ‘vibrational exchange /transfere-nce’: That being, the experience of story telling in small groups and large groups as well as the role of theater and fantasy as aesthetic component tools that inform cultural dynamics. This is not to imply that the theater breakthroughs in the dark and middle ages was without precedence in human history, rather the experiences of the Elizabethan time period are interesting for what it reveals about the emergence of individual consciousness - and the concept of the individual ( extending to include the concept of individual rights) as well as the struggle and challenge of spiritual belief and self realizat-ion in a changing world order (that would see more and more geographical human mygrations from scattered farming communities throughout the continent to the emergence of ‘contained’ giant urban city structures that brought forth new experiences for cultural interaction dynamics). In seeking to understand this subject we are staring at the porthole of secular speculation and existential curiosity leading to the modern era, including political thought.
The concept of poetic logics that emerged from the efforts of the great trans-Europeans masters we have studied in class give a sense of the ‘reality of relationships and experiences’ that formed the backdrop of the poetic nature of a people. In seeking to understand this subject we are forced to examine: 1) the aesthetic backdrop that frames character motivation 2) the concept of time 3) the phenome-non of transformation and/or resultant transformation and 4) the fact of character differences ( leading into character traits). In the first context, the aesthetic backdrop that frames character interaction dynamics establishes the ‘vibrational constructs’ (state of fantasy) that allows for the ‘original creative speculation’ to ‘sustain’ itself - as an story event ‘in time’ that can be commented on and/or transferr-ed. It is at this point where the concept of value systems and motiva-tion becomes part of the psychology of what was then new drama. The concept of aesthetics in this context establishes the first sphere of recognition (and expectation) for both the reader and/or theater goer. For example; the concept of good and bad, ( or good and bad person/character); extending to include: a) love b) hate c) betrayal d) compassion e) jealousy f) kindness g) selfishness. The significance of a given aesthetic ‘position’ ( documented code or ‘interaction recognition’- that is: knowledge through ‘the experience’) extends to engulf the concept of loyalty and honor as an available character traits that can be used to ‘spin a tale’ in time and space. The evolution of western classical literature reveals the play of human interaction dynamics; starting from the early efforts to document symbolic experiences ( and symbolic interpretations) to the inner dimension of ‘extended exactitude’- that surfaced in Shakespeare's work. Where from a world culture perspective there was documented story telling ‘woven into and throughout the culture’ the emergence of the Elizabethan restructural poets and writers continuum would instead establish the first ‘story writer’s movement’ that expanded on the implications (fresh possibilities) created through the political institutions/legacy and science of the post Aristotelian thought process and European related historical pathos (poetic experiences viewed with respect to the composite documented feelings of the Europeans as documented by Europeans and trans-Europeans about themselves). Suddenly, with the creation of the printing press, a medium could now establish extended story telling on a level never before possible, with a detail that would carry fresh dimensions of ‘thought projection’.
The category of aesthetic backdrop is a subject that lies at the root of restructural medieval literature and cannot be contained in any one plane of focus. In seeking to understand this subject we are really positioning ourselves to view the whole of Elizabethan English history. This is so because the thrust of literature and theater did not happen in some kind of vacuum but rather as a fulfillment of actual life within a given time space/geographical parameter. It is difficult to understand the writings of Sidney without also having some awareness of the composite factors that shaped his environment and this is especially true in the area of church, psychology and political system. To read the works of William Shakespeare is to be drawn into a greater understanding of British aristocracy. The concept of aesthetic backdrop in this context establishes the nature of character relationships for Shakespeare's work. It is from this context that the focus of a given grievance can be understood. The question then becomes, how doe’s Edward 11 demonstrate the concept of subjectivity ( or the idea of the divine kingship) and what does it mean for individuals who amass more power than the church ( the answer: ‘if one has a bad King one must live with it’!)(?)) and who was Hamlet’s father anyway; and what historical position did he have in the pecking order of the various royal and noble family connections and rivalries? Yet, in every case, even with these alignments established, Shakespeare then proceeds to take liberties with a given character’s real history so that fact and fantasy all come together as one. The reader is constantly challenge to either ‘split the difference’ or go back for research. The category of aesthetic backdrop also establishes the ‘weight of a given encounter between characters’- and in doing so, this feature of the new Elizabethan era would open up new lanes of ‘pychological-poetics’.
In the second category, the concept of time is used to establish 1) sequential events 2) multiple events 3) target time/state and 4) identity transformation. It is at this point where the writer/poet is able to establish three different planes of thought that gives dimensionalism to the ‘world of fantasy and illusion’. Starting from the formal unfolding of the soliloquy and extending throughout the range of conceptual/creative focus, the work of the medieval restructuralist poets and writers would extend our understanding of ‘the moment/experience’ as a ‘point of definition- into fantasy experience’ and inner human psychology - literature and theater as disciplines that describe the profound-essense of the ‘living experience’ as well as a tool to can also comment on ‘non-profound experiences ( and thoughts). There is the time of the ‘first thought’, there is the time of the ‘background thought’, there is the time of the rebirth or ‘lesson’ of the hero (or idea in question). And the ‘friendly reader’ is invited to ‘question the motives’ of any of the characters, right up into the actual ending of the experience. It is the considerat-ion of time and space that provides the backdrop for a possible revenge experience as well as the reestablishment of justice (at the end of the novel). Suddenly Hamlet is gone from the city and now he is back- ready to carry out the completion of a ‘definition-state’(!). What about Gaveston whose land money and honor were taken in the early part of Edward 11, in time he comes back and restores ‘a formal-identity’ position. The ‘Wicked king who mistreats his subjects in the beginning of a novel can come to a ‘Just-transforma-tion’ in the right amount of time’- these traditional themes are now transported to a fresh state of translation- for both the writer as well as the reader. The concept of Target Time/Space/Occurrences (objectives) in this context gives insight into the ‘form of transforma-tion’ and allows the writer to transfer restructural levels of human motivation and ‘feeling-dimension’. The reality of this phenomenon would play a role in mapping the ‘parameters’ of human poetic experience- from a dynamic and fresh perspective that was evolutionary and dynamic. In this new domain, time- events can be cast to fit more than one ‘focus’- ‘there is just as much time as one’s needs’ now, to get the job done.
In category three the concept of transformation in time is carried into fresh realms of thought and imagination. Through this conside-ration, the medieval writers continuum would explore fresh dimens-ions of form and imagery. From this perspective the reader is able to experience the 1) aging of character to character or 2) witness the passing of a time period to a different time period or 3) watch the unfolding of a given character experience - from a single individual perspective or from a group perspective or 4) witness the summation result of a ‘set of actions’. In describing imaginary events on this level, the composite thrust of medieval restructual literature would advance the spectra of the discipline (of story telling) and stable-logic memory ( and extended documentation).
Nowhere can the dynamic implications of the trans-European processes be better experienced/understood than by examining what these new tools have meant for character specifics and ‘tendency-alignment’. These changes did not happen overnight but rather as part of an ongoing process ‘of description’. In the play ‘Everyman’ the reader is given a state of symbolic identities that swifts conceptual focus more on the ‘form of a position’ rather than the existential particulars of the given individual characters. Yet even in this play the reader is given a ‘state of experiences’ that has dynamic implications not separate from fresh attempts to ‘describe inner-fictional fantasy and actual poetic experiences. The reality of these energies ( and efforts) would lead to the establishment of fresh fundamental archetypes ( categories of Identities) that underlines the actualization ( and emergence) of the modern era. When Shakespeare describes the death scene of Edward 11, it is clear we are being ‘informed’ about the deepest levels of this character. We are able to ‘sense’ his anguish, it is possible to ‘taste’ his contempt for the ‘fates’; its almost like we were there!.
The concept of poetic logics in medieval restructualist literature would usher in a new period of ‘fastasy-experiences’ that extended into every domain of human scrutiny. Poetic logics in this context would provide the formal-linkage states that allowed for the translations of actual experiences in real life to exist in a documented ‘two-dimensional’ literature state. Just as in real life, where many different things are happening in the ‘event-space’ at once, the thrust continuum of the medieval writers would evolve 1) the use of signal phrase occurrences that starts an occurrence 2) the ‘point of translation’ occurrence where that ‘signal’ is taken up in some form and 3) the concept of ‘the fresh state’ that occurs as either a resultant or summation of that ‘signal’. It is in looking at these categories of discovery where the real ‘wonder’ of European literature can be appreciated. In seeking to understand this subject we are not only looking at one resultant particular (solution) to a given book or play- fantasy scene but rather, in this subject we are really looking at the extended use of form (thought-constructs) and the development of fresh tools for both commentary and identity-experience ( including the concept of ‘individual motive’).
IN DEFENCE OF POESIE
The emergence of the restructural poet’s continuum would bring forth fresh aesthetic attitudes that would transform and accelerate spiritual and secular curiosity. For poets like Sidney, his viewpoint of his craft was consistent with the Greek viewpoint of ‘poet as maker’ or creator, in the same sense as ‘God the maker’. The phenomenon of imagination in this context becomes akin to Godlikelyness ( ie. the phenomenon of postulation as connected to cosmic rather than local ‘energies’).
EVERYMAN
The play Everyman is a morality play that is consistent with the emergence of the salvation play continuum (ca. 1485). This work is an example of a pre-Shakespearian play . The work is consistent with the dynamic tendencies of the early medieval ( post-Roman) play structures in it’s use of Biblical narration and personified abstract-ions. The aesthetic implications of this work addresses the alignment between individual existence and the hope/belief of human immortality: Involving the question of 1) how does a person get saved from spiritual damnation? The aesthetic world of Everyman establishes forms of mediating strategies that clarified ( and re-enforced) the role of the priest in the community. The dynamics of the community-church relationship in this time period cannot be separated from the Protestant Reformation that produced the Calvinist movement. The implications of Everyman extended to include 1) that people should not have too much fun 2) Behavior must be controlled 3) the concept of ‘the divine right of the monarchy’ is challenged ( or at least the ‘order of things’ is challeng-ed in a way that was restructual).
DR. FAUSTUS
Dr. Faustus is concerned with matters of the soul and the concept of pre-destination. The dynamics of this fantasy proceeds to fulfill the complexities of Calvinism ( ie. the Doctrine of Pre-Destination and the concept that each Individual has his own religion) as an example of the ‘inward spirituality that developed from the thrust continuum of Christianity. Professor Friedberg called ‘Faustus a Calviness tragedy’.
The dynamic implications of this work 1) defines ‘Hell’ as a condition of consciousness and 2) ‘Hell’ as a psychological condition. The work utilizes the concept of ‘heavenly verse’ as a psychological dimension of experience ( and more importantly for my perspective, Faust introduces an ‘hero of the speculative intellect’- this is a philosophi-cal/ vibrational aesthetic position that furthers the ‘thirst’ of human curiosity.
THE SOLILOQUY
The emergence of the soliloquy would make it possible to express the psychological depths of a given fantasy character and/or personal expression/realization. Starting from the iambic pentameter perceptual alignment, the new restructural ‘streams of consciousness’ (sequences) would take the form of ‘rhythms of thought’ that transcended rhyme form construction (and technique). The use of restructural ‘thought schemes’ structures of this type would give the medieval poet’s continuum an opportunity to mine fresh insight and depth from human consciousness and motivation ( including the development of moral forms of thought that allowed for restructural ‘polarity recognition’ ( ie. the struggle between good and evil as part of the psychology of a given character). The emergence of the soliloquy would 1) establish the concept of ‘voices of abstraction’ ( as a conflicting voice-logic) and 2) the concept of ‘personal abstraction’. All of these matters would come into focus during the dawning of the Enlightened period in the seventieth century.
THE SPANISH TRAGEDY
Mr. Marlowe’s work The Spanish Tragedy challenges the concept of the sacred monarchy. Prof Friedberg views both of Marlowe’s works as a way to experience the ‘time fields’ of Trans-European progressionalism. The Spanish Tragedy is the first true Elizabethan Tragedy. In this work the reader is witness to 1) fresh concepts concerning the concept of ‘madness’ and revenge 2) fresh concepts that cast light on relationships between royality and 3) the ‘particulars of inter royal social interaction and drama ( including the ‘realm of Kingship’). The ‘form-spread drama’ of this play unfolds to create a state of mytery and surprise. This is a revenge tragedy that contains all the properties we have come to love as a species.
HAMLET
Hamlet is a major myth story that demonstrate an extended understanding of form construction and form correspondence. The dialogue of the work is one to one and right from the beginning demonstrates 1) the use of symbolic correspondence logics 2) the use of ‘Ghost Image Logics’ 3) a ‘fresh visit to the seat of Medieval European power- the ‘Castle’ ( or ‘heart of the State) 4) the use of more character development ( fulfilling the aesthetic translation of the concept of ‘melancholy’ and purgatory). Suddenly, we are withness to the profound pychological state of our hero, on a level that is totally restructual and creative ( and what about that mother fixation?- oh well (smile)).
EDWARD 11
The play Edward 11 is a dynamic fantasy structure that encompasses the ‘wonders of the Elizabethan time period’ in all it’s charm. The thrust of this work reflects on 1) the emergence and institution of the Homily ( and the status of the Monarchy) 2) the concept of subjectivity 3) the justification of the Monarchy. 4) the concept of King and Lineage 5 Kingship and power. In Edward 11 we are able to enter into the concept of the ‘realm or state’ and consider questions of loyalty and banishment. This work is about the transformation of the Medieval time period ( ie. the introduction of the concept of rebellion as an available consideration for transformation). In this work the reader can begin to consider the nature of the crusades of the middle ages. In this subject we are looking at 1) the declining power of the church 2) peasant revolts 3) the breakdown of the feudal system 4) the concept of taxation without representation.
RICHARD 11
The play Richard 11 addresses the absolute monarchy concept directly. In this work Shakespeare addresses 1) the divine concept of King 2) the separation of the concept from the actual person who is king 3 the ‘wonder of Galveston’ 4) an inside look at the King’s councilors 5 the concept of ‘business of the state’ 6) when is it right to depose a King. Richard 11 tells the story of a King with ‘many different things on his mind’ and what the implications of his ‘lack of enthusiasm meant to the greater community of his estate
SONNET STRUCTURE
The discipline of the Sonnet evolved it’s own unique set of poetic logics and served as a correspondence logic platform that would allow for spiritual and ‘trans-secular’ correspondences to develop, (based on human experience and ‘composite holistic relationships’ - including sexual awareness and desire). John Dunn defined his work as religious sonnets ( and some of his works are set to music). This is a ‘stream of consciousness’ image-logic approach that 1) evolved the use of Lyric poetry and 2) targeted the ‘inner life’ of a character. The poet Patriah would reaffirm the wonder of sexual love and desire ( as well as his own complexities about cardinality: including the concept of1) love as a form of spiritual death and 2) fresh concepts about the dynamics of ‘guilt’ (leading to the modern era). The formal implications of Patirach’s work would a) establish the use of sequential literary form ( ie. ‘moments of meditation’) b) fresh concepts of duration ( and temporality) and c) the concept of the ‘Oxymoron’). The forward thrust of his work would also define sexual love in terms of 1) frustration 2) always desire/ never fulfillment 3) romantic torment. The writer Thomas Wyatt would accelerate the first person experience component of the new ‘fantasy structures’. His work would become a vehicle for ‘self realization’ ( creating a fresh sense of individual consciousness and identificat-ion). The thrust of Mr. Wyatt’s work would 1) develop restructural breakthroughs in syntactical language forms ( ie. the use of parallel-isms) and 2) the device of contradiction. For the poet Dunne love was equated with sex in his early period and his writings were seen as amorous poetry, but ofcourse in his later period he ‘found himself’(!).
MIDSUMMER NIGHT’S DREAM
The play Midsummer Night’s Dream explores the dynamics of sexual identity and political control. This is a complex fantasy story world that 1) raises the question of patriarchal control 2) the legal rights of women 3) the male fear of ‘Amazonian power’ 4) the concept of ‘law’ and human order and 5) the right of women to choose their own marriage partners and 6) the concept of the forest as ‘other’ ( outside of the zone of regulated behavior). The thrust of this play seeks to gain insight into the position of sexuality as a privilege strata that supersedes the laws of men. Shakespeare is giving us an opportunity to view the continuum of trans-European culture as a response to the defeat of the Amazons nations of Greek civilization. The extended implications of this work moves to ‘cast a viewpoint’ about the genesis nature of masculine aggression and sense of ownership. In this fantasy state the reader is given 1) the dilemma that heterosexual love can create for women interrelationships 2) the concept of ‘The Cult of Virginity and just as important 3) the mythological connection to Thesus and as such to Greek Mythology.
AS YOU LIKE IT
In this work Shakespeare seems to be saying that 1) there is a limit to gender roles that bespeaks of something more than social style 2) Shakespeare seeks to enter and understand the ‘world of women’ ( ie. the concept of marriage and/or the ‘wonder of sexual enjoyment’ as a phenomenon enjoyed by both men and women) 3) the ‘shadow’ of voyeurism as an image logic ‘other’ ( the emergence of the secular ‘polarity’ (?)(!)). In this work the reader is given an opportunity to experience medieval attempts to view the dynamics of ‘polarities’ as represented in the vibrational spectra of men and women. As You Like It is a romantic comedy play that attempts to gain insight into the subject of gender roles and ‘image-attraction’. In this work disguise replaces magic (ie, the bastard son of Venus is cupid-representing ill rational love brought on by haphazardness. This the story of the testing of love through extremes. As in the previous play, men are cast as spirits who are made to conquer and therefore create blood. The phenomenon of love in this story is 1) painted as a ‘wrestling match’ 2) love is dangerous for women 3) the concept of love as a ‘lower animal function’ and 4) the concept of marriage. Fortunately for Shakespeare, he had a sense of humor- any man who thinks he can understand women needs a sense of humor.