On Everyman (was:Re: Mordion/Tess - Christian Imagery in Hexw ood (long))
Melissa at Proffitt.com
Thu Mar 16 17:04:25 EST 2000
On Wed, 15 Mar 2000 11:12:40 -0500, McMullin, Elise wrote:
> Melissa said:
> "It's been my contention for years that the *good* modern fantasy is
>allegory for our time, and even though moralizing has gone out of style, I
>don't think allegory ever will or should. "
> I like it. It works for me. Good allegory has the allegory sewn
>into the seams - don't you think?
> I remember reading The Faerie Queen and
>just wincing at how heavy handed it seemed. And I thought the Roman de la
>Rose was groan-worthy. Of course, I also roll my eyes to contemplate Milton
>setting up Paradise Lost so that the number of the page has meaning as to
>what is going on with the story - like the Fall happens on some page with an
>especially powerful, bad number. Or so my prof informed us.
The funny thing was that I really liked this when Dante did it in the Divine
Comedy. Maybe it was just the way that professor taught his class; it could
satisfy two different requirements (either lit or Italian language) so we
had about a third of the students who were reading it in the original, and
the professor was really into facts and details (speaking of Lady
Schrapnell) but it was INTERESTING. Still heavy-handed by modern standards,
> Ah, but I remember it because I took a class called Drama before
>1800 at Edinburgh. It made medieval lit actually very interesting because
>we had saturday workshops in which we worked up the text of the morality
>plays and presented scenes to each other. Many of the plays threw in rude,
>ignorant people for comic relief and we had much more fun playing crude
>ruffians than we anticipated.
That would be way more fun than reading it for a literature class.
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