poet
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Upon entrance to the venue the sight is mystical to behold. Laser-light projectors beam images onto the walls of varying (in) texture and form. Lost in a moving, breathing, living crowd of human beings. Eyes meet each other without judgement or suspicion. Instead there is only respect, acceptence and peace. Everyone is in the best of spirits. There is a symetrical smile on everyones lips, eyes twinkling with warmth and lamp affection. Hugs are mandatory for everybody meeting someone new or greeting old friends. The fondation of rave’s core beliefs- that of Peace, Love, Unity and Respect are well and truly alive within each and every soul at the Whirl-y-gig, Jacks Club. The first of the live bands playing on the night are Celt Islam, specializing in their very own brand of highly psychodelic dubstep- complete with morphing Sand Textures and funk warped melodies. Truly a voyager of the soul that must be experienced to fully understand its depth, complexity and beauty. After a soul-morphing set of of blissed-at, colour vision-inducing psy step by Celt Islam, it’s time for Monkey Pilot to return to his schamanistic platform and take the spiritual reigns once more.
(who are Celt-Islam?) 73
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fig. 1 78
Ref. John Healy 1994 pages 7-9 = a completely decadent (aesthetic) situation. 1) Diana is transformed into a figure of sexual titillation and made effeminate (she is a boy). 2)The Classical episode of Actaeon becomes a voyeuristic amusement where Actaeon merely seems to “die’ in a fantasy of Sex. 3) G. recreates Tiberius’s sexual adventureland on Capri. The whole speech alerts the audience to Cr. as a negative & corrupting influence on the young & wilful King. (But ironic reversal of this valid expectation occurs in the course of the play- a typical marlovian play. The the decadence of the Court appears of less than the contrast with brutality, treachery & self-interst of the feudal Barons. 79
fig. 1 (side 2) 80
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“Edward II” no mystery here 2 Styles: a) Gaveston’s first scene in the highly exotic style of “Tamberlaine” ______ b) The rest of the play a bleek and flinty account of War and _____. The style appropriate.
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‘ Tillyard has commented that there is in’ Edw II’ ‘no sense of any sweep of pattern of history ‘such as we find in Shakespeare and F.P. Wilson has repeated this statement. Marlowe sees no ‘pattern in history ‘simply because, unlike Shakespeare, he does not see in history the working out purpose, and therefore he can’t see in it any large scheme encompassing God’s plans for men extending over many centuries. Marlowe sees Reality entirely as the actions of men who bring about their own success or failure entirely by their own ability to cope with events. This is the humanistic attitude of both the classical and the Italian Renaissance historians, and, as in Tamberlaine, it is present in Edw II.’ (Irving Ribner/1954, page 131) •There is a fundamental departure between Marlowe and the history plays of Shakespeare*. (= m is the realist, Shakesp. the idealist. The latter will always be more popular as ‘they keep the ghastly real world at arm’s length!)
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Marlowe’s and Shakespeare’s attitude toward history: a radical disparity.
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