Authority, Protestantism and Cecil B DeMille’s early silent films (1913-1923)

Beauregard, Raphaëlle Costa de

doi:10.3406/calib.2005.1564

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“…As Raphaëlle Costa de Beauregard has shown in her study on Silent Elizabethans: "black and white are juxtaposed in the painting of the eye, these two bright colours being the source of the sharpest conceivable chromatic contrast, as Hilliard sees it." 15 To a certain extent, the radiance of Rosaline's fairness is created by the delicate mingling of white and luminous black.…”

Section: The Darkness Of Fairnessmentioning

confidence: 99%

Eulogizing Black in Love’s Labour’s Lost

Sabatier¹

2015

shakespeare

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In his study of the parodic treatment of Petrarchan conventions in Love's Labours' Lost, Neal Goldstein claims that the often-quoted line on the beauty of black ("And therefore is she born to make black fair," IV.iii.252) is merely an example of Shakespeare's anti-Petrarchism: Berowne's mockery is aimed, of course, at the Petrarchan notion of the ideal beloved, her golden hair loosed to the breeze. Even a skimming of the love poetry of the period will prove the point-Petrarch's Laura and Astrophil's Stella are golden-haired. And an examination of the many quattrocento renderings of the Virgin can only reinforce the notion. 1 Despite his accurate reading of stereotypical beauties in the Renaissance, Goldstein tends to actually "skim" through the seeming antithesis of black and fair in Shakespeare's Love's Labour's Lost. Berowne's eulogy of black in IV.iii represents one discourse on female beauty, a subject rousing varied debates among the characters who often voice opposite opinions on the interpretation of the polysemous word "fair". Beyond its initial connotations implying that a woman's outward appearance is pleasant to men's eyes, the term "fair" can sometimes allude to a person's white complexion or describe blonde hair, two main features of the Renaissance archetypal female beauty. In a play hinging upon constant reversals and challenges to poetical and rhetorical discourses on beauty, or more broadly fairness, one might wonder how to value and interpret the actual scope of Berowne's celebration of the fairness of black. Fair vs. Black: Shakespeare's stereotypical beauties? The binary opposition between black and fair, dark and light structuring Berowne's celebration of Rosaline's dark beauty might have sounded rather familiar to an Elizabethan audience insofar as it calls to mind several eulogies of blackness voiced in Shakespeare's early comedies and tragedies. Many of the plays listed in Francis Meres'

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Section: The Darkness Of Fairnessmentioning

confidence: 99%

Eulogizing Black in Love’s Labour’s Lost

Sabatier¹

2015

shakespeare

View full text Add to dashboard Cite

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Authority, Protestantism and Cecil B DeMille’s early silent films (1913-1923)

Cited by 1 publication

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Eulogizing Black in Love’s Labour’s Lost

Eulogizing Black in Love’s Labour’s Lost

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