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• W178492028 abstract "What if it were not religion sin / To make our love a god, and worship it? John Ford's 'Tis Pity She's a Whore poses an interesting test-case for what happens when an individual is allowed to make precisely such moral judgments. The play, while implicitly acknowledging horrifying nature of incestuous relationship between its main protagonists, Giovanni and his sister Annabella, nevertheless allows Giovanni to pursue logical ends of his own teleological confusion. In doing so, play invites questions not only about role of religion itself, but more specifically about role of individual who negotiates religious law in quest of his own satisfaction. The play posits Giovanni as a gifted character left little recourse for expressing desires that divide him. Once a scholar but now disgusted by corrupt society that surrounds him, Giovanni is torn between voices and urges within himself that demand competing responses to his unlawful desires. These desires isolate him intellectually, leaving him unable to engage in that moral and discursive order in which he had hitherto invested his life's study and devotion. Driven to distraction by desire for his sister, yet unwilling or unable to abandon completely those social and conventional forces that have shaped his intellect, Giovanni finds himself in that uneasy situation that occurs when human subject's desires are incompatible with ideological dictates of his or her cultural traditions. His mournful complaint above (I.ii.145-46), attesting to Annabella's transfiguring capacity to elevate him beyond cold logic and rules of his traditional religious education, articulates desire to find a new moral space, where human love and desire might be acknowledged for their capacity to translate self into a higher spiritual realm. Unfortunately, 'Tis Pity, as an exploration not only of socially subversive potential of incestuous love but of intellects that justify it, raises troubling questions about capacity for re-envisioning such a moral order in early baroque society. As a rational agent, Giovanni rejects his society's religious and moral structures, finding within them a power that too much denies dramatic and transfiguring forces of intense love. Yet though he seeks another, better moral order, one which will appropriately venerate and sustain love that seems to him a transcendent power, Giovanni finds that his own intellectual and moral projections can little escape logic of his inadequate cultural traditions. Thus in re-envisioning the good through platonic concepts that attempt to bypass Christian insistence on God as appropriate end of all contemplation, Giovanni finds not another, better world, but rather a circular and gratuitous reenactment of logic and rituals of very Catholic paradigm he rejects. This paper explores how an ostensibly well-meaning character, misguided largely by corruption of his society, transforms medieval and scholastic theories of signification into a unique iconography that at one and same time subverts and exploits humanistic notions of a figurative good. This subversion, I shall argue, comments upon what Ford posits as an analogous religious and political situation: namely, Jacobean and Caroline England's own implication in appropriation and subversion of Catholicism in advancement of Church of England. Though Ford's own religious affiliations are difficult to trace, recent studies on Ford's dedicatees and their sympathies, as well as on Ford's own education in well-known recusant enclaves of Exeter College, Oxford, and Middle Temple, indicate that an interest in old religion may inform many of more difficult themes of Ford's works (Hopkins 27-29). In 'Tis Pity, a play about an entire society that collapses under social and moral inadequacy of discursive system that supports it, this interest becomes paramount. …" @default.
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• W178492028 date "1998-03-22" @default.
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• W178492028 title "This Idol Thou Ador'st: The Iconography of 'Tis Pity She's a Whore.' (John Ford)" @default.
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