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• W212600089 abstract "could be bounded in nutshell and count myself king of infinite space -Hamlet Stephen Sondheim writes lyrics the way physicists split atoms, feat once deemed impossible. As conceived by the ancients, the was the tiniest of billiard balls, absolutely indivisible: That was the meaning of the word. But as quantum mechanics has since shown, the atom is system of fiendish complexity. Attack with sufficient energy, and it doesn't just split but shivers and shudders into whole microcosmos of particles dancing to mad, methodical music of their own. These particles have gradually been integrated into what physicists call the Standard Model, an early draft of their Holy Grail: Grand Unifying Theory to explain the inmost workings of the mind of God. Comprehend the atom, and you've got the whole world in your hands. atoms Sondheim has spent career splitting are words, and the microcosmos that has come spilling out encompasses the emotional life of his characters in all their contradictions. tool he has always wielded in the operation is Occam's (or Ockham's) razor, sliding its keen edge neatly between and that, between and me, between me now and me some other time. For an illustration, look no further than In the Clowns, from A Little Night Music: Isn't it rich? Are we pair? Me here at last on the ground, You in mid-air. Send in the clowns. Isn't it bliss? Don't you approve? One who keeps tearing around, One who can't move. Where are the clowns? Send in the clowns. Just when I'd stopped opening doors, Finally knowing the one that I wanted was yours, Making my entrance again with my usual flair, Sure of my lines, No one is there. And so on. tag line, as has often been explained, is reference to the circus. You send in the clowns when someone falls off trapeze or tightrope or gets mauled by lion. It's damage control in the face of total disaster. Entia non sunt multiplicand^, praeter necessitatemi' the fourteenth-century English logician and Franciscan friar William of Ockham (or Occam) decreed, or so it is said: Entities must not be multiplied necessity. (Though broadly consistent with his teachings, the formulation does not appear in this form in his extant writings, nor is the idea original with him.) Ockham's topic here, though not spelled out, is cause and effect, and as commonly interpreted, the maxim lays the cornerstone for reductionism. But let us not overlook the qualifying phrase, beyond necessity. True enough, some complexities may indeed be traced back to single cause. Thus The Pardoner's Tale of Chaucer purports to illustrate the dubious proposition that greed is the root of all evil. Are larger realities ever so simple? Seeking the cause of war or economic collapse or climate change, we are apt to find not one necessary cause, not two or three, but no end of causes. inner lives of Sondheim's characters are likewise multi-determined. Amy, the jabbering bride in Company who's not getting married today, spins furiously in place, seeming to go nowhere, even as she hurtles through an entire inner galaxy of emotion. Elaine Stritch, who first played the role of Joanne in the same show, has referred to her signature number, The Ladies Who Lunch, as a play in three acts. Like glum disciples of Baudelaire, the advocate of universal intoxication, the targets of Joanne's venom seek relief from die dull ache of existence. Baudelaire recommended anaesthetics like wine, poetry, and virtue. ladies who lunch socialize, improve their minds, play Martha Stewart, and so on, yet cannot suppress the dread knowledge: Everybody dies. Many effects, one cause: Occam's razor, in its simplest form. Beyond Strunk and White: Elements of Style Something's better than nothing, yes! …" @default.
• W212600089 created "2016-06-24" @default.
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• W212600089 date "2009-01-01" @default.
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• W212600089 title "Sondheim's World" @default.
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