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• W2631751493 abstract "Percy Bysshe Shelley's The Cenci (1819) climaxes with a trial scene in which the protagonist Beatrice-futilely and to some degree speciously-defends her own and her family's innocence of parricide before a Papal court.1 Just prior to this scene, the play's secondary villain, Orsino, delivers a rather remarkable soliloquy, which opens:I thought to act a comedyUpon the painted scene of this world,And to attain my own peculiar endsBy some such plot of mingled good and illAs others weave; but there arose a PowerWhich grasped and snapped the threads of my deviceAnd turned it to a net of ruin [...]. (5.1.77-83)Remarkable about this are several things: first, Orsino's self-proclaimed orientation toward comedy in one of the unrelievedly grim dramas ever written; second, his claim that this is a new world, while the world of Shelley's play seems ruled by entrenched, implacable, and corrupt institutions of familial, religious, and legal governance; and third, Orsino's assertion of the intervention of some Power-what might look very much like Providential Justice-in a plot which seems, however problematically, to deny the justice of Heaven as well as its earthly counterparts.Indeed, Orsino has many of the play's extended and oft-quoted soliloquies, and I will turn to analyzing them presently, but here let me point out that these utterances are usually examined in relation to their application to other figures in the drama, Count Cenci and Beatrice in particular, but very seldom in relation to Orsino as a character himself-as critic Young-Ok An mentions in a footnote, the most intelligent and yet morally problematical one in the play (67 n.28). Rather, another two issues have engrossed readers: First, to what degree is The Cenci playable or even dramatic? This question, of course, entails the play's contested status as a tragedy-which Shelley's subtitle declares it to be-rather than, say, a melodrama or a closet drama. Second, how are we to respond to Beatrice's parricide and, more troubling, her insistence that she is innocent, despite the evidence and the confessions-albeit under torture-of her mother, her brother, and her hired killer? I will argue in this essay that Orsino is relevant to all such matters: Shelley's attitudes toward the theater; the issues of guilt and innocence, deception and disclosure, interiority and anagnorisis; and the play's social and moral agenda. Yet he is relevant since to some degree he stands outside the tenor of Shelley's drama. In his role as actor/playwright of a solemn comedy, paradoxically, Orsino brings into sharp relief the play's gestures-ultimately failed gestures-toward tragedy.Of the play's status as theater, Margot Harrison comments (quoting Mary Shelley):Shelley indisputably wished The Cenci to be acted, picked out his lead actors, and even asked a friend to procure...its presentation in Covent Garden. The play's subject made such a performance impossible. Yet, while the moral strictures against a play about incest had expired by 1886, the aesthetic judgment of The Cenci as undramatic (first voiced by Byron) has lasted considerably longer. Until recently, critics tended to view the dramatic form and stage destination of the play as contingencies to be overlooked in favor of its poetic aspects and/or its political subtexts, on the assumption that The Cenci makes poor theatre. This assumption derives in part [...] from critical stereotypes of Shelley as an inward-turning poet who coveted the power of a stage performance while lacking a pragmatic grasp of the medium. (187)On the other hand, scholar/actor Arthur C. Hicks, who took the title role in a 1940 American premiere staged by the Bellingham (Washington) Theatre Guild for five nights before 667 viewers, vigorously defends The Cenci's payability:It is difficult to imagine a more severe test of The Cenci as a stage play than that afforded by the conditions of the Guild production. …" @default.
• W2631751493 created "2017-06-30" @default.
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• W2631751493 date "2005-07-01" @default.
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• W2631751493 title "Orsino's Solemn Comedy and Shelley's Tragedy the Cenci" @default.
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