[Sawyer Kemp]

Was anyone else reminded of Love’s Labour’s Lost? Sort of a comparison by inversion–since obviously Artesia succeeds more quickly at getting a Welcome and makes the opposite bargain of LLL’s Princess–but the beginning of the scene sets up an agreement of lords that immediately meets the (feminine) agent of its undoing.

I’m also curious about the Modestia/Hermit exchange. It doesn’t seem uncommon to me to see religious/spiritual vocation rendered in the language of romance, but she asks after him during her ostensibly “romantic” scene with Edwin, and then enters the policy scene to profess to him her love (of virtue! ahem!) which interestingly transposes her desires across the A/B plot. This is my first reading of the play so I have no idea what the outcome is for Modestia, but I imagine that a lot rests on performance choices in her scenes. There is potential for humor in sexual tension with the Hermit, but I suspect she is meant to be more of a Marina, whose modesty and chastity is so excessive that it converts all those around her. Still, raises questions for me about asexuality/celibacy vs aromanticism; especially when put in contrast with Artesia (the seductive but evil archetype, as Nora points out).

Looking forward to Act II!

[Sawyer Kemp]

Hi folks! Latecomer hopping in to the Birth of Merlin party. I’m Sawyer (they/them/theirs or he/him/his). I’m finishing up my last dissertation year at UC Davis where I work on early modern drama, performance studies, and queer/trans studies. My research has mostly been on contemporary Shakespeare performance and how institutions negotiate making very old plays “accessible” to modern audiences.

Frankly, I just thought this play looked bananas and I wanted in, but I also thought joining a reading group during the pandemic might give me some much-needed structure! Looking forward to hearing everyone’s thoughts.

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