[ Pobierz całość w formacie PDF ]
.Oree-mae-gerre.We are the ones 6who have wealth.7T: Epè-noeré-coih? peroupícgag mae? And your Prince, does he have any 8wealth?9F:Oerecoih.He has as much and more.Oree-mae-gerra-a hepé.Everything 1011that we have is at his command.8412Léry’s Frenchman neatly communicates the fact that the wealthy Rouen 3111mercantile bourgeoisie forms the backbone of support for the King, 4and that he supports their own endeavours in return.The dialogical 5exchange is followed by a list of body parts (including words for the soul and for the soul after it has left the body), another list of personal 6pronouns, some phrases about everyday domestic actions (‘light the fire’, 7‘cook the fish’, and so forth), terms for family members, and a discus-8sion of verb tenses.The Colloquy concludes with a list of twenty-two 9Tupinambá villages that Léry had visited along with information about 20111their location.1Steven Mullaney, in his essay ‘Strange Things, Gross Terms, Curious 2Customs: The Rehearsal of Cultures in the Late Renaissance’, has 3observed that certain performative events that took place in early modern 4France were more than mere ‘practice sessions’ and more than the 5performance of alterity, but rather a complex process that enabled 6dominant groups to negotiate with their Others, both external and 7internal.Such events were capable not only of enacting alterity, but 8also of forcing Europeans to question their own institutions.Mullaney 9introduces the concept of rehearsal as ‘a cultural practice that allows, 30111invites, and even demands a full and potentially self-consuming review 1of unfamiliar things’.85 In this perspective, lexicographic studies and 2dialogical exchanges in native languages like that of Léry could be char-3acterized as rehearsals of ways to stage communicative exchanges for 4determined ends, whether of subsistence, trade, or religious conversion.5Such exchanges are performative by their very nature, in that they are 6iterable speech acts that not only make things happen but define what 7makes sense in a certain context and, equally, what does not.Curiously, 8although native religion (or the alleged lack thereof ) is discussed else-9where in his History, Léry’s bilingual Colloquy does not discuss religion 40111or offer phrases that missionaries might find useful in their endeavours, 1but rather concentrates on pragmatic issues of physical survival, logistics 21111and trade.8656Colonial encounters in New World writing1111The Puritans2In North America, a similar wariness of dramatic form existed among 3English Protestant explorers and settlers.In seventeenth-century New 4England, antipathy to the theatre and to theatrical genres ran very deeply, 5reflecting Puritan attitudes in the mother country.Reacting to the 6excesses of the early Jacobean theatre, English Puritans had character-7ized the stage as ‘the bastard of Babylon’, the ‘Chapel of Satan’ and ‘the 8snare of concupiscence and filthy lusts of wicked whoredom’, a school 9teaching ‘how to be false and deceive your husbands, or husbands their 1011wives, how to play the harlot, to obtain one’s love, how to ravish, how 1to beguile, how to betray, to flatter, lie, swear, forswear, how to allure 2whoredom, how to murder, how to poison, how to disobey and rebel 3111against princes, to consume treasures prodigally, to move to lusts, to 4ransack and spoil cities and towns, to be idle, to blaspheme, to sing 5filthy songs of love, to speak filthily, to be proud, how to mock, scoff, and 6deride any nation’.87 As these epithets reveal, the theatre was viewed as 7the locus not only of sexual transgression and political subversion, but also 8(at the height of English colonial exploration and settlement) a very real 9threat to national identity.William Prynne, in his encyclopaedic treatise 20111Histriomastix, provides an extraordinarily exhaustive compilation of anti-1theatrical testimonials, ranging from Classical and Scriptural texts to 2contemporary pamphlets and sermons; the vehemence of his tone reveals 3the genuine horror with which the theatre was regarded by Puritans.884These attitudes accompanied English colonists to the New World.In 51602, a compilation of Daily Prayers prepared for settlers in Virginia 6included the following entreaty: ‘O Lord we pray thee fortifie us against 7this temptation: let Samballat & Tobias, Papists and Players and such 8other Amonits and Horonits, the scum & dregs of the earth, let them 9mocke such as helpe to build up the walls of Jerusalem, and they 30111that be filthy, let them be filthy still.’89 Decades later, Increase Mather 1published a treatise in which he denounced the theatre as a genre that 2rendered sin attractive and that had deleterious effects on the behav-3iour of the young.In his Preface, he comments, ‘there is much discourse 4of beginning of Stage-Plays in New-England.That last Year Promiscuous 5Dancing was openly practised, and too much countenanced in this 6Degenerated Town [ Pobierz całość w formacie PDF ]
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.Oree-mae-gerre.We are the ones 6who have wealth.7T: Epè-noeré-coih? peroupícgag mae? And your Prince, does he have any 8wealth?9F:Oerecoih.He has as much and more.Oree-mae-gerra-a hepé.Everything 1011that we have is at his command.8412Léry’s Frenchman neatly communicates the fact that the wealthy Rouen 3111mercantile bourgeoisie forms the backbone of support for the King, 4and that he supports their own endeavours in return.The dialogical 5exchange is followed by a list of body parts (including words for the soul and for the soul after it has left the body), another list of personal 6pronouns, some phrases about everyday domestic actions (‘light the fire’, 7‘cook the fish’, and so forth), terms for family members, and a discus-8sion of verb tenses.The Colloquy concludes with a list of twenty-two 9Tupinambá villages that Léry had visited along with information about 20111their location.1Steven Mullaney, in his essay ‘Strange Things, Gross Terms, Curious 2Customs: The Rehearsal of Cultures in the Late Renaissance’, has 3observed that certain performative events that took place in early modern 4France were more than mere ‘practice sessions’ and more than the 5performance of alterity, but rather a complex process that enabled 6dominant groups to negotiate with their Others, both external and 7internal.Such events were capable not only of enacting alterity, but 8also of forcing Europeans to question their own institutions.Mullaney 9introduces the concept of rehearsal as ‘a cultural practice that allows, 30111invites, and even demands a full and potentially self-consuming review 1of unfamiliar things’.85 In this perspective, lexicographic studies and 2dialogical exchanges in native languages like that of Léry could be char-3acterized as rehearsals of ways to stage communicative exchanges for 4determined ends, whether of subsistence, trade, or religious conversion.5Such exchanges are performative by their very nature, in that they are 6iterable speech acts that not only make things happen but define what 7makes sense in a certain context and, equally, what does not.Curiously, 8although native religion (or the alleged lack thereof ) is discussed else-9where in his History, Léry’s bilingual Colloquy does not discuss religion 40111or offer phrases that missionaries might find useful in their endeavours, 1but rather concentrates on pragmatic issues of physical survival, logistics 21111and trade.8656Colonial encounters in New World writing1111The Puritans2In North America, a similar wariness of dramatic form existed among 3English Protestant explorers and settlers.In seventeenth-century New 4England, antipathy to the theatre and to theatrical genres ran very deeply, 5reflecting Puritan attitudes in the mother country.Reacting to the 6excesses of the early Jacobean theatre, English Puritans had character-7ized the stage as ‘the bastard of Babylon’, the ‘Chapel of Satan’ and ‘the 8snare of concupiscence and filthy lusts of wicked whoredom’, a school 9teaching ‘how to be false and deceive your husbands, or husbands their 1011wives, how to play the harlot, to obtain one’s love, how to ravish, how 1to beguile, how to betray, to flatter, lie, swear, forswear, how to allure 2whoredom, how to murder, how to poison, how to disobey and rebel 3111against princes, to consume treasures prodigally, to move to lusts, to 4ransack and spoil cities and towns, to be idle, to blaspheme, to sing 5filthy songs of love, to speak filthily, to be proud, how to mock, scoff, and 6deride any nation’.87 As these epithets reveal, the theatre was viewed as 7the locus not only of sexual transgression and political subversion, but also 8(at the height of English colonial exploration and settlement) a very real 9threat to national identity.William Prynne, in his encyclopaedic treatise 20111Histriomastix, provides an extraordinarily exhaustive compilation of anti-1theatrical testimonials, ranging from Classical and Scriptural texts to 2contemporary pamphlets and sermons; the vehemence of his tone reveals 3the genuine horror with which the theatre was regarded by Puritans.884These attitudes accompanied English colonists to the New World.In 51602, a compilation of Daily Prayers prepared for settlers in Virginia 6included the following entreaty: ‘O Lord we pray thee fortifie us against 7this temptation: let Samballat & Tobias, Papists and Players and such 8other Amonits and Horonits, the scum & dregs of the earth, let them 9mocke such as helpe to build up the walls of Jerusalem, and they 30111that be filthy, let them be filthy still.’89 Decades later, Increase Mather 1published a treatise in which he denounced the theatre as a genre that 2rendered sin attractive and that had deleterious effects on the behav-3iour of the young.In his Preface, he comments, ‘there is much discourse 4of beginning of Stage-Plays in New-England.That last Year Promiscuous 5Dancing was openly practised, and too much countenanced in this 6Degenerated Town [ Pobierz całość w formacie PDF ]