
"Holy Deadlock" and Further Ribaldries
Description
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In fifteenth- and sixteenth-century comedy, love and marriage do not exactly go together like a horse and carriage. What with all the arranged matches of child brides to doddering geezers, the frustration, fear, anxiety, jealousy, disappointment, and despair are matched only by the eagerness with which everybody sings, dances, and cavorts in the pursuit of deception, trickery, and adultery. Easily recognizable stock characters come vividly to life, struggling to negotiate the limits of power, class, and gender, each embodying the distinctive blend of wit, social critique, and breathless boisterousness that is farce. Whether the antics play out on the fifteenth-century stage or the twenty-first-century screen, Enders notes, comedy revels in shining its brightest spotlight on the social and legal questions of what makes a family. Her volume defines and redefines love and marriage with a message that no passage of time can tear asunder: social change finds its start where comedy itself begins-at home.
Reviews / Votes
"Scurrilous, sexy, stupid, satirical, scatological, side-splitting, and probably something else beginning with 's,' Jody Enders's translation of twelve French farces is a real discovery that goes a long way to readjusting our perception of the Middle Ages. Enders is a great champion of comedy at its most vulgar and hilarious. She points out that however silly or banal these farces may appear to us, they nonetheless confront the real controversies of their day over the law, politics, religion, social order, or the battle of the sexes. Thoroughly grounded in her academic approach to the subject, Enders nevertheless writes with liveliness and humor and wit. She is unafraid to reference modern comedy in her translations and insists on the primacy of performance in assessing these comedies from half a millennium ago." (Terry Jones, on Enders's Farce of the Fart)More details
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Person
Content
Introduction, Part Deux: Seriously Funny
About This Translation
-Une Traduction engagEe, a Feminist Appropriation
-On Anonymity, Naming, and Renaming
-Critical Apparatus
-Editions and Printed Sources
-Order of Presentation
-Stage Directions
-Money, Money, Money
-Grammar, Style, and "Foreign-Language" Materials
-Prose, Verse, Music, and Choreography
Brief Plot Summaries
THE PLAYS
Actors' Prologue
1. The Newlywed Game [Le Conseil au Nouveau MariE] (RBM, #1)
2. The Shithouse [Le Retraict] (RLV, #54)
3. Pots and Scams, or, The Farce of the Kettle-Maker [Un Chaudronnier] (RBM, #30)
4. For the Birds, or, Conjugal Birdplay [La MauvaistiE des femmes] (RC, #48)
5. The Jackass Conjecture, or, Animal Husbandry [Le Pont aux Anes] (RBM, #25)
6. Match, Point, Counterpoint, or, The Old Lover vs. the Young Lover [Le Viel Amoureulx et le Jeune Amoureulx] (RLV, #9)
7. Holy Deadlock, or, The Pilgrimage of Marriage [Le PElerinage de mariage] (RLV, #19)
8. Bitches and Pussycats, or, Peace of Ass [Les Deux Maris et leurs deux femmes dont l'une a male tEte et l'autre est tendre du cul] (RBM, #10)
9. Wife Swap: A Musical Comedy, or, The Taming, Pas de Deux [Le Savatier, Marguet, Jacquet, Proserpine et l'Oste] (RLV, #74)
10. Husband Swap, or, Swap Meat [Le Trocheur de maris] (RLV, #60)
11. Extreme Husband Makeover, or, Lost and Foundry [Les Femmes qui font refondre leurs maris] (RBM, #6)
12. Marriage with a Grain of Salt [Les Hommes qui font saller leurs femmes] (published in Rouen, 1600)
Appendix: Scholarly References to Copyrighted Materials
Notes
Bibliography
Acknowledgments
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