“The Changeling” is full of instances where characters happen to be at the right place at the right time. However, I find Scene III, Act iii to be particularly interesting. In the asylum, Isabella is looking at the different madmen. When she is left alone with Antonio, he reveals himself to be faking his craziness, and he professes love to and kisses Isabella. While she doesn’t seem entirely supportive of the actions, she doesn’t do much to fight him, either. During this entire scenario, Lollio was watching from above. He escorts Antonio away and when he returns, he is in a position of power over Isabella because of what he witnessed. Even though this play is “consumed with changeability” there are still moments where location and timing are critical, and this moment is one of them. Because of what Lollio saw, he is now in a position to take advantage of Isabella in nearly any way he sees fit (and, at that moment, does attempt to kiss her, and calls her a prostitute). Isabella is married, and of course should not be fooling around with anyone (especially her husband’s patients)—which Lollio knows and will take full advantage of.
Friday, April 10, 2009
Fate vs Free Will
If you're gonna do it...don't do it in front of a church.
A Pendulum of Fate
It is somewhat difficult to determine whether being in the right place at the right time is a result of one’s resolve or chance. There is much support to be found in the first three acts for both arguments causing me to believe it is a combination of both. In Act 1 De Flores states, “Here’s a favor come, with a mischief! Now I know/ She had rather wear my pelt tanned in a pair/ Of dancing pumps than I should thrust my fingers/ Into her sockets here, I know she hates me,/ Yet cannot choose but love her./ No matter; if but to vex her, I’ll haunt her still./ Though I get nothing else, I have my will.”(1.1.233-239) This line seems to be a reflection of how the rest of the play seems to try and find a balance between happenstance and the actual drive of the characters in determining their fates. In this line, De Flores speaks concerning the occasion where he returns Beatrice’s glove and his feelings on the matter. There is some controversy on whether or not Beatrice drops her glove on accident or on purpose to lure De Flores into helping her. Here we see question of chance reiterated. If Beatrice had dropped the glove accidentally, De Flores resolve concerning his relationship with her would have been strengthened by a random occurrence. On the other hand, had she dropped the glove on purpose, his resolve would have been strengthened by her doing making his actions a result of her conscious effort. De Flores goes on to explain how he cannot help but love her, which gives the idea that we are slave to fate. He goes on to claim that he will have his will, coming back to the idea that the characters are in control of what happens. We see this pendulum swing back and forth between chance and character resolve throughout the entirety of the play. Perhaps we are meant to understand that while the characters seem to have their own choices, they are still part of a “master” plan (the plot of the play) that cannot be denied.
Little too late...
When Beatrice replies, she says "Oh, there's one above me, sir."(speaking of her father and his right/duty to marry his daughter off to a well-suited man). In her aside she states "For five days past to be recalled! Sure, mine eyes were mistaken; This was the man was meant me. That he should come so near his time, and miss it!"(ll84-87). Beatrice is speaking of the fact that Alsemero was just five days too late of confessing his love. She has already promised to marry another, and is now faced with a complex because she believes that she has not only made the wrong decision, but Alsemero s the only one for her. The way she speaks about this horrible misfortune makes it obvious that her and Alsemero are destined to be together-and she will find a way to scheme out of the current marriage proposal. It is so interesting that Alsemero was so close to being able to have Beatrice without any sort of conflict-had he just come a few days sooner. However, this very scene sets the stage for the fulfillment of destiny which will take place through the fight to be together.
Fickle Fate
The constant presence of chance within the play, and its mutable benefit for a host of characters, lends a new meaning to the title. In a play so caught up with notions of disguise and treason, could it be that luck is the ultimate changeling? Middleton shows chance to be a force that can appear to you as pure benefit, give you all you desire, and then stab you in the back. Sometimes literally.
Unholy Matrimony
No Changelings Here
"'Twas in the temple where I first beheld her,
And now again the same; what omen yet
Follows of that? None but imaginary...
The church hath first begun our interview,
And that's the place must join us into one,"
(I.1.1-3, 10-11)
Judging by his words, he doesn't seem to believe that any omen marks his sighting as being particularly significant, and yet he grants a great amount of importance to the place of their meeting. This is a direct contradiction: how can he claim that he sees no omen in his first seeing Beatrice-Joanna and yet place such a degree of symbolism on an accidental rendezvous? Furthermore, the fact that he saw Beatrice-Joanna and not Diaphanta, and that it was Alsemero and not Jasperino who saw her, seem both entirely unplanned and absolutely necessary. Jasperino is focused on leaving Alicante, but who's to say that if their positions were reversed Alsemero wouldn't have been just as eager to leave? The crucial difference between the two lies in the fact that Alsemero's father had an unknown connection with Beatrice-Joanna's father. Who could have predicted this - and yet, if there were no such connection, it seems very unlikely that Vermandero would have invited a strange man to stay in his home with his engaged daughter in residence. In a very real way, Alsemero had to be the man who falls in love - the one could not be exchanged for the other. Similarly, if Alsemero fell in love at first sight with the eligible Diaphanta, instead of the betrothed Beatrice-Joanna, there would have been no plot because there would have been no inconvenient fiance to eliminate. These characters act as they do, appear where they do because if they didn't, there would be no play, no drama. Whether the hand of fate or of the playwrites, the characters in The Changeling are who they must be. In the original sense of the word "changeling", the play seems most inappropriately titled: the characters clearly aren't interchangeable at all.
Thursday, April 9, 2009
Wondrous Luck, Uncommonly Cruel Fate
However, Beatrice’s luck is not as rosy as it first appears. After he kills Alonzo, De Flores comes to claim his payment, but he is not interested in the monetary reward Beatrice had in mind. Instead, De Flores uses this as an opportunity –or excuse- to fulfill his obsession with Beatrice by raping her at end of Act III. At the close of the act, Beatrice laments this dark turn of events, saying,
Vengeance begins,
Murder I see is followed by more sins.
Was my creation in the womb so cursed
It must engender with a viper first?
(III.iv.163-67)
With this pitiful outcry, Beatrice bemoans the foul turn in her fortune. This unforeseen turn from promising to horrifying follows her comments earlier in the play on judgment:
Our eyes are sentinels unto our judgements,
And should give certain judgement what they see;
But they are rash sometimes and tell us wonders
Of common things…
(I.i.73-76)
Just as she forewarned, Beatrice has fallen prey to a terrible error in judgment and is now suffering the sadistic side of fate.
Even though she believes that this fate is some sort of “vengeance” for orchestrating the murder of Alonzo, she does not fully acknowledge this as a consequence of her own decisions and actions. Rather, she calls herself “cursed” and casts these events in the light of predestination, believing not that she had control or a choice in the outcome, but instead that all these events were set in motion since she was born.
Stalking Members of Time
Thus, we are left with the question: what is the chance and what is the choice of this play, of this scene? In all reality, this question does not have a direct answer, but rather a concordance between the two. For without his stalkish and obsessive behavior, De Flores might never have stumbled upon the lovers' interlude; yet, without the chance encounter, he might never have murdered for her or had the power to force her to bed with him. As such, I would venture to say that the relationship between the agency of the characters, especially De Flores, and the idea of being in the right place at the right time is one of interdependency. One cannot exist without the other. The play could not procede without both.
Wrong Time, Wrong Place
Wednesday, April 8, 2009
Till the Time Opens: Fate and Mutability
The Changeling opens with an almost obsessive compulsive parsing of omens and astrological significances. For example, Jasperino urges Alsemero to seize the propitious conditions for his sea voyage:
“’Tis the critical day, it seems, and the sign in Aquarius” (1.1.49)
Perhaps, the ensuing tragedy could have been avoided if Alsemero had heeded the signs. In contrast, De Flores replies to Beatrice-Joanna’s urging to be “wondrous careful in the execution” of their plot, by suggesting “Why, are not both our lives upon the cast?” (2.2.139-140).
In an attempt to consider what Middleton and Rowley are up to in The Changeling we will address the relationship between destiny and chance, between predestination and the roll of the dice.
The following are images taken from an almanac and astrological guidebook written in 1622:
Your task for this week’s blog is to attempt to make sense of the relationship between the characters’ fixation on marking auspicious, promising, or providential circumstances and the actual agency of the characters in determining their fate. Put simply, what does it mean to be in the right place at the right time in a play consumed with changeability and substitution? Draw on a specific moment in the text to support your answer.