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Renascence

Volume 74, Issue 1, Winter 2022

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Displaying: 1-4 of 4 documents


1. Renascence: Volume > 74 > Issue: 1
Kathryn E. Davis “[S]tupor non meno”: What Virgil Saw
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Dante’s Virgil is, according to Virgil, among the most hopeless souls in the Commedia. As he tells us himself, he and the other virtuous pagans in Limbo who lack baptism yet have not sinned live “sanza speme . . . in disio” (“without hope . . . in longing”). Virgil believes himself to be eternally damned, and he seems to have convinced everyone from Dante the pilgrim to Cato to Statius to almost all readers of Dante’s poem that he is right. This essay, however, will challenge the assumption that we must take Virgil’s hopeless self-assessment for granted as ultimate truth by exploring other possibilities which are opened up by Virgil’s disappearance in its immediate context. In Purgatorio 29, just before he makes his exit, Virgil stands face-to-face a scene of his own making remade on the banks of Lethe. When Virgil looks across this mystical river now flowing through Dante’s Eden, what does he see? And what might be the implications of his vision?
2. Renascence: Volume > 74 > Issue: 1
Stephen Mead Theater as Vision in A Midsummer Night’s Dream
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By his transformation and suggestive associations of the Christian and Pagan sources and influences in A Midsummer Night’s Dream, Shakespeare both revivifies the social message of Paul’s epistle to the Corinthians for his own age and creates a transformative theatre that closely aligns the “magic” of theatrical performance with the spiritual tenets of Christian salvation and community.
3. Renascence: Volume > 74 > Issue: 1
Terry W. Thompson “Touching Him”: The Doubting Thomas Subtext in M. R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”
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Born the son of an Evangelical Anglican minister, Montague Rhodes James, "Monty" to family and friends, was arguably the best educated ghost story writer who ever lived: "He had all sorts of letters after his name." His tales, collected in four slim volumes, often touch upon, lightly for the most part, biblical motifs or themes. In his most celebrated horror tale, "Oh, Whistle, and I'll Come to You, My Lad," James alludes—subtly as was his wont—to the story of Thomas, the disciple who, "skeptical about the resurrection," demanded tangible proof of the event, an actual "touching," before he would deign to believe in the miraculous. In James's most famous effort in the supernatural genre, another doubting Thomas, in this case an arrogant disciple of modern science and its methods, demands the same proof, a "touching," before he will believe. And when that proof comes, it changes him forever just as it did "Thomas, one of the twelve."
4. Renascence: Volume > 74 > Issue: 1
Notes on Contributors
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