“Nay ’tis in grain, I warrant it hold colour”: The Materiality of Black in Middleton’s Black Book
Starting with the satirical Microcynicon and flourishing in the self-referential Black Book, Thomas Middleton’s obsession with black, the colour of ink and atrabile, pervades his non-dramatic texts but also his plays, both tragic and comic. From the dyes and funeral fabrics of A Mad World, my Master...
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| 出版年: | URI:https://journals.openedition.org/erea, |
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Anglais |
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E-rea
2015
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| 主題: | |
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:erea_4321 |
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openedition |
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openedition-oai:revues.org:erea_4321 https://doi.org/10.4000/erea.4321 urn:doi:10.4000/erea.4321 en https://journals.openedition.org/erea/4321 2015-06-15T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/fv43 https://creativecommons.org/licenses/by-nc-nd/4.0/ “Nay ’tis in grain, I warrant it hold colour”: The Materiality of Black in Middleton’s Black Book E-rea Laboratoire d’Études et de Recherche sur le Monde Anglophone info:eu-repo/semantics/reference/issn/1638-1718 URI:https://journals.openedition.org/erea SCHÜTZ, Chantal couleur noir Middleton Lucifer teinture charbon colour black Middleton Lucifer dye coal Starting with the satirical Microcynicon and flourishing in the self-referential Black Book, Thomas Middleton’s obsession with black, the colour of ink and atrabile, pervades his non-dramatic texts but also his plays, both tragic and comic. From the dyes and funeral fabrics of A Mad World, my Masters to the animals that embody it, the materiality of Middleton’s blackness is testament to his eminently sensual approach to the world he portrays and mocks. Beyond blackness, the very notion of colour animates and structures the imagination of his characters, as Vindice or Follywit, whose tricks are conceived in terms of dying fabrics. This paper maps the material instantiations of blackness as a satirical tool in Middleton’s discourse on city vices as voiced by Lucifer and his consorts in The Black Book. Taking up Gary Taylor’s approach of the self-reflexive pamphlet, it examines the ways Middleton integrates the stuff of blackness into the very form and substance of his text. L’obsession de Thomas Middleton pour la couleur noire, celle de l’encre et de l’atrabile, débute dès la publication de son premier opuscule satirique, le Microcynicon. Elle trouve son expansion dans le Livre Noir et se déploie ensuite tout autant dans sa prose que dans ses textes dramatiques, qu’ils soient comiques ou tragiques. Allant des teintures et tentures funèbres d’Un monde de fous, Messieurs aux animaux qui l’incarnent, la noirceur toute matérielle de Middleton témoigne de la place des sens dans son appréhension du monde qu’il dépeint. Au-delà de la noirceur, la notion même de couleur anime et structure l’imagination de ses personnages, dont les stratagèmes sont parfois énoncés en termes de teinture. On se concentrera ici sur les instanciations matérielles de la noirceur dans le discours satirique que Middleton prête à Lucifer et ses acolytes dans le Livre Noir. Partant de la remarque de Gary Taylor sur le caractère auto-référentiel de ce pamphlet, on analysera les différentes manières dont Middleton intègre la substance même du noir dans son texte. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
couleur noir Middleton Lucifer teinture charbon colour black Middleton Lucifer dye coal |
| spellingShingle |
couleur noir Middleton Lucifer teinture charbon colour black Middleton Lucifer dye coal SCHÜTZ, Chantal “Nay ’tis in grain, I warrant it hold colour”: The Materiality of Black in Middleton’s Black Book |
| description |
Starting with the satirical Microcynicon and flourishing in the self-referential Black Book, Thomas Middleton’s obsession with black, the colour of ink and atrabile, pervades his non-dramatic texts but also his plays, both tragic and comic. From the dyes and funeral fabrics of A Mad World, my Masters to the animals that embody it, the materiality of Middleton’s blackness is testament to his eminently sensual approach to the world he portrays and mocks. Beyond blackness, the very notion of colour animates and structures the imagination of his characters, as Vindice or Follywit, whose tricks are conceived in terms of dying fabrics. This paper maps the material instantiations of blackness as a satirical tool in Middleton’s discourse on city vices as voiced by Lucifer and his consorts in The Black Book. Taking up Gary Taylor’s approach of the self-reflexive pamphlet, it examines the ways Middleton integrates the stuff of blackness into the very form and substance of his text. |
| author |
SCHÜTZ, Chantal |
| author_facet |
SCHÜTZ, Chantal |
| author_sort |
SCHÜTZ, Chantal |
| title |
“Nay ’tis in grain, I warrant it hold colour”: The Materiality of Black in Middleton’s Black Book |
| title_short |
“Nay ’tis in grain, I warrant it hold colour”: The Materiality of Black in Middleton’s Black Book |
| title_full |
“Nay ’tis in grain, I warrant it hold colour”: The Materiality of Black in Middleton’s Black Book |
| title_fullStr |
“Nay ’tis in grain, I warrant it hold colour”: The Materiality of Black in Middleton’s Black Book |
| title_full_unstemmed |
“Nay ’tis in grain, I warrant it hold colour”: The Materiality of Black in Middleton’s Black Book |
| title_sort |
“nay ’tis in grain, i warrant it hold colour”: the materiality of black in middleton’s black book |
| publisher |
E-rea |
| publishDate |
2015 |
| container_title |
URI:https://journals.openedition.org/erea |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/erea.4321 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/erea/4321 |
| _version_ |
1877242922634575872 |