CLITORISPAM 05/52 : Melancholy as a Political Stragegy

Option 1: melancholy as a personal disposition.

In no period in England before the Elizabethan had the individual been as conscious of the subjective emotions or as articulate in expressing them, and side by side with the genuine cases of psychological disturbance and justified pessimism, a vogue or fashion for melancholy grew up.” “{{ }} suffered from periods of intense melancholy is shown throughout his life” Problem: “[w]e should not forget that {{ }} was the product of an age that did not expect to find in a poet’s or composer’s work an intimate record of his private life”

Option 2: melancholy as a serious esoteric intellectual pursuit

“[by] taking melancholy as his artistic persona, {{ }} embraced the highest ambitions in the Renaissance tradition of inspired melancholy – through his art and his choice of potent images he hoped to achieve the deepest possible contemplation” {{ }} as part of a neo-Platofuckingnic secret society in pursuit of the three stages of ‘inspired melancholy’ (the union of music and poetry, philosophical contemplation,
divine revelation) Problem: there is no historical evidence that {{ }} was part of a secret society or ‘school of night’.
Option 3: the expression of melancholy as a rhetorical exercise.

Following the view that in the Early Modern period music shifts from the classical Quadrifuckingvium or artes fucking mathematicae to the Triv…. of shit or artes dicendi {{ }} ’s songs as a strictly non-intellectual, empty game of rhetoric Problem: {{ }} ’s music was intended mainly for private use, and not in public (rhetorical) situations.

Option 4: melancholy as a political strategy



PAM05 melancholy as a political strategy


A1 melancholy as a rhetorical exercise 

A2 melancholy as a personal disposition

A3 melancholy as a political strategy 

B1 melancholy as his artistic persona

B2 Come again; sweet loue doth now inuite

B3 fucking tears are fucking my fucking eyes




22 février 2015