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Really awful pseudo-classical forgery problem

posted 8 years ago by maenad-3
15 replies | jump to latest

So apparently the subplot of Flaxmore's discovery of a lost play of Euripides is not important enough to warrant careful construction, despite the fact that the publication is touted as an academic triumph in Oxfordian history. We are informed that Flaxmore had discovered six years previously a rare volume with a manuscript of a Victorian translation of Euripides' "Alcmaeon in Corinth" -- actually, the idea was certainly inspired by the recent 2005 publication of a reconstruction of the play based on the extant fragments by Irish playwright Colin Teevan. But why "a Victorian translation?" Firstly, "translation" means that it is an English version of the play (I assume that a Victorian scholar would have translated it into English rather than Latin or French or German), so all that Flaxmore had to do was edit the manuscript, no big deal as there was no translating from the Greek involved. Secondly, during the Victorian era scholarship would have necessitated providing rigid background on the play, such as the origin of the Greek version, its provenance, the name of the translator, the date of the translation, etc. This "Victorian translation" of a lost Greek play is an allusion to the 1894 hoax "Les Chansons de Bilitis," by Pierre Louÿs, who claimed to have translated songs from the Greek by a Sappho like poetess whose identity had been lost for millennia and whose verses had been discovered on the walls of a tomb in Cyprus, a hoax which could not be perpetrated today. Thirdly, whilst we have been informed that the play is a "Victorian translation," Hathaway mysteriously quotes the verses about the lions in Greek. So why not say that Flaxmore had discovered a Greek manuscript of the play in some Victorian book? Then he could have published the book with both the Greek original and his own English translation. The hoax element would have been the same as some scholar had to have written the play after the date of the naming of the Leo Minor constellation. The only blame that could be imputed to Flaxmore would be his not having noticed the anachronism. Hmm, that is rather bad, actually. Has anyone else noticed the anomaly?

[–] hilaryjrp 8 years ago

I don't want to sound philistine, but I'm American... 

Speaking only for myself, the least interesting parts of any "Inspector Lewis" (or now "Endeavour") episode deal with Hathaway's or Morse's encyclopedic knowledge of...everything. The brooding savant figure in popular culture is getting so very old. In the U.S., it began with Fox Mulder in '93, who took over from Data on the syndicated "Star Trek: The Next Generation" from '87. The type blossomed like fungus all over American television around Y2K (the original hero of "CSI," another font-of-all-knowledge on a "Law and Order"--and then virtually every millennial alternate reality series). By the time "House" showed up, the stereotype had become an old, old man.

"Lewis'" lugubrious and pretentious soundtrack might itself be responsible for Hathaway's, if not Laurence Fox', readiness to move on. I must confess that when Hathaway solved the mystery you refer to by just happening to know the constellations hadn't been reconfigured in the era in which the found manuscript was supposed to have been written-- I just said, Holy Hugh Laurie, Batman, and turned it off.

The character of Lewis does not fit into this otherwise depressing, stultifying, obnoxious series.

[–] maenad-3 8 years ago

hilaryjrp--I agree that the pedantic twists are obnoxious, especially if the writers try to outsmart themselves. It is amusing to see beautiful Oxford so smitten with a plethora of mysterious murders. That is one reason why I watch, besides the fact that I have an academic background and the jabs against the stuffy Oxford profs are really funny.

[–] hilaryjrp 8 years ago

I realize I didn't address your original post as it deserves. I hope someone *does* address it.

There are two series in one in "Inspector Lewis" (and now in "Endeavour"). For some viewers, the academic or excessively niche-knowledge elements of any story will hold the most interest. For others, the human factor is of greatest interest. Kevin Whately holds great appeal for American viewers; he is a counterpart of a much-beloved (now deceased) actor on our "Law and Order" franchises, Jerry Orbach. Both men played working-class men dealing with "perps" infinitely boring. I am so sorry "Lewis" is over, because I kept hoping for what "Endeavour" may--may--grasp, if that series' finale was any indication. Viewers tune in primarily for the sake of a series' protagonist. Lewis sadly never became a fleshed-out hero.

When a protagonist appears only in service to stultifying plots, the series is not worth the video. I was ready to give up "Endeavour" until the finale, which was brilliant only because of the (long-in-the-coming) attention the plot gave Shaun Evans but particularly Anton Lesser.

[–] maenad-3 8 years ago

hilaryhrp, that is an excellent perspective on the appeal of the series to different strata of interests. I also love the human aspect of Whately - Lewis which was first encountered in the "Morse" series, the young, naive junior officer learning albeit perplexedly from the enigmatic and cultured Morse. It is frustrating that Lewis is given such a brush-off before having been perfected in some manner that would leave us contented. As to the "Endeavour" series, I concur that my interest was lukewarm in the first episodes but gradually heated up as more interesting personal information was revealed. Yes, Chief Superintendent Bright is evolving. Having spent time in the Colonial Police "overseas." Bright may not have the right touch for dealing with the Oxford folk, but his loyalty to his men is unquestioned. I also see in the relationship between Thursday and Endeavour an allusion to the future relationship between Morse and Lewis, unless I am reading too much into it for my own intentions. So we shall see what we shall see in future offerings of the Endeavour saga. Happy viewing.

[–] hilaryjrp 8 years ago

Hmph, just caught this an hour after you posted--me, on "American time."

Unless the producers actively seek an audience interested in academic arcana (and perhaps they do), it seems odd that the highly specialized field-of-the-week plots rely on arcana rather than on the passions of the professors, pedants, students involved in the crimes. I recall an episode of "Sherlock" that dealt with the British Museum's (fictional?) collection of ancient clay pots. This episode was only the second of that series; it is notoriously dismissed by fans as the most "boring," when it's actually great. It reminded me instantly of the "Inspector Lewis" plots, but rather than concentrating on the clay pots and dispassionate actors reading chill dialogue, the clay pots were mere starting points for the drama of the personal lives of the, ha, pot experts.

Possibly it's a cultural thing, this apparent fascination with stuffy specialists in the highest of high education. If so-- Oh, dear. It's not easy to say this without seeming to make a generalization. But can British audiences actually be entertained by the selfsame characters with the exact arrogant temperaments--only in different colleges--every blessed week? This makes me wonder if "Inspector Lewis" is intended for a British audience at all, or, rather, those fools here in the U.S. who think that if they watch enough BBC, they will somehow "turn English." (I should whisper. God forbid we suffer yet another Jane Austen revival...)

[–] maenad-3 8 years ago

hilaryjrp: I would say that the "arrogant" characters with a plethora of education might represent one specific British stereotype with which the audience is very familiar and maybe at which some might be laughing. They would catch nuances that another audience might miss and might find absurd or boring. Yes, there is a culture divide of centuries as well as miles there. For other types of crime solvers, there is Miss Marple, an eccentric old lady, whom I have never really warmed to, or rather my husband does not like to watch, so I just pass. I am not crazy about inspector Poirot, too eccentric with that phony accent, although there are a few shows that I liked. "Death in Paradise" is appealing largely because of the exotic setting with the beach and sun and lovable, clumsy Humphrey Goodfellow with his uncannily intuitive crime solving methods. That show has no scholarly snootiness at all, just lots of fun with the eccentric locals. "Grantchester" is an "academic" mystery series set in Cambridge, with the unlikely crime solving partnership of handsome, suave Anglican priest and former Scots Guard officer Sidney Chambers (James Norton) and down-to-earth, overworked Geordie Keating (Robson Green). "Father Brown" features a Roman Catholic priest, a bit rare for England, but G K Chesterton converted to Catholicism hence his clerical sleuth creation. You make a good point about "turning English." Whether it's good or bad, the Americans seem to have a great attraction to what is British, including the royals. How many rushed over to London for Diana's funeral! And the British accent is still very endearing. Could they secretly want to rejoin the British Empire? Ha,ha! Great discussion, as for me, I am a scholar of ancient history and I wish that they would redo "I, Claudius." We have had enough Austenomania for a while.

[–] hilaryjrp 8 years ago

Could they secretly want to rejoin the British Empire?

Shirley you jest . The American entertainment industry no longer hires American actors for major film roles--not even "Star Wars." I sincerely--I could not possibly be more sincere--think that the only choice possible for the new James Bond is Prince Harry. The Broccoli dynasty would make trillions, not millions, of dollars with that endearing young military veteran in the lead role.

Week Two of Season 9 here tonight for Robbie. I *hate* series finales! Especially when they have stars as endearing as Whately. Downtown Abbey and Inspector Lewis in the same year--*and* there was no Last Tango in Halifax... Oh, how could I forget? The "Vicious" finale, too. It feels like the end of the world. 

Thank you for the suggestions. I would really like a working-class British drama to pub-crawl its way to PBS. After Lewis is gone, so, too, will be any vestige of that class on American television. And with the greatest respect: I can't British mass audiences turning to academic mysteries for entertainment. No doubt academic mysteries appeal to British academics--but how large is that part of the population?

So this is a plea to PBS and whichever British t.v. producers to send us Simon Pegg and Kevin Whately in a television version of "Hot Fuzz." 

[–] maenad-3 8 years ago

hilaryjrp: Hilarious, hilary! I share the hatred for finales as well, crushed I am. We can hope that the British dramaturges will try for a working-class drama. Maybe there will be a vogue for the Kitchen Sink Realism, a British cultural movement that developed in the late 1950s and early 1960s in theatre, art, novels, film and television plays, whose protagonists usually could be described as "angry young men" who were disillusioned with modern society. It was a reaction to the "escapism" of the previous generation. So the more it changes, the more it stays the same, and we might just see a return to the past with a modern twist.

[–] missfrost-214-92332 8 years ago

I take it you two have never seen the brilliant Happy Valley, or Scott & Bailey, or many of the other "working class" dramas we have in the UK? Those series both have angry middle aged women as lead characters though, not young men.
Yes, of course people in Britain watch things that are set in academia, but that's irrelevant if the story and the characters are good, and it's just seen as one of the many lifestyles people have that may not necessarily be the same as your own. We in the UK think that you in the US all see us as speaking in cut-glass accents and living in enormous stately homes with servants (see any US film or TV series with any scenes set here) so that's the sort of programme you get sold by PBS.
A quick Google says that Happy Valley and Scott & Bailey have both been on PBS, but weren't promoted or scheduled very well - probably because they're realistic working class dramas. And if you watch either of them, good luck with the accents!

(By the way, Lewis, Morse and Endeavour weren't on the BBC. They're ITV.)

[–] fwbrown 8 years ago

For some viewers, the academic or excessively niche-knowledge elements of any story will hold the most interest.

I'm one of those who prefers the academic elements. The setting of the show in Oxford is one of the attractions of the series for me. And I'm really looking forward to watching my recording of last night's "Lewis" episode since, as I understand it, the plot revolves around a connection to Charles Williams and his "Companions of the Co-inherence." I'm hoping they got the details about Williams right and that there will be references to things in his books that I can recognize.

I'm also an American, by the way, and first encountered the works of Charles Williams several decades ago.

Þæs ofereode, ðisses swa mæg. -- Deor

[–] hilaryjrp 8 years ago

If you enjoy last night's episode for its "academic" elements, I have a great show in mind to suggest, in the pantheon of American cinematographic belles lettres. It is called The Young and the Restless.

OTOH, the James/Robert subplots were good, and the coming attractions very intriguing.

[–] maenad-3 8 years ago

hilaryjrp: Yes, indeed, "The Young and Restless" is really stupendous! Genoa City is such an ethnically and socially diverse burg indeed.

[–] KitCat5 8 years ago

I too quite like the academic plots (maybe it's a generational thing?) I actually like to freeze-frame the DVR and read the handwritten journal pages or dissertation titles that some prop person has obviously spent ages creating for that one brief screen shot!

This ep I was intrigued by the references to alchemy, which includes a lot of Arabic terminology, and the work of Charles Williams, with whom I was not familiar.

Did they get it right? What was the language in the medieval-looking book at the end? I watched this ep in real-time and didn't get a chance to inspect the "text" up close. It sounds like you might actually know the answer!

[–] KitCat5 8 years ago

I should have been more clear in my post a minute ago that I was responding to fwbrown, and asking about the Final Season, Episide 2 ("Magnum Opus"). Thanks in advance for any info!

[–] Jes' Sayin' (5989) 8 months ago

What they should have done is have the play be discovered on papyrus in an Egyptian pyramid. That is, in fact, how some of the more recently found ones have resurfaced.