GREEK/ROMAN ALLUSIONS in THE FINANCIER&THE TITAN

1. GREEK/ROMAN ALLUSIONS inTHE FINANCIER&THE TITAN LILIAN “Mrs. Semple read a little--not much. She had a habit of sitting and apparently brooding reflectively at times, but it was not based on any deep thought. She had that curious beauty of body, though, that made her somewhat like a figure on an antique vase, or out of a Greek chorus.”

2. GREEK/ROMAN ALLUSIONS inTHE FINANCIER&THE TITAN AILEEN “She paused, looking at him with a straight, clear, vigorous glance. He liked the medallion sharpness of her features--their smooth, Greek modeling.”

3. GREEK/ROMAN ALLUSIONS inTHE FINANCIER&THE TITAN ANTOINETTE “Her head had some of the sharpness of the old Greek coinage, and her hair was plaited as in ancient cut stone.” BERENICE “One of her chief delights was to walk alone in her room--sometimes at night, the lamp out, the moon perhaps faintly illuminating her chamber--and to pose and survey her body, and dance in some naive, graceful, airy Greek way a dance that was singularly free from sex consciousness--and yet was it?

4. GREEK/ROMAN ALLUSIONS inTHE FINANCIER&THE TITAN “For Berenice, also, was a music-rack full ofclassic music and song collections, a piano, a shelf of favoritebooks, painting-materials, various athletic implements, and severaltypes of Greek dancing-tunics which she had designed herself,including sandals and fillet for her hair.”

5. GREEK/ROMAN ALLUSIONS inTHE FINANCIER&THE TITAN Berenice and Braxmar “She paused, perfectly poised, yet quite moved really, as charminga figure as one would have wished to see--part Greek, partOriental--contemplative, calculating.”

6. GREEK/ROMAN ALLUSIONS inTHE FINANCIER&THE TITAN PALACE: ROMAN/ITALIAN/GREEK TUNES “In the new house, on a scaffold one day, a famous sculptor and hisassistants were at work on a Greek frieze which represented dancingnymphs linked together by looped wreaths.”

7. GREEK/ROMAN ALLUSIONS inTHE FINANCIER&THE TITAN PALACE: ROMAN/ITALIAN/GREEK TUNES “After the passing of the years neithera modified Gothic (such as his Philadelphia house had been), nora conventionalized Norman-French, after the style of his MichiganAvenue home, seemed suitable to him. Only the Italian palaces ofmedieval or Renaissance origin which he had seen abroad now appealed to him as examples of what a stately residence should be.”

8. GREEK/ROMAN ALLUSIONS inTHE FINANCIER&THE TITAN CELLINI • BENVENUTO CELLINI was one of the enigmatic, larger-than-life figures of the Italian Renaissance: a celebrated sculptor, goldsmith, author and soldier, but also a hooligan and even avenging killer. • Much of Cellini's notoriety, and perhaps even fame, derives from his memoirs, begun in 1558 and abandoned in 1562, which were published posthumously under the title The Autobiography of Benvenuto Cellini. As noted by one biographer, "His amours and hatreds, his passions and delights, his love of the sumptuous and the exquisite in art, his self-applause and self-assertion, make this one of the most singular and fascinating books in existence."

9. METHODS

10. OUTER&INNER FORCES

11. ROMEO AND JULIET PROLOGUE • Two households, both alike in dignity, • In fair Verona, where we lay our scene, • From ancient grudge break to new mutiny, • Where civil blood makes civil hands unclean. • From forth the fatal loins of these two foes • A pair of star-cross'd lovers take their life; • Whole misadventured piteous overthrows • Do with their death bury their parents' strife. • The fearful passage of their death-mark'd love, • And the continuance of their parents' rage, • Which, but their children's end, nought could remove, • Is now the two hours' traffic of our stage; • The which if you with patient ears attend, • What here shall miss, our toil shall strive to mend.

12. CRITICS ABOUT FATE&CHANCE • “the illiterate servant who sought Romeo’s aid in reading names of those invited would never guess the connection between his request and the catastrophe.”

13. CRITICS ABOUT FATE&CHANCE • “Mercutio found himself quite by chance in this place that was to be fatal to him; only an unhappy sequence of events causes Tybalt to hit to him…”

14. ROMEO Why, then, O brawling love! O loving hate! O any thing, of nothing first create! O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health! Still-waking sleep, that is not what it is! This love feel I, that feel no love in this.

15. ROMEO I fear, too early: for my mind misgives Some consequence yet hanging in the stars Shall bitterly begin his fearful date With this night's revels and expire the term Of a despised life closed in my breast By some vile forfeit of untimely death. But He, that hath the steerage of my course, Direct my sail! On, lusty gentlemen.

16. ROMEO A torch for me. Let wantons light of heart Tickle the senseless rushes with their heels, For I am proverbed with a grandsire phrase: I'll be a candle holder and look on, The game was ne'er so fair, and I am done.

17. ROMEO Amen, amen! but come what sorrow can, It cannot countervail the exchange of joy That one short minute gives me in her sight: Do thou but close our hands with holy words, Then love-devouring death do what he dare; It is enough I may but call her mine.

18. FRIAR LAURENCE • Virtue itself turns vice, being misapplied; • And vice sometimes by action dignified. • Within the infant rind of this small flower Poison hath residence and medicine power: • For this, being smelt, with that part cheers each part; Being tasted, slays all senses with the heart. • Two such opposed kings encamp them still • In man as well as herbs, grace and rude will; • And where the worser is predominant, • Full soon the canker death eats up that plant.

19. FRIAR LAURENCE Before Laurence had begun to undertake something, he could have approached a predisposition of the situation by using some positional/relational parameters.(All the parameters are taken from “SelecteTopics in Indeterministic Systems” by Aron Katsenelinboigen.) • 1 Proximity - remoteness • The 'enemies' live in the same city that determines the frequency of their conflicts. (-10) • 2 Permeability • The householders did not erect any borders between their possessions. They also did not make any difference in their clothes in purpose to distinguish the 'enemy'. And, of course, they did not have on any identification marks leading by the same reason. (-10) • 3 Compatibility • At least, the householders had no religion disagreement which was the most important problem of incompatibility at those times. (+8) • 4 Preponderance • There are not any urges towards numerical superiority and not any struggle of sphere of influence in the play. (+8) • At the same time, no one takes into account the prince of Verona's fighting prohibition. The people also do not obey their leaders. (-10)

20. FRIAR LAURENCE • 5 Traditionalism • There are no other explanations about the character of the hostility but its traditionalism. (-10) • 6 Sensitiveness • The 'leaders' are 'sensitive' to the quarrels. They are involved in to them. (-10) • 7 Jumpiness - smoothness • The hostility can be characterized by 'jumpiness'. It is determined by the characters which are predisposed to fighting.(-5) • 8. Mobility – the stationary. • The hostility is stationary. (-10) • 9. Alternatives • All the participants have an alternative not to be involved into quarrels. (+10) • 10. Localization-distribution • The 'feud' is spread around Verona. (-10) • 11. Specifics • The hostility has no specific field. (-10)

21. FRIAR LAURENCE • 12. Monopolization • Prince of Verona is presented as a person who has a power to judge. (+10) • 13. Diversity - uniformity. • There is a little doubt about the only method of solving the problem of the hostility. Probably for such heroes as Tybald Juliet's marriage would not have been an obstacle to proceed fighting. (-10) • 14. Orderliness - disorderliness. • There are no tactics or strategies elaborated by the leaders. The hostility goes spontaneously. (-10) • 15. Reversibility - irreversibility. • The hostility has predisposition to be reversible. (+10)

22. FRIAR LAURENCE In analyzing such parameters friar Laurence could have realized that hostility in Verona was nothing but an old tradition and may be his task was to change the tradition. He had to understand the unconditional high value of tradition for everybody in order to apply a new peaceful tradition to Verona. The hostility was nothing else but the situation with dangerous potential. If some one was predisposed to fight he could do it easily because of the tradition. As we remember the heroes given to fighting used any trifling occasion to start fighting. Changing of the tradition obviously can not entail an essential change of the characters but is able to shift heroes' behavior.

23. FRIAR LAURENCE Even if he had thought probabilistically, he would have referred to prince of Verona as the most powerful person who was able to maintain him seriously. He was needed to get such a support because the marriage could not have relieved all the conflicts. It was necessary to make some additional arrangements to influence the extremely warlike inhabitants. Also Friar Laurence could have hidden them even before marriage in order not to marry them illegitimately and send his messenger to the prince. His word as a priest’s combined with the prince's will and power obviously could have lead the situation to a happy outcome. They both together could have announced a big celebration in honor to Romeo and Juliet who could become a title of heroes in connection with the new tradition.

24. ROMEO AND JULIET • Are they predisposed to stay together?

25. ROMEO ROMEO O, she is rich in beauty, only poor, That when she dies with beauty dies her store. BENVOLIO Then she hath sworn that she will still live chaste? ROMEO She hath, and in that sparing makes huge waste, For beauty starved with her severity Cuts beauty off from all posterity. She is too fair, too wise, wisely too fair, To merit bliss by making me despair: She hath forsworn to love, and in that vow Do I live dead that live to tell it now. BENVOLIO Be ruled by me, forget to think of her. ROMEO O, teach me how I should forget to think.

26. DIALOGUE ROMEO [To JULIET] If I profane with my unworthiest hand This holy shrine, the gentle fine is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. JULIET Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers' kiss. ROMEO Have not saints lips, and holy palmers too? JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair. JULIET Saints do not move, though grant for prayers' sake. ROMEO Then move not, while my prayer's effect I take. Thus from my lips, by yours, my sin is purged. JULIET Then have my lips the sin that they have took.

27. DIALOGUE • PARIS Come you to make confession to this father? • JULIET To answer that, I should confess to you. • PARIS Do not deny to him that you love me. • JULIET I will confess to you that I love him. • PARIS So will ye, I am sure, that you love me.

28. ROMEO AND JULIET • What else unites them?