Hello lovely readers!
This third instalment of my #SeasonalSonnets series brings together its two bases - Shakespeare and disability - through the combination of the character of Richard III and the fact that today is the UN's International Day of People with Disabilities. Both are extremely important (and very controversial) within disability activism circles, for similar reasons. With regards to the International Day, in a continuation of the debate around terminology I wrote about in my post on UKDHM, many people prefer to call it the International Day of Disabled People. I'm fine with either, although as I said previously, I do quite like the person-first language.
Richard is also a point of contention. Many people feel that his characterisation perpetuates the stereotype of a 'deformed' body signifying a 'deformed' mind. Indeed, the disability studies scholars David Mitchell and Sharon Snyder use his role as the central evidence for their theory of 'narrative prothesis' - where they claim that every fictional portrayal of disability uses it as a metaphor for something else.
Whilst I have found their work very interesting and thought-provoking, I have difficulty sharing this particular opinion - not least because we now have documented evidence of his profound scoliosis. It seems to me, instead, that Shakespeare actually has a deep understanding of the difficulties posed by life with a disability in a society that neither understands nor accepts physical or mental difference. Moreover, although my own response to my condition is almost the complete opposite of Richard's - I prefer to focus on love and optimism over hatred and bitterness - I do understand where many of his emotions may have sprung from as a result of the attitudes of the people around him. Whereas my own feelings of inadequacy (which I'm working on) lead me to try and protect others and help in any way possible, for him, the only outlet for his self-loathing is to turn it against his 'enemies'.
This is by no means an excuse, of course, but I think it's really important to acknowledge the various ways in which people respond to being ostracised - and he's one of my favourite roles to play because, at points (especially in the opening monolgue) it feels like my beloved bard has a direct line into the most insecure part of my soul.
So, with that in mind, I present to you today's offering - along with my approximation of the 'white rose of the House of York' as a 'light drawing'.
I hope it's worthy:
This third instalment of my #SeasonalSonnets series brings together its two bases - Shakespeare and disability - through the combination of the character of Richard III and the fact that today is the UN's International Day of People with Disabilities. Both are extremely important (and very controversial) within disability activism circles, for similar reasons. With regards to the International Day, in a continuation of the debate around terminology I wrote about in my post on UKDHM, many people prefer to call it the International Day of Disabled People. I'm fine with either, although as I said previously, I do quite like the person-first language.
Richard is also a point of contention. Many people feel that his characterisation perpetuates the stereotype of a 'deformed' body signifying a 'deformed' mind. Indeed, the disability studies scholars David Mitchell and Sharon Snyder use his role as the central evidence for their theory of 'narrative prothesis' - where they claim that every fictional portrayal of disability uses it as a metaphor for something else.
Whilst I have found their work very interesting and thought-provoking, I have difficulty sharing this particular opinion - not least because we now have documented evidence of his profound scoliosis. It seems to me, instead, that Shakespeare actually has a deep understanding of the difficulties posed by life with a disability in a society that neither understands nor accepts physical or mental difference. Moreover, although my own response to my condition is almost the complete opposite of Richard's - I prefer to focus on love and optimism over hatred and bitterness - I do understand where many of his emotions may have sprung from as a result of the attitudes of the people around him. Whereas my own feelings of inadequacy (which I'm working on) lead me to try and protect others and help in any way possible, for him, the only outlet for his self-loathing is to turn it against his 'enemies'.
This is by no means an excuse, of course, but I think it's really important to acknowledge the various ways in which people respond to being ostracised - and he's one of my favourite roles to play because, at points (especially in the opening monolgue) it feels like my beloved bard has a direct line into the most insecure part of my soul.
So, with that in mind, I present to you today's offering - along with my approximation of the 'white rose of the House of York' as a 'light drawing'.
I hope it's worthy:
3rd December
This verse today combines two topic threads
that’re intricately connected to its form –
and (as though the world could glimpse inside my head) –
two reasons why my project here was born.
For December third’s the International Day
that the UN has set for disabil'ty
and, last night, I went to a Shakespeare play
whose central role has issues with mobil'ty.
His name is Richard, and he is also ‘Third’,
born prematurely, ‘sent before his time’ –
and ‘twas through him I finally found the words
t’express my own feelings by way of Shax’s rhyme.
For whilst his bitter outlook’s not like mine,
our social struggle’s stayed the same ‘cross
time.  |
| Copyright Jessi Parrott December 2016 |
No comments:
Post a Comment