E: I am still learning Japanese, so my speaking is still very rudimentary, while Scott is completely fluent. I do love singing in Japanese, though, and finding out about the intricacies of the language. I already speak Russian, French and Italian in addition to English, so all in all, singing in other languages has always been a guilty pleasure of mine. This album is kind of a love letter to the country I now live in. Scott has been living here for a long time, so he already has a history of singing in Japanese.

These merits of style gave Beaumont and Fletcher their seventeenth centuryreputation and have continued to attract readers in the generations since.Ethical objections to their plays drove them from the stage in spite oftheir theatrical effectiveness. They wrote with little ethical intention.Unlike some of their contemporaries, they did not seek to discover theabodes of sin and to chastise the monster, nor did they study human naturein the light of moral law. They dealt with themes that would please theiraudience and would offer a sufficient[Pg 210] range of emotions for the exhibitionof their poetic powers. Without imaginations that touched spiritual heightsor penetrated to the real significance of moral conflict, they enteredunhesitatingly upon the task of holding up a mirror to a society loose inmanners and unprincipled in morals. They were not so much guilty ofintentional immorality as impotent to produce moral effect. If theirimaginations kept too frequent company with the gross and the unhealthy,they also sought at times the sweeter and nobler aspects of life. What wonfor their ethics high laudation from their contemporaries was theirrhetorical and dramatic exaltation of ideals of magnanimity and dreams ofidyllic love and devoted friendship.

Scott Murphy Guilty Pleasures Love Rar

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His tragedies mainly conform to the hackneyed models, no matter what thesources may be or how large his own invention may seem. The earliest, "TheMaid's Revenge," relating a Spanish story of the rivalry in love of twosisters that ends in a fatal duel between brother and lover, is wholly inthe tone of romantic melodrama. "The Politician," a more ambitious effort,combines the villain play with the Beaumont-Fletcher romance. Gotharius,the politician, is the villain; Marpisa, the evil woman, is his mistressand about to be married to the king; Albina, the loyal and long-sufferingheroine, is the villain's wife; Turgesius is the prince and hero; andOlaus, a blunt soldier, is his faithful friend. There is an insurrection,as so often in Fletcher; and after a long intrigue the villain and the evilwoman perish, and the prince marries the heroine. In "Love's Cruelty," amore original conception is worked out with telling realism and a good dealof dramatic truth. Clariana becomes[Pg 233] infatuated with her husband's friendHippolito; and, even after the guilty lovers have been permitted to gounpunished by the husband, her passion continues until her jealousy at herlover's approaching marriage to Eubella drives her to his murder. Rarelyelsewhere in the Elizabethan drama is the story of illicit love told withless of glamour and more veracity. These merits are perhaps counterbalancedby the extreme realism of the language and the stage action. 589ccfa754

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