The Wide Deployment Of Heroic Episodes
Once more, the wide deployment of heroic episodes such as this in Cassandra may be
designed to appeal to supporters of parliament as well as to those of the crown, reinforcing the potential for political ambiguity in Cotterel Fs text. On the one hand, the expression of an idealized chivalry peers in Cassandra remains consonant with 'orthodox' royalist polemic: the very process of idealization represents an implicit yearning for an era which emphatically antedates present-day political strife and, in a literary sense, sanctifies kingly authority. Even where the chivalry and valor is not of royal origin, that is, it still speaks to an assuredly royalist 'golden age' agenda, exemplifying an exile's 'adherence to idiosyncratic, nostalgic modes of speaking as the discourses of authority change around them'. On the other hand, its broader applications connote something more subtle: an accommodation, at least on one level, with the other side, an appeal to a higher, shared code which, far from defining, spans the mid-century sectarian divide. Even though Cotterell elsewhere stresses both the blatant and implicit partisanship of his translation, the possibility cannot be dismissed that in passages such as this, by remaining faithful to all aspects of the original work rather than
Links Of London choosing to excise potentially problematic sections from it, he knowingly bypasses that partisanship, or ties it to a model of inclusiveness that renders it either triumphantly all-pervasive or provocatively otiose. We are back in the realm of Davila, where the civil wars of France impact deleteriously on all sides.
A similar sense of ambivalence can be inferred from other, equally politically loaded, themes of Cassandra: friendship and loyalty. The preponderance of deep attachments formed and sustained throughout the work helps, on
Links Of London Charms one level, to encode a discernibly royalist 'survivalist' strategy. Darius, in a letter to his family, entreats them to honors the 'Prince of Scythia Oroondates, who has drowned the hatred of his house, in a friendship which is so advantageous to you, and which amidst all our losses, ought to serve for our consolation. As with that between Oroondates and Lysimachus, only more so, the friendship between Oroondatres and Artaxerxes is strikingly intense: 'the conformity of their persons and manners join'd to the esteem they had naturally of one another, inflamed them really with a most ardent friendship.' The death of Artaxerxes leaves Oroondates utterly bereft, making 'such doleful lamentations, as cleft the hearts of all that heard him with compassion.' and Alexander tells Oroondates he 'would prefer thy friendship before the best province in Asia'. These examples conform to notions of companionship and constancy ubiquitous in other royalist literature, especially poetry.
Yet, the friendships suffusing Cassandra are not without deeper, more complex resonances. The unmistakably erotic charge imbued in the friendship between Oroondates and Artaxerxes, for example, mirrors that found in other romances of the 1650s, such as Theophania, wherein dramatised passions such as violence and rivalry, instrumental in creating factionalism, give way to more irenic virtues including love, pity and compassion, thereby providing a theoretical basis for a new and unified polity. As Kahn has commented, in Theophania these more sympathetic passions are 'particularly associated with those figures fighting on the side of the king'. While the parallel with Cassandra is complicated by the latter's plethora of princes, its generically royal setting seems to accommodate the same outlook and hold out the same promise. Passionate male friendships were open to different interpretations in these stories, but while the potentially effeminizing effects of pity which Kahn notes in Panthalia are not extinguished by Cotterell, they are contained through being aesthetics.
by: Christ Pual
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