What We’re Reading

Kim Paffenroth and Maggie Ann Labinski (Eds.), Augustine and Gender. Few figures in Christianity loom as large over the history of Western civilization as Saint Augustine. One of the four original doctors of the church and the Doctor of Grace, Augustine is claimed by Catholics and Protestants, is a major influence over various schools of modern philosophy like phenomenology and existentialism, and provided contributions to secular philosophy with his philosophies of time, love, and just war. In Augustine and Gender, leading Augustine scholars around the world look at the “practical” value of Augustine on the important questions of gender, sex, and male-female relationships. Pushing back against the one-sided feminist criticism which paints Augustine as a precursor to the patriarchal and misogynistic theology of medieval Scholasticism, our scholars highlight how – although Augustine is undeniably a product of his time who often harbors views out of fashion with the modern world – he has brilliant and profound moments of deep insight and sympathy for women in his works, flashes of brilliance and insight that make him an “ally” on contemporary sex and gender issues in culture and politics, a figure who deserves reevaluation and careful attention because of his ability to speak to conservatives and progressives, young and old, on a variety of issues.

~ Paul Krause

William Congreve, The Way of the World. In William Congreve’s play, The Way of the World, irony, wit, and sarcasm further the plot and uncover the true nature of each character on the stage. Congreve does not blatantly deem situations or actions as ironic, rather he properly distinguishes the character’s reactions to reveal the true and false wits. By doing so, he gives humorous attributes to characters in hopes that their diction would further characterize them. Congreve uses Mr. Mirabell, Witwoud and Petulant, and Lady Wishfort to properly differentiate between true and false wit within the play. Mirabell’s speech is sophisticated and intriguing; his syntax is longer than other characters’ dialogue. Likewise, Mirabell’s humor does not go beyond his class, and it is used to judge other characters, create ironic phrases that counteract his humor, and reveal a level of negative self-esteem. In Act One, Mirabell puts these traits to the test when he describes his love of Millamant to Mr. Fainall: I like her for her faults/ I studied ‘em and got ‘em by rote/ that at length, contrary to my design and expectation/ till in a few days it became habitual to me to remember ’em without being displeased. Through Mirabell’s admirable lines about Millamant, readers can properly distinguish Mirabell’s social status, revealing his deep affection for Millamant without portraying lustful thoughts. However, it makes the audience laugh because he loves a girl he hardly knows. Witwoud and Petulant have no purpose but to provide comic relief. Congreve also uses their names to portray their stupidity: Witwoud (if he had wit, he would be funny) and Petulant (foolish behavior and mannerisms). Even though their lines do not further the plot, Congreve gives these two fools a metaphorical joke book to apply in times of seriousness to lighten the mood. Lady Wishfort’s humor does not appear naturally but surfaces when characters poke fun at her age or outward appearance; even when she cannot get her way, her tone quickly changes to irritation and annoyance, revealing her child-like attitude even as a fifty-five-year-old woman. In Act Three, Lady Wishfort is getting ready, putting on her makeup and wig, and her servant does not properly attend to her duties. Wishfort’s reaction then reveals her true nature: fool- grant me patience. Idiot. Paint, dost thou understand that changeling, dangling thy hands life bibs before thee? Even though Wishfort could have responded more kindly, she portrays irony by alluding to herself as a “puppet- a wooden thing upon wire!” As Wishfort seems to be making fun of her servant, the Lady calls herself a dummy much like a puppet’s preparation before a show, mimicking her morning routine. Her attempted sarcasm does not fulfill its duties, rather bounces back at her original joke to the servant.

~ Sarah Tillard

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