

Representation of masculinity.” He does not connect his with any of the sexual braggadocio the item was invested with back in the day, when it was seen as a potent symbol of virility and all the other aggressive hetero qualities that are turning our planet into an uninhabitable shithole as we speak. He used it as a focal point for his show, which revolved around sexual identity. That self-seriousness has only added to the comedic potential seized on by Browne in his recent reimagining of the codpiece. And that the owner is extremely virile… ” Blimey! And here I assumed that most blokes felt that way without having to strap on a cumbersome cup. Talking later about its original 16th-century appearance, Glover described the codpiece as suggesting how “the penis, and everything that clusters about it, is enormous in proportion, and is tremendously potent. Glover has written an amusing book about this eccentric piece of male peacockery – Thrust: A Spasmodic Pictorial History of the Codpiece in Art. Among the fresh SS20 lines that tumbled like mountain streams from fashion’s rarefied heights, Thom Browne sent out the boys in girly hoops and studly cups, sowing – or perhaps sewing – alarm and confusion among the fashionistas.īrowne is merely engaging in his usual light bitch slapping of the bourgeoisie, and certainly doesn’t see the codpiece as part of any particular trend or expression of male dominance, as he explained to the author Michael Glover in a recent startling podcast. Gucci’s Alessandro Michele breathed new life into the codpiece for his SS19 show, using leather and snakeskin, with faint echoes of BDSM, and a diamanté version whose sparkling ball evoked the long-gone days of disco. Thou art as good as the quotient between Romeo and the sum of a smallįurry animal and a leech.Has there been something in this freakish 21st-century zeitgeist, in the polluted air we breathe, that has caused the codpiece to re-emerge from the pubic shadows of yesteryear? Will a leather cover over your wedding tackle become as common an accessory as the cashmere glove? Scene II: Juliet and Ophelia's conversation. Speak YOUR mind! You are as bad as Hamlet! You are as small as theĭifference between the square of the difference between my little ponyĪnd your big hairy hound and the cube of your sorry little You are as worried as the sum of yourself and theĭifference between my small smooth hamster and my nose. Scene I: Romeo and Juliet's conversation. The difference between Juliet and thyself. Thou art as loving as the product of the bluest clearest sweetest skyĪnd the sum of a squirrel and a white horse. Thou art as lovely as the product of a large rural town and my amazingīottomless embroidered purse. Thou art as sweet as the sum of the sum of Romeo and his horse and his You are as cowardly as the sum of yourself and the differenceīetween a big mighty proud kingdom and a horse. Sweetest reddest rose and my father and yourself! Speak your mind! You are as healthy as the difference between the sum of the Old rotten codpiece and a beautiful fair warm peaceful sunny summer'sĭay. You are as brave as the sum of your fat little stuffed misused dusty Stupid as the difference between a handsome rich brave hero and thyself! You lying stupid fatherless big smelly half-witted coward! You are as

Hamlet, the flatterer of Andersen Insulting A/S. Ophelia, a remarkable woman much in dispute with Hamlet. Juliet, a likewise young woman of remarkable grace. Curiosidade para aqueles que gostam de linguagens bizarras… Acreditem se quiserem, mas isso ai, em baixo, é parte de um “Hello world”, escrito numa linguagem chamada Shakespeare! Romeo, a young man with a remarkable patience.
