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Home :: Archive :: 1996 :: February ::
Re: The Sonnets; Qs: Female Editors; Stage Directions
Shakespeare Electronic Conference, Vol. 7, No. 0090.  Thursday, 1 February 1996.

(1)     From:   John Chapot< 
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        Date:   Thursday, 1 Feb 1996 02:48:07 -0500
        Subj:   Re: The Sonnets. All of 'em

(2)     From:   Julie  Bleha <
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        Date:   Tuesday, 30 Jan 1996 14:22:47 -0500 (EST)
        Subj:   re: Pericles/Marina/women

(3)     From:   Robert Robin Fenn <
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        Date:   Thursday, 1 Feb 1996 12:16:24 -0800 (PST)
        Subj:   Exit Matachin Style


(1)----------------------------------------------------------------------------
From:           John Chapot< 
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Date:           Thursday, 1 Feb 1996 02:48:07 -0500
Subject:        Re: The Sonnets. All of 'em

For an entertaining (conjectural) depiction of the homoerotic origin of the
sonnets read Anthony Burgess' "Nothing Like the Sun". Lots of doublet-ripping.

John Chapot
San Francisco

(2)----------------------------------------------------------------------------
From:           Julie  Bleha <
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Date:           Tuesday, 30 Jan 1996 14:22:47 -0500 (EST)
Subject:        re: Pericles/Marina/women

Hi everyone, here is my first request for information from subscribers to this
list.

I am finishing up a (now very late) paper on female editorship of Shakespeare
(or the lack thereof, up to this time).  As part of the paper, I am looking at
reworking the recognition scene in *Pericles*.  I would greatly appreciate
references to any **recent** articles/books on either/both of these topics.

Thanks,
Julie Bleha

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Columbia University
Workhouse Theater

(3)----------------------------------------------------------------------------
From:           Robert Robin Fenn <
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Date:           Thursday, 1 Feb 1996 12:16:24 -0800 (PST)
Subject:        Exit Matachin Style

I am editing William Percy's _Faery Pastorall_ and I'm stumped by a stage
direction which calls for an unusual exit.  A fatigued character who is too
tired to walk off the stage is to be carried off. The stage direction is "Here
they bore him furth on their shoulders after the old manner of the Matachine on
all Fowre with more companie for the cleanlyer Portage." I have read Thoinot
Arbeau's description of the matachin or bouffon, but he merely states that the
dancers withdraw after the dance, with no hint of any needing to be borne off.
I would appreciate any information which might help me discover if the English
version was more like a real duel, with one or more of the dancers feigning
injury or death, and therefore needing to be carried off; or if there is any
other information which might help me gloss this adequately. My guess is that
two other characters would come on (hence on all four) and bear him off on
their shoulders much like pallbearers carry a coffin.  Any ideas?

Robin Fenn

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