2000

Re: Audio on the Internet

The Shakespeare Conference: SHK 11.0418  Monday, 28 February 2000.

From:           Marti Markus <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 28 Feb 2000 08:10:47 +0100
Subject: 11.0409 Audio on the Internet?
Comment:        Re: SHK 11.0409 Audio on the Internet?

> A blind student of mine is wondering whether there are audio recordings
> of the plays available on the Internet (she's specifically interested in
> *The Tempest*).  Thanks in advance for any advice any of you might have.

On my links page [http://www.unibas.ch/shine/SHINE_Links.htm] I have got
two addresses:

 1) Hear Books Now : Listen to a play on the internet.
[http://www.hearbooksnow.com/] (last visit: 25/01/00)

 2) Audio recordings: Sonnets (Gielgud), Much Ado (Rex Harrison, Rachel
Roberts) Julius Caesar
 (Richardson, Quayle)
[http://town.hall.org/Archives/radio/IMS/HarperAudio/020994_harp_ITH.html]
(last visit: 22/02/00)

But are there not also software programmes that "read" texts aloud from
the screen, so that your student could just read any online edition?

Markus Marti

Re: Who's Who in Hell

The Shakespeare Conference: SHK 11.0417  Monday, 28 February 2000.

From:           Judith Matthews Craig <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 27 Feb 2000 14:58:16 -0600
Subject: 11.0395 Re: Who's Who in Hell
Comment:        Re: SHK 11.0395 Re: Who's Who in Hell

Clifford Stetner writes:

<Since comedy and tragedy both predate heaven and hell,
<why not define
<the latter in terms of the former rather than vice versa?

I have been a good "do-be" and been offlist for awhile-berating the
classicists I guess-but check out Plato's Symposium d.3-5 (p. 574,
Hamilton and Cairns edition):

"But the gist of it was that Socrates was forcing them to admit that the
same man might be capable of writing both comedy and tragedy-that the
tragic poet might e a comedian as well."

I have always wondered how much Greek Shakespeare really knew.   Such
parallels in classic literature have always intrigued me, and being
"Greek-less" myself, (and disliked by the establishment), I wonder if he
got some ideas from his school-boy reading at Stratford and carried them
out in later life.  He certainly did use classic literature in
constructing his comedies, and they say his Latin education was as good
as our college Latin curriculum.  Just thinking out here on the lone
prairie . . . .

Judy Craig

Antonio

The Shakespeare Conference: SHK 11.0415  Monday, 28 February 2000.

From:           Tom Clayton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 27 Feb 2000 11:20:14 -0600
Subject:        Antonio


Re: CSF Shrew

The Shakespeare Conference: SHK 11.0416  Monday, 28 February 2000.

From:           Judith Matthews Craig <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 27 Feb 2000 14:41:40 -0600
Subject: 11.0399 Cincinnati Shakespeare Festival's Taming of
Comment:        Re: SHK 11.0399 Cincinnati Shakespeare Festival's Taming of
the Shrew

I would love to see a performance of Taming of the Shrew in Wild West
digs. The Globe of the Great Southwest needs it!!

Judy Craig

Bloom's Edgar and Lear

The Shakespeare Conference: SHK 11.0414  Monday, 28 February 2000.

From:           Joanne Gates <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 27 Feb 2000 18:22:15 -0600 (CST)
Subject:        Bloom's Edgar and Lear

Bloom's chapter on King Lear makes a persuasive argument for just how
much the play is Edgar's play.  Though I do not dispute the conclusions
(having delivered a paper on the tragic dimension of Edgar a decade
ago), I do have a problem with his reading of "He childed as I
fathered."

He argues (p. 485) that the phrase is "neither a parallel between two
innocences (Lear's and Edgar's) and two guilts (Lear's elder daughters'
and Gloucester's) because Edgar does not consider his father to be
guilty."  Instead, he insists, the parallel is between Lear-Cordelia and
Edgar-Gloucester.    He goes on:  "There is love, and only love, among
those four, and yet there is tragedy, and only tragedy among them," etc.

Looking at the context closely (Edgar's soliloquy at the end of III, vi
in the quarto or conflated editions), one has to refute the
interpretation of this line.  However convenient the phrase is for
capturing the admission or recognition of own's own errors, too late to
prevent the tragedy, isn't Edgar at this point in the play mirroring the
surface parallel that Lear assumed, that Tom's was brought to his state
by giving all to his daughters, and speaking of both Lear and himself as
wrongly hunted down, pursued? Edgar's entire empathy in the speech is
for the king, hoping for his safe escape, recognizing Lear's more acute
suffering of the mind.  That he does not yet think of his father's just
witnessed daring deed, to get the king to Dover, as a gesture that will
endanger Gloucester (cause Lear's enemies to pluck out his eyes) is what
makes Edgar's too late concern for Gloucester so effective in IV, i.
Edgar, indeed, repeats the cycle of hoping for the right action or
thought at the right moment, having it come back at him.  He attempts to
"cure" his father of his despair, but does not, until too late, reveal
who he is. His parenthetical "O fault" when he confesses this error
concisely echoes Lear's repeated admissions of error.

So "He childed as I fathered" is rich with overall thematic import, and
I suppose might be used out of context to assert the "love" and
"tragedy" parallels in the play.  Yet, since Edgar at this point neither
knows the effort Cordelia is making nor recognizes the sacrifices his
own father is making (nor foresees the guiding of his father that he
will undertake), the way the line reads best is to mate himself and Lear
as sufferers.  The recognition of his errors in judgment will, for
Edgar, come later, and expose the flaw in the parallel he assumes at
this moment. This mistake-making capacity is so central to Edgar's
tragic dimension that Bloom gets it right everywhere else.  But his
reading of Edgar's "He childed as I fathered" doesn't work for me.

Joanne Gates
English Department
Jacksonville State U.

Subscribe to Our Feeds

Search

Make a Donation

Consider making a donation to support SHAKSPER.