2000

Coronis and Celiar

The Shakespeare Conference: SHK 11.0907  Tuesday, 25 April 2000.

From:           Frank Whigham <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 24 Apr 2000 16:49:42 -0500
Subject:        Coronis and Celiar

Can anyone help gloss what seem to be the two proper names in this
passage? "Coronis" is the mother of Aesculapius by Apollo, though I do
not find any way to factor in that identification in the lines quoted.
Is "Celiar" possibly one of the women named Callirrhoe, by some fugitive
mythological strand? Or Cilla, the daughter of Laomedon?

Any previous occasion where these names appear together is unknown to
me.

        These two great Queens, came marching hand in hand,
        Unto the hall, where store of Princes stand:
        And people of all countries to behold,
        Coronis all clad, in purple cloth of gold:
        Celiar in robes, of silver tissue white,
        With rich rubies, and pearls all bedight.

Many thanks for any suggestions or guesses.

Frank Whigham

Re: Towing

The Shakespeare Conference: SHK 11.0906  Tuesday, 25 April 2000.

From:           Tony Burton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 24 Apr 2000 11:36:12 -0700
Subject: 11.0894 Re: Towing
Comment:        Re: SHK 11.0894 Re: Towing

This discussion gets Erier by the minute, if not decidedly untoeward.
Could someone be getting confused in and around "toeing the mark" and
"hewing to the line" which means working closely and precisely to a
given guide?  Eric Sloane, in one of his wonderful works on early
American tools, woodworking, etc. describes the procedure of using a
hewing axe to trim a log (felled with a felling axe) to a chalk line.
Of course, the older members of this list may be further confused by an
old practice dating to the sixteenth century which probably never
crossed the Atlantic, of "drawing the line" with the cut of a plowshare
across a field to mark the limit of one's holding.  Now, let this humble
shoemakerstop looking above his last, but put his nose to the wheel and
shoulder to the grindstone of Shakespeare study.

Toe-knee B

Re: Shy . . . Locks and an Explanation

The Shakespeare Conference: SHK 11.0904  Tuesday, 25 April 2000.

[1]     From:   F. Nicholas Clary" <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Monday, 24 Apr 2000 10:59:14 -0400
        Subj:   RE: SHK 11.0888 Shy Not Thy Gory Locks at Me

[2]     From:   John Amos <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday 25 Apr 2000 11:00:43 +0000
        Subj:   Re: SHK 11.0888 Shy Not Thy Gory Locks at Me

[3]     From:   Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, April 25, 2000
        Subj:   What Happened and How I Work


[1]-----------------------------------------------------------------
From:           F. Nicholas Clary" <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 24 Apr 2000 10:59:14 -0400
Subject: 11.0888 Shy Not Thy Gory Locks at Me
Comment:        RE: SHK 11.0888 Shy Not Thy Gory Locks at Me

It's unfortunate that this announcement has come too late.  I saw only
the last few minutes and regret that I did not see all of it.  I wonder
whether there will be another Bravo screening in the near future?

Nick Clary

[2]-------------------------------------------------------------
From:           John Amos <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday 25 Apr 2000 11:00:43 +0000
Subject: 11.0888 Shy Not Thy Gory Locks at Me
Comment:        Re: SHK 11.0888 Shy Not Thy Gory Locks at Me

Hey - This sounds wonderful, but according to the message, it's already
happened (4/22 and 4/23).  Is the announced date of the program correct?

[3]-------------------------------------------------------------
From:           Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, April 25, 2000
Subject:        What Happened and How I Work

Dear SHAKSPEReans:

As the two posting above indicate, an explanation for what happened with
the SHYLOCK announcement is in order.

To do so, I need to let members know what I do to bring SHAKSPER digests
to your mailboxes. I try to organize, edit, format, and mail the daily
digests at one sitting, if at all possible. At that time, I clear my
editor account of all messages sent to This email address is being protected from spambots. You need JavaScript enabled to view it. that
are forwarded to me and those sent directly to This email address is being protected from spambots. You need JavaScript enabled to view it.
(By the way, there is no need to send your submissions to both
addresses; that's just more work for me). After I clear my mailbox, I
consider my editing tasks complete for the day.

When another submission arrives after I have completed the daily
mailing, I scan it and save it to my hard drive with a number followed
by a keyword so that I can group similar subjects when I edit the
following day. Because my time, as with so many of you, is preciously
short, I seldom read an entire message until I am working on the digest
complying stage.

Dana's announcement arrived Friday morning after I had completed the
Friday mailing to the membership. I glanced at it, labeled it 1shylock,
and saved it to my hard drive in my EDIT folder.

Because I have overcome my severe obsessive compulsion to compile
digests seven days and week, Dana's message stayed in my EDIT folder
until yesterday morning when I read it and realized that the shows
(which I would have loved to have seen and taped) were over. Rather than
sending Dana an I-am-sorry-your-posting-is-out-of-date letter, I send
out the announcement both for the historical record and to alert members
of the existence of the program so that if (or rather when) it is
repeated I will be able to get the message to the members in a more
timely fashion.

If anyone is further interested in how I work with SHAKSPER, I wrote a
seminar paper related to this work for the 1997 SAA Annual Meeting in
Washington, D.C.: "The Politics of an Academic Discussion Group."  This
paper may be retrieved by send the command

GET SAA1997 SHAKSPER

to

This email address is being protected from spambots. You need JavaScript enabled to view it.

Hardy

Re: Friel

The Shakespeare Conference: SHK 11.0905  Tuesday, 25 April 2000.

From:           Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 24 Apr 2000 12:59:08 -0400
Subject: Re: Friel
Comment:        SHK 11.0898 Re: Friel

I wonder if Gabriel Egan's alarming statement about 'Ireland-where
Catholics achieved voting rights in the late 1960s-' has been run by
Kevin De Ornellas? The faster the better, I'd say.

T. Hawkes

Re: Anti-Shakespeareans

The Shakespeare Conference: SHK 11.0903  Tuesday, 25 April 2000.

From:           Harry Hill <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 24 Apr 2000 10:41:51 EDT
Subject: 11.0892 Re: Anti-Shakespeareans
Comment:        Re: SHK 11.0892 Re: Anti-Shakespeareans

Ed Pixley provides a totally sensible and sensitive reading of the
verse-image-feeling tensions of Hamlet I.i. Wish I were able to hear
them in performance!

I did not mean to imply that "modern" plays are bereft of image or its
necessary theatrical concomitant, rhythm: Mamet, Pinter, O'Neill, Friel,
Williams are pretty vibrant testament to that.

    Harry Hill

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