2000

Re: Edition of Twelfth Night

The Shakespeare Conference: SHK 11.0726  Monday, 10 April 2000.

From:           Kevin De Ornellas <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 05 Apr 2000 22:08:15 GMT
Subject: 11.0715 Edition of Twelfth Night
Comment:        Re: SHK 11.0715 Edition of Twelfth Night

>Can someone suggest a good recent edition of Twelfth Night with a good
>introduction?  I have the Arden Edition (1968?) and The New Cambridge
>Edition (60's, I think).  I also have The Riverside Shakespeare and
>would be willing to purchase another collected works if the
>introductions are worthwhile.

Laura, rather than buying yet another Collected Works of Shakespeare,
why don't you buy the very recently published seventh edition of 'The
Norton Anthology of English Literature', vol. I?  Among myriad goodies
(including Heaney's rendering of 'Beowulf'), it has 'Twelfth Night',
with an introduction by Prof. Greenblatt.

Kevin De ornellas B.A., M.A.
School of English
Queen's University
Belfast, Ireland

Re: Counting to Ten

The Shakespeare Conference: SHK 11.0725  Monday, 10 April 2000.

From:           David Lindley <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 5 Apr 2000 20:20:39 GMT
Subject:        Re: Counting to Ten: A Clarification

Sorry, Hardy, but I feel I have to hit the reply button when someone
thinks it's worth posting a reply while confessing to not having read a
play for some years.  How about going away and reading it, and thinking,
and then replying?

David Lindley

Re: Shakespeare, Marlowe, and Milton

The Shakespeare Conference: SHK 11.0723  Monday, 10 April 2000.

From:           Nancy Charlton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 05 Apr 2000 13:25:11 -0400
Subject: 11.0710 Re: Shakespeare, Marlowe, and Milton
Comment:        Re: SHK 11.0710 Re: Shakespeare, Marlowe, and Milton

Carol Cole wrote, anent the Milton-L list

>I can't vouch for the list personally, as I'm not a member (belong to
>too many lists already but can't bear to drop any of them).  If you
>join, please let us know what you think of it.

I have been a lurker on this list for a couple of years and can
enthusiastically recommend it.  Many of its subscribers are also on
SHAKSPER, Spenser-L, and other literary lists.

It is available as a digest, but when a hot logomachy is going on it's
more fun to have the messages come in one at a time.

Nancy Charlton

Walking Out of a Play

The Shakespeare Conference: SHK 11.0724  Monday, 10 April 2000.

From:           Barrett Fisher <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 5 Apr 2000 14:18:51 -0500
Subject:        Walking Out of a Play

>>I don't walk out on bad sets and costumes.  I walk out on bad acting and
>>direction.  The best community theater I have seen pales when compared
>>to the worst regional theater I have seen, and, again in my experience,
>>the quality of theater is usually greater on Broadway and the West End
>>than in the regions.  Having said that, I want to give credit to those
>>who work so hard to put on a show, even a bad show.  I actually feel
>>guilty for walking out lest I hurt their feelings.  On the other hand, I
>>consider it a great sin to allow yourself to be bored, and my greater
>>responsibility is to myself.

How about this Shakespearean standard for deciding whether or not to
walk out on a production: when Hippolyta (clearly speaking for the
others in the onstage audience) is bored by the mechanicals' performance
("I am aweary of this moon.  Would he would change!"), she is lessoned
by Theseus, who agrees with her assessment of their theatrical
experience but not her proposed action: "It appears, by his small light
of discretion, that he is in the wane; but yet, in courtesy, in all
reason, we must stay the time."

Note thar this perspective does not prevent Theseus from being a rather
severe critic at the end of the play: "Marry, if he that had writ it had
played Pyramus and hanged himself in Thisbe's garter, it would have been
a fine tragedy."  But he follows his own principle in responding to this
entertainment: "For never anything can be amiss/When simpleness and duty
tender it."

I realize, of course, that Theseus regards the play more as an act of
homage and respect from sincere but unskilled subjects than as a genuine
instance of theater.  Nonetheless, I like the idea (perhaps an outmoded
Medieval notion in our egalitarian age) of the audience as bound by
"courtesy" to the actors.  However, even in the onstage production,
Pyramus/Bottom commends Snout/Wall for being "courteous"!

Barrett Fisher
Bethel College (MN)

Website: Triangulating Shakespeare

The Shakespeare Conference: SHK 11.0722  Wednesday, 5 April 2000.

From:           Steven Marx <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 05 Apr 2000 07:30:27 -0700
Subject:        Website: Triangulating Shakespeare

Colleagues:

In preparation for a seminar at the SAA conference later this week, I've
put together a website at

http://www.multimedia.calpoly.edu/libarts/smarx/Shakespeare_resources/triang/index.html

Yours,
Steven Marx
http://www.multimedia.calpoly.edu/libarts/smarx

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