2001

Re: Historical Accuracy

The Shakespeare Conference: SHK 12.0845  Monday, 16 April 2001

[1]     From:   R. A. Cantrell <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 11:34:14 -0500
        Subj:   Historical Accuracy

[2]     From:   Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 10:53:57 -0700
        Subj:   Re: SHK 12.0833 Re: Historical Accuracy

[3]     From:   David Evett <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 15:35:17 -0400
        Subj:   Re: SHK 12.0820 Historical Accuracy


[1]-----------------------------------------------------------------
From:           R. A. Cantrell <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 11:34:14 -0500
Subject:        Historical Accuracy

I appreciate Kozuka's response.  I hope that my comments are not taken
as piling on, that is not my intent at all.

>Many copies of his translation were seized and
>burned, as was Tyndale himself.

Memory does not serve: were copies of Tydale's Bible burnt with his
body?  The idea that Tyndale was strangled and then his body burnt is
not consonant with my impression of the transpirings. I may be wrong,
but I thought he was taken to the pile and strangled at the post
immediately prior to the conflagration.  I think that I ought also to
have remembered the Martyr's (Foxe's?) last words, about opening the
King of England's eyes, but I don't have them handy.

All the best,
R. A. Cantrell

[2]-------------------------------------------------------------
From:           Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 10:53:57 -0700
Subject: 12.0833 Re: Historical Accuracy
Comment:        Re: SHK 12.0833 Re: Historical Accuracy

Takashi Kozuka recommends,

>To SHAKESPEReans who want to
>know more about Cranmer [. . .] Diarmaid MacCulloch's Thomas
>Cranmer: A Life (1996). (It's nearly 700 pages, though!)

Those who want a review before plunging into the nearly 700 pages, might
want to see mine, at EMLS:  http://www.shu.ac.uk/emls/04-3/lawrrev.html

Cheers,
Se


Re: Wedding of Sound and Image

The Shakespeare Conference: SHK 12.0844  Monday, 16 April 2001

[1]     From:   Marti Markus <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 18:24:21 +0100
        Subj:   Re: SHK 12.0830 Re: Wedding of Sound and Image

[2]     From:   Vick Bennison <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 13:26:53 EDT
        Subj:   Re: SHK 12.0830 Re: Wedding of Sound and Image

[3]     From:   Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Friday, 13 Apr 2001 16:34:07 -0700
        Subj:   Re: SHK 12.0830 Re: Wedding of Sound and Image

[4]     From:   Louis Marder <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Sunday, 15 Apr 2001 16:53:41 -0500
        Subj:   Re: SHK 12.0830 Re: Wedding of Sound and Image


[1]-----------------------------------------------------------------
From:           Marti Markus <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 18:24:21 +0100
Subject: 12.0830 Re: Wedding of Sound and Image
Comment:        Re: SHK 12.0830 Re: Wedding of Sound and Image

> >>If there is actually a name for the wedding
> >>of sound and image, I'd be happy to know
> >>what it is.

What about WYSAHIWYG (= What you see and hear is what you get)?

Happy Oysters,
MM

[2]-------------------------------------------------------------
From:           Vick Bennison <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 13:26:53 EDT
Subject: 12.0830 Re: Wedding of Sound and Image
Comment:        Re: SHK 12.0830 Re: Wedding of Sound and Image

American Heritage Dictionary:
syzygy n.,

1. [astronomy]  blah blah blah

2. the combining of two feet into a single metrical unit in classical
prosody.

[3]-------------------------------------------------------------
From:           Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 13 Apr 2001 16:34:07 -0700
Subject: 12.0830 Re: Wedding of Sound and Image
Comment:        Re: SHK 12.0830 Re: Wedding of Sound and Image

Those who responded to my request for a word for the blending of sound
and image, thanks. Syzygy is a word from astronomy. In classical Greek
prosody it means the blending of two metrical feet into a single unit.
Synesthesia is, as was stated, "the taste of blue."

I was looking for something that means the sound of the poetry
reproduces the rhythm of the image, as in "leg over leg as the dog went
to Dover," or "roll on thou deep and dark blue ocean roll." It's
probably something very simple and I'm revealing my wretched ignorance
by asking.

Stephanie Hughes

[4]-------------------------------------------------------------
From:           Louis Marder <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 15 Apr 2001 16:53:41 -0500
Subject: 12.0830 Re: Wedding of Sound and Image
Comment:        Re: SHK 12.0830 Re: Wedding of Sound and Image

Greetings:  The word that weds sound and image is "poetry". LM-SDB.

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Re: Tempest, Renaissance Education and Chess

The Shakespeare Conference: SHK 12.0842  Monday, 16 April 2001

[1]     From:   Vick Bennison <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 12:35:35 EDT
        Subj:   Re: Tempest, Renaissance Education and Chess

[2]     From:   Marti Markus <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 18:13:20 +0100
        Subj:   Re: Tempest, Renaissance Education and Chess


[1]-----------------------------------------------------------------
From:           Vick Bennison <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 12:35:35 EDT
Subject: 12.0825 Re: Tempest, Renaissance Education and Chess
Comment:        Re: SHK 12.0825 Re: Tempest, Renaissance Education and Chess

Probably an irrelevant point, but there are exactly 16 named characters
in Tempest (I'm not counting the Boatswain and Master, who are only
titled, not named), just the right amount to make up the back rows of a
chess game.  Then as pawns I suppose you have the Boatswain, Master,
spirits, shapes, reapers, nymphs, mariners and unnamed members of the
royal train.  If you feel we must include the Boatswain and Master in
the major players, then remove Ferdinand and Miranda, who are, after
all, playing the game.  ;^) I'd guess the white team would be Prospero,
Ariel, Miranda, Ceres, Juno, Iris, Ferdinand, and Gonzalo, with the
blacks being Alonso, Antonio, Sebastian, Francisco, Adrian, Caliban,
Trinculo and Stephano. ;^) White's move to open.

Vick

[2]-------------------------------------------------------------
From:           Marti Markus <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 18:13:20 +0100
Subject: 12.0825 Re: Tempest, Renaissance Education and Chess
Comment:        Re: SHK 12.0825 Re: Tempest, Renaissance Education and Chess

> >Alfonso el Sabio (1221-1284) published one of the first European books
> >on chess: "Libros de acedrex, dados e tablas"
>
> >Why don't you try it once too, it's quite fun and it's very simple:
> >Throw one die, and, let's say, with a 1 you are allowed to move a pawn,
> >2 = rook, 3 = knight, 4 = bishop, 5 = Q, 6 = K;
>
> Is this how el Sabio describes the game at that time? Is this how we
> know it was played, or is the dice component a surmise? Just curious,
> actually.

Yes, it is - but I cheated a bit yesterday. I just quoted Cockburn, and
the suggestion how to play with dice was only as I vaguely remembered
it, I was too lazy to look it up. But I have actually got a bilingual
edition of Alfonso's book (Spanish/German), and I have found the
relevant passages now: (Alfonso el Sabio, Libros de Acedrex, Dados e
Tablas. Das Schachzabelbuch K


Re: RSC-This England

The Shakespeare Conference: SHK 12.0843  Monday, 16 April 2001

[1]     From:   Marion Aston <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 18:48:14 +0100
        Subj:   Re: SHK 12.0832 Re: RSC-This England

[2]     From:   Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 08:49:49 -0700
        Subj:   Re: SHK 12.0832 Re: RSC-This England


[1]-----------------------------------------------------------------
From:           Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 08:49:49 -0700
Subject: 12.0832 Re: RSC-This England
Comment:        Re: SHK 12.0832 Re: RSC-This England

Perhaps someday such a cycle of Shakespeare history plays will begin
where some of us believe it should begin, with the youth of Richard II
in "Thomas of Woodstock."

Stephanie Hughes

>Beginning with the deposing of Richard II by Bolingbroke, it covers the
>subsequent rebellions crushed by Henry IV, Agincourt, Joan of Arc and
>Jack Cade's anarchic revolt. Then come the Wars of the Roses, the
>dispatching of the Princes in the Tower by Richard III and, with his
>defeat on Bosworth Field, the formation of the Tudor dynasty.

[2]-------------------------------------------------------------
From:           Marion Aston <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 18:48:14 +0100
Subject: 12.0832 Re: RSC-This England
Comment:        Re: SHK 12.0832 Re: RSC-This England

Those of you who have not seen any of the 'This England' plays are in
for an absolute treat.  I saw them all at Stratford last year (and
managed to sneak a second look at Henry V at the Barbican a couple of
weeks ago).

All the productions are outstanding, the acting is superb - watch out
for Sam West's Richard II - and most of all William Houston as Hal and
subsequently Henry V.  He is the most exciting and compelling Henry I
have seen.

King John is part of the Stratford Summer Season and I saw it last
Saturday.  It is at the Swan Theatre - I don't know ticket
availability.  Catch it if you can - it's a great production.

Regards
Marion
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Re: Tragic Hero

The Shakespeare Conference: SHK 12.0841  Monday, 16 April 2001

[1]     From:   Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 09:16:01 -0700
        Subj:   Re: SHK 12.0826 Re: Tragic Hero

[2]     From:   Larry Weiss <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 13:12:48 -0400
        Subj:   Re: SHK 12.0826 Re: Tragic Hero

[3]     From:   Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 09:39:48 -0700
        Subj:   Re: SHK 12.0826 Re: Tragic Hero

[4]     From:   Brian Haylett <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 11 Apr 2001 19:31:54 +0100
        Subj:   Re: SHK 12.0826 Re: Tragic Hero

[5]     From:   Takashi Kozuka <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 12 Apr 2001 22:39:45
        Subj:   Re: Tragic Hero

[6]     From:   Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Friday, 13 Apr 2001 15:11:34 +0100
        Subj:   Re: SHK 12.0826 Re: Tragic Hero

[7]     From:   Judith M. Craig <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Monday, 16 Apr 2001 08:38:51 -0400
        Subj:   Re: SHK 12.0826 Re: Tragic Hero


[1]-----------------------------------------------------------------
From:           Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 09:16:01 -0700
Subject: 12.0826 Re: Tragic Hero
Comment:        Re: SHK 12.0826 Re: Tragic Hero

In considering Shakespeare's attitude towards Shylock and his purposes
in dramatizing him as he did, it might be well to consider that the
Protestant reformers regarded themselves to a great extent as the
inheritors of the legacy of the original Jews of the Old Testament, a
return to basics after the excesses of Rome. This was the beginning of
what would become a sense of connection with the Old Testament Jews
themselves, obdurate, chosen, beleaguered, not at all against lending
money at interest, family centered, fond of wearing black, etc., that
has lasted to the present day. The Protestant Reformers would quote OT
scripture at the drop of a hat. We tend to consider only the imaginative
literature published during that time, but it actually represents a very
small percentage of the books and pamphlets published, both original and
translations, most of which were Protestant sermons.

Despite the fact (or what I see as a fact) that Shakespeare was one of
the ultimate products of the English Protestant Reformation, he did not
like the Puritans, who were, on occasion, likened to Jews by their
enemies. It may be that with Shylock, Shakespeare is not so much bashing
Jews as bashing Puritans by equating them with Jews, the traditional
scapegoats of Christian society, whose putative faults had been imbibed
by his audience with their mother's milk. After all, to the English of
the late sixteenth century, Jews could hardly be seen as any sort of
threat to the stability of their society, whereas Puritans were
frequently seen by defenders of the status quo as a major threat.

Stephanie Hughes

[2]-------------------------------------------------------------
From:           Larry Weiss <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 13:12:48 -0400
Subject: 12.0826 Re: Tragic Hero
Comment:        Re: SHK 12.0826 Re: Tragic Hero

> I wonder if anyone attending this thread has read the 1936 dissertation
> by Mark Edwin Andrews, "Law versus Equity in 'The Merchant of Venice.'",
> published in 1965. He presents a strong case for the author's intention
> to influence the argument, which was gathering in intensity in the late
> 90s and early 1600s, over which court had precedence over the other,
> Equity or Common Law.

I had a lovely boxed copy of this little book (which I think was
originally a masters thesis) but made the mistake of lending it to an
academic about 25 years ago.  If anyone knows where it is I would love
to have it back.

Actually, I don't recall the thesis as being that M/V was written to
influence the trend of the law. And I do not believe it did or could do
so.  As I recall (perhaps inexactly), the student who wrote the piece
thought that M/V was a rough dramatization of an issue in significant
recent Chancery decision.  However, later scholarship disclosed that the
case in question was decided about two years after the play was written.

> He shows that Lord Chancellor Bacon (to whom the
> question was ultimately sent, by James, I believe) for decision,
> actually quoted MOV.

Do you have the citation.  AER would be best.  I believe, though, that
the case was decided in about 1598, before James (who I do not believe
could have referred a civil dispute to a particular court or judge, even
then)

>According to Andrews, the play has been frequently quoted over the years in
>legal cases as though it were in fact a
>legal document.

That Portia's "mercy" speech has been quoted frequently by judges
attempting to demonstrate erudition I do not doubt; but if it has been
relied on as authority I would like to have the citations.

[3]-------------------------------------------------------------
From:           Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 11 Apr 2001 09:39:48 -0700
Subject: 12.0826 Re: Tragic Hero
Comment:        Re: SHK 12.0826 Re: Tragic Hero

David Bishop writes:

>Bassanio gives away his ring, under duress, in gratitude for the saving
>of Antonio's life. This most overt moment of tension between the demands
>of his love for his wife and his love for his friend is earlier more
>subliminally reflected in Antonio's sadness, which I take it is sadness
>at losing Bassanio to Portia.

Antonio might be "in love", but he can't be sad about losing Bassanio to
Portia at this point, since he doesn't know about her until some lines
later.

>Under the pressure of Antonio's imminent death, a pressure intensified
>by his gratitude and responsibility for the bond, Bassanio says he'd
>sacrifice his wife--along with "life itself" and "all the world"--to
>save Antonio. Portia takes critical note of this vow.

We might also note that Portia elicits this claim, by first asking
Antonio "You, merchant, have you anything to say?"  This gives Antonio
the chance to make a very self-sacrificial speech, followed by
Bassanio's claim that he would sacrifice his wife.

>Bassanio and Gratiano then have to be stretched on the rack a bit before
>being given back the rings. Sacred as those rings were, and as the bonds
>of marriage are, they don't cancel all other bonds and obligations.
>However sacred, a ring is still only a hoop of metal. To make holding
>onto it an absolute requirement would confuse the human bond of love
>with a material object. To deny Bassanio's feelings for Antonio,
>especially in that situation, would be inhuman to the point of madness.

I don't quite agree.  Bassanio's love for Antonio is reintegrated, but
as a further surety on the ring.  If anything, the ring has been given
even more importance, and the consequences of losing them in terms of
cuckoldry made even more explicit.  The logic of material exchange
comes, in the end, to include love.

Cheers,
Se


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