April
The Shakespeare Conference: SHK 12.0757 Wednesday, 4 April 2001 [1] From: Richard Nathan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 30 Mar 2001 21:15:36 +0000 Subj: Re: SHK 12.0751 Q: Anne Hathaway [2] From: Susann_Suprenant/CFA/UNO/This email address is being protected from spambots. You need JavaScript enabled to view it. Date: Friday, 30 Mar 2001 15:35:08 -0600 Subj: Re: SHK 12.0751 Q: Anne Hathaway [3] From: Geralyn Horton <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 31 Mar 2001 00:39:39 -0500 Subj: Re: SHK 12.0751 Q: Anne Hathaway [1]----------------------------------------------------------------- From: Richard Nathan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 30 Mar 2001 21:15:36 +0000 Subject: 12.0751 Q: Anne Hathaway Comment: Re: SHK 12.0751 Q: Anne Hathaway William Gibson's play "A CRY OF PLAYERS" is about the relationship between young William Shakespeare and Anne Hathaway. It ends with him leaving her to go to London. [2]------------------------------------------------------------- From: Susann_Suprenant/CFA/UNO/This email address is being protected from spambots. You need JavaScript enabled to view it. Date: Friday, 30 Mar 2001 15:35:08 -0600 Subject: 12.0751 Q: Anne Hathaway Comment: Re: SHK 12.0751 Q: Anne Hathaway An Anne Hathaway play: A Cry of Players by William Gibson. [3]------------------------------------------------------------- From: Geralyn Horton <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 31 Mar 2001 00:39:39 -0500 Subject: 12.0751 Q: Anne Hathaway Comment: Re: SHK 12.0751 Q: Anne Hathaway William Gibson's "A Cry of Players"? She's not the central character, but it is a big role. Not drama, but Nye's new "Mrs. Shakespeare: the Complete Works" is Ann's journal: an Ann monologue. Geralyn Horton, Playwright Newton, Mass. 02460 <http://www.tiac.net/users/ghorton> _______________________________________________________________ S H A K S P E R: The Global Shakespeare Discussion List Hardy M. Cook,This email address is being protected from spambots. You need JavaScript enabled to view it. The S H A K S P E R Webpage <http://ws.bowiestate.edu>
The Shakespeare Conference: SHK 12.0756 Wednesday, 4 April 2001 [1] From: Melissa D. Aaron <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 30 Mar 2001 13:01:49 -0800 Subj: Re: SHK 12.0730 Tempest, Renaissance Education and Chess [2] From: Clifford Stetner <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 30 Mar 2001 20:49:20 -0500 Subj: Re: SHK 12.0730 Tempest, Renaissance Education and Chess [3] From: Jack Heller <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 01 Apr 2001 21:35:29 -0400 Subj: Re: SHK 12.0730 Tempest, Renaissance Education and Chess [1]----------------------------------------------------------------- From: Melissa D. Aaron <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 30 Mar 2001 13:01:49 -0800 Subject: 12.0730 Tempest, Renaissance Education and Chess Comment: Re: SHK 12.0730 Tempest, Renaissance Education and Chess Stuart Manger queries: >The symbolic role of the chess scene between Ferdinand and Miranda in >Act 5. > >[a] Miranda clearly knows the game well enough to question Ferdinand's >strategy and even probity. > >[b] BUT would women have been taught to play chess as an integral >element in European Renaissance courtly manners and skills, or was it >more likely in England than elsewhere? > >[c] Or was it specifically an aristocratic, and probably specifically >masculine, pastime,. . . Of course "aristocratic" need not imply "masculine." But Middleton employs chess at least twice: in *Women Beware Women* the game is played between two women, and in *A Game at Chesse* he uses it as a structural base for the whole play. I don't think he would have done that if he thought that it wouldn't have been comprehensible to the huge crowds--up to 3,000 a day--who came to see it at its smash three-day run at the Globe. Melissa D. Aaron http://www.csupomona.edu/~maaron/index.html California Polytechnic State University at Pomona [2]------------------------------------------------------------- From: Clifford Stetner <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 30 Mar 2001 20:49:20 -0500 Subject: 12.0730 Tempest, Renaissance Education and Chess Comment: Re: SHK 12.0730 Tempest, Renaissance Education and Chess My sense is that what Prospero shows us when he throws back the curtain at the back of the stage is the scene that a father would wish to find if he walked in on his daughter entertaining her boyfriend in her room. The game of chess is simply a metaphor for a meeting of the minds versus bodily fluids. He is presenting evidence of his wise governance of his island and of ill advisedness of his exile from Milanese politics. Clifford Stetner CUNY http://phoenix.liu.edu/~cstetner/cds.html [3]------------------------------------------------------------- From: Jack Heller <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 01 Apr 2001 21:35:29 -0400 Subject: 12.0730 Tempest, Renaissance Education and Chess Comment: Re: SHK 12.0730 Tempest, Renaissance Education and Chess Time is short, and therefore so is this reply. However, for Stuart Manger's questions regarding women and chess-playing, I would direct him to Thomas Middleton's play WOMEN BEWARE WOMEN which sets up a parallel between a chess game and a . . . well, this opens up a question I don't mean to open . . . a seduction or a rape. Jack Heller _______________________________________________________________ S H A K S P E R: The Global Shakespeare Discussion List Hardy M. Cook,This email address is being protected from spambots. You need JavaScript enabled to view it. The S H A K S P E R Webpage <http://ws.bowiestate.edu>
The Shakespeare Conference: SHK 12.0755 Wednesday, 4 April 2001 [1] From: Carol Barton <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 30 Mar 2001 15:30:33 -0500 Subj: SHK 12.0748 Re: Tragic Hero [2] From: Clifford Stetner <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 30 Mar 2001 20:29:39 -0500 Subj: Re: SHK 12.0748 Re: Tragic Hero [3] From: Ros King <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 1 Apr 2001 15:54:28 EDT Subj: Re: SHK 12.0748 Re: Tragic Hero [1]----------------------------------------------------------------- From: Carol Barton <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 30 Mar 2001 15:30:33 -0500 Subject: Re: Tragic Hero Comment: SHK 12.0748 Re: Tragic Hero Don Bloom writes: > My concern is with the danger of misunderstanding the play. Shakespeare > clearly intended Shylock to be a villain -- greedy, malicious, and > vengeful. In his time, nobody expected Jews to be anything else, so that > they deserved any punishments they received. To the author, what Lorenzo > does is part of the general comic mood of the play -- the lovers are > united against the wicked father's wishes, and the vicious miser gets > his comeuppance -- and is parallel to the main plot action which has the > same results worked out with more complexity. With all due respect, my concern is with the naivet