2001

Succession

The Shakespeare Conference: SHK 12.2690  Thursday, 29 November 2001

From:           Eduardo del Rio <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 28 Nov 2001 11:09:35 -0600
Subject:        Succession

I'm sure there is an obvious answer to this, but could someone please
clarify this:

As I understand it, the principle of succession is that the throne
passes to the eldest surviving male heir. If he dies, then to *his*
eldest male heir. But which is in line first, the brother(s) or sons? If
the latter, then this is why Richard III needs to eliminate not only
Clarence (George) but also the sons of Edward IV.

How is it then, that upon Hamlet


Shakespeare in Asia

The Shakespeare Conference: SHK 12.2689  Thursday, 29 November 2001

From:           Dennis Kennedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 28 Nov 2001 15:40:39 +0000
Subject:        Shakespeare in Asia

CALL FOR PAPERS

SHAKESPEARE PERFORMANCE IN THE NEW ASIAS

A conference in Singapore
28-30 June 2002

A forum for connecting and contextualizing the performance of
Shakespeare in East, South, and Southeast Asia. The conference, to take
place at the National University of Singapore, aims to address a) the
ways in which the reproduction of Shakespeare occurs in Asian
performance and b) how Shakespeare


Not Entirely English Based

The Shakespeare Conference: SHK 12.2687  Wednesday, 28 November 2001

From:           Sam Small <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 27 Nov 2001 18:52:59 -0000
Subject:        Not Entirely English Based

It might be off-topic but I would like to say that I have just spent a
week in south Texas and took a trip to New Orleans.  Also I had my very
first American Thanksgiving dinner with real Americans which was
wonderful.  Texas is, well, "don't mess with it".  I thought of driving
up and trying to find Mike Jensen's favourite cafe to give him a big
surprise but thought that his heart might not stand the shock.  I love
America.

SAM SMALL

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Arden3 Henry VI, Part 3

The Shakespeare Conference: SHK 12.2688  Wednesday, 28 November 2001

From:           John Briggs <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 28 Nov 2001 12:59:37 -0000
Subject:        Arden3 Henry VI, Part 3

As John D. Cox has discreetly drawn attention (in SHK 12.2655) to the
Arden3 edition that he and Eric Rasmussen have edited of Henry VI, Part
3, perhaps I might be permitted to make a few preliminary comments,
based on a cursory inspection?  One surprise (to me, at least) was that
the 176 page introduction has no real discussion of the date of
composition, the sequence of the Henry VI plays, and the authorship of
the play (the question of collaboration is raised, indeed it seems to be
assumed, but no names or entities are suggested).  It seems to be
assumed that the play was staged in (or is it "by"?) 1592 and at the
Rose.  There is an illustration of a model of the Rose prior to its
alteration in 1592.  The lack of discussion of sequence is puzzling:
perhaps it was thought that the Arden3 editions of Part 1 by Burns, and
Part 2 by Knowles had covered it sufficiently, but I would have thought
that the issue would be raised!  There is a lingering suspicion that
perhaps the editors don't believe in the "inverted" sequence, but have
been censored by the General Editors!  (An alternative explanation could
be that each editor thought that it was the other's responsibility!)
There seems to be no discussion of which company the play would have
been written for, which is surprising as Pembroke's Men are on the title
page of the Octavo "True Tragedy".  Incidentally, printing a reduced
facsimile of O as an appendix makes it obvious that it really is an
octavo, despite some previous reports.  I don't think that either Marcus
Dahl or myself will be satisfied by the way "date, sequence, authorship"
have been handled by this edition.  (I know I shouldn't speak for
Marcus, but any spectators of our recent spat will agree that we now
both have some understanding of the other's position!)  I was
particularly annoyed that the wearing of roses by the Lancastrians and
Yorkists in the opening scene has been interpolated [editorially] into
the SDs (from O).  While hardly amounting to the Sin of Conflation, this
does obscure what I maintain to be a small but crucial piece of evidence
for the "inverted" sequence: that the O text derives (in some fashion)
from a performance that postdates 1H6, whereas the F text does not
(postdate 1H6, that is!).  I had been eagerly awaiting this edition: I
shall now have to wait and see what Randall Martin says about these
issues in his Oxford Shakespeare edition!

John Briggs

_______________________________________________________________
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>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
editor assumes no responsibility for them.

Re: MND Tops Survey

The Shakespeare Conference: SHK 12.2686  Wednesday, 28 November 2001

From:           Sam Small <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 27 Nov 2001 18:44:29 -0000
Subject: 12.2626 Re: MND Tops Survey
Comment:        Re: SHK 12.2626 Re: MND Tops Survey

It is an old screenwriting adage that "if a scene is about what the
scene is about you are in deep trouble".  Writers of experience know
that sub text is sometimes never obvious and that telling an audience
clearly what you mean at every turn will bore them out of the theatre in
droves.  I am sure Shakespeare applied this tenant to the whole of R&J.
It is due his genius that educated people mistake the play for a study
of adolescence.  By placing young lovers centre stage the old
Shakespeare fears of civil unrest crowd around them like poisonous
clouds.  To pull off the trick Shakespeare had to get us to love the
couple and perhaps identify with their hot and amorous affair.

Civil disorder is always executed by 18 to 35 year old men whilst the
older men and women tacitly - and occasionally noisily - approve.
Testosterone flushed males like Tybalt and Romeo will always be ready to
demonstrate their honour-led swordplay whilst the older generation has
the responsibility to regulate that much-maligned hormone.  Clearly in
R&J they failed miserably.  To tell young men not to violently compete
will always fail, but to show their destruction of the lovely Romeo and
sweet Juliet is more than most can take.  But remember, 40 years later -
and in complete ignorance of the message of R&J - England tore itself
apart in a civil war between two "families".  Perhaps Shakespeare failed
too.

SAM SMALL

_______________________________________________________________
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>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
editor assumes no responsibility for them.

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