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Home :: Archive :: 2002 :: April ::
Re: Edgar and Edmund
The Shakespeare Conference: SHK 13.1056  Wednesday, 17 April 2002

[1]     From:   Stephen Dobbin <
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        Date:   Tuesday, 16 Apr 2002 16:53:07 +0100 (BST)
        Subj:   Edgar and Edmund

[2]     From:   Brian Willis <
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        Date:   Tuesday, 16 Apr 2002 09:14:35 -0700 (PDT)
        Subj:   Re: SHK 13.1044 Re: Edgar and Edmund

[3]     From:   Martin Steward <
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        Date:   Tuesday, 16 Apr 2002 17:38:48 +0100
        Subj:   SHK 13.1044 Edgar and Edmund

[4]     From:   Edmund Taft <
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        Date:   Tuesday, 16 Apr 2002 14:01:35 -0400
        Subj:   Edgar and Edmund

[5]     From:   Karen Peterson <
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        Date:   Tuesday, 16 Apr 2002 11:19:37 -0700 (PDT)
        Subj:   Re: SHK 13.1044 Re: Edgar and Edmund

[6]     From:   Chris/Kit Gordon <
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        Date:   Tuesday, 16 Apr 2002 14:00:00 -0500
        Subj:   SHK 13.1044 Re: Edgar and Edmund


[1]-----------------------------------------------------------------
From:           Stephen Dobbin <
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Date:           Tuesday, 16 Apr 2002 16:53:07 +0100 (BST)
Subject:        Edgar and Edmund

But alas, laments Anna Kamaralli, what can be done, about the fact that
Edmund is dead sexy whereas Edgar's a drip?

Answer: casting.

For example, there is no bigger drip in Sense and Sensibility than
Colonel Brandon, but Ang Lee gave the part to Alan Rickman and look what
happened!

Stephen

[2]-------------------------------------------------------------
From:           Brian Willis <
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Date:           Tuesday, 16 Apr 2002 09:14:35 -0700 (PDT)
Subject: 13.1044 Re: Edgar and Edmund
Comment:        Re: SHK 13.1044 Re: Edgar and Edmund

> Martin Steward wrote of King Lear:
>
> >I go with the Quarto reading every time on this
>> one:
>
> Must we choose?
>
> Mike Jensen

Yes.

> Of course, as Kenneth Muir points out, it is
> difficult to justify Albany
> speaking the final sentence: "We that are young /
> Shall never see so
> much, nor live so long"  (Arden Shakespeare, 1972:
> 5.3.324-25). These
> words do seem more suitable in Edgar's mouth than in
> Albany's.
>
> Paul E. Doniger

Where in the play is Albany's age specified? Even if he is, say,
middle-aged, it certainly is young compared to Lear's four-score.
According to the logic and completely different character of Albany in
Q1, these words make perfect sense in his mouth at the end of the play.
Q1 has a different agenda. Hence it makes sense that these lines are
attributed to Albany first and reattributed to Edgar in F. It is
arguable which came first since significant arguments have been made for
the Q or F draft being composed first. What matters is that two
different "cuts" of the play exist, indicating different intentions for
Edgar, Albany and the Fool most significantly.

Brian Willis

[3]-------------------------------------------------------------
From:           Martin Steward <
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Date:           Tuesday, 16 Apr 2002 17:38:48 +0100
Subject: Edgar and Edmund
Comment:        SHK 13.1044 Edgar and Edmund

In reply to my assertion, "I go with the Quarto reading every time" on
the issue of the last lines of King Lear, Mike Jensen asks, "Must we
choose?"

Having thought about it, I think I must respond, "Well, yes." Unless you
are going to have Edgar and Albany say those lines both together or,
even stranger, one after another, I can't see how one might avoid
choosing.

Having said that, Annalisa offers a cunning way out: "I am strongly of
the camp that sees the Quarto and Folio as two separate versions of the
play, and therefore I think both are valid". I could certainly go along
with that to a certain degree, and I rather like her suggestive
categorization of Q as "History" and F as "Tragedy" as an explanation of
how the two separate endings can both make sense. Annalisa, have you
published on this idea at all? Or could you provide some references that
I might follow up in pursuit of it?

I'm not as convinced as Muir and Paul Doniger that it is "difficult to
justify Albany speaking the final sentence: "We that are young / Shall
never see so much, nor live so long

 

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