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Home :: Archive :: 2002 :: July ::
Re: Attributing Masterworks
The Shakespeare Conference: SHK 13.1687  Wednesday, 24 July 2002

[1]     From:   Terence Hawkes <
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        Date:   Tuesday, 23 Jul 2002 13:16:21 -0400
        Subj:   SHK 13.1680 Re: Attributing Masterworks

[2]     From:   Al Magary <
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        Date:   Tuesday, 23 Jul 2002 12:47:59 -0700
        Subj:   Re: SHK 13.1680 Re: Attributing Masterworks


[1]-----------------------------------------------------------------
From:           Terence Hawkes <
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Date:           Tuesday, 23 Jul 2002 13:16:21 -0400
Subject: Re: Attributing Masterworks
Comment:        SHK 13.1680 Re: Attributing Masterworks

'it fits Ford like a glove, fails only one Ford test, and  . . . it is
790 trillion times closer to Ford than to Shakespeare.'

Ward Elliott's confidence is quite laughable.  All of his criteria would
apply equally, and indeed most powerfully and obviously, to a piece
deliberately written by Shakespeare in the style of Ford. Its
ludicrously high degree of 'Fordness' is the most certain indication of
parody, and a pretty clear signal that Ford had nothing at all to do
with it.

T. Hawkes
Critical Theory Workshop Experimental Studio Rehearsal Space

[2]-------------------------------------------------------------
From:           Al Magary <
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Date:           Tuesday, 23 Jul 2002 12:47:59 -0700
Subject: 13.1680 Re: Attributing Masterworks
Comment:        Re: SHK 13.1680 Re: Attributing Masterworks

Are there any recordings of the Funeral Elegy?  I was listening the
other midnight to Christopher Plummer doing parts of Henry V (CD on the
Chandos label, _Sir William Walton's Film Music, Vol. 3_; Marriner/St.
Martin's in the Fields/Choristers of Westminster) and found myself
simply *overpowered* by words that are indubitably Shakespeare's.  I
wonder if that could possibly happen with a professional recording of
Funeral Elegy?  On paper it just doesn't do anything for me.

Al Magary

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