2003

Dramatis personae

The Shakespeare Conference: SHK 14.2314  Tuesday, 9 December 2003

[1]     From:   D Bloom <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Monday, 8 Dec 2003 10:27:26 -0600
        Subj:   RE: SHK 14.2308 Dramatis personae

[2]     From:   Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Monday, 8 Dec 2003 13:12:43 -0500
        Subj:   SHK 14.2308 Dramatis personae


[1]-----------------------------------------------------------------
From:           D Bloom <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 8 Dec 2003 10:27:26 -0600
Subject: 14.2308 Dramatis personae
Comment:        RE: SHK 14.2308 Dramatis personae

Rolland Banker writes,

"Hamlet is the sophisticated grandson 'to the manor borne' that the
mature William Shakespeare would never have."

I find this concept delightful (not having a fictional character as a
grandson) but I think it is important to clarify that Hamlet is not
borne to a manor, but to the stage by four Norwegian captains. Of
course, he is also borne (or "born") to a Danish manner of drinking
oneself under the table.

(He disapproves of it.)

Cheers,
don

[2]-------------------------------------------------------------
From:           Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 8 Dec 2003 13:12:43 -0500
Subject: Dramatis personae
Comment:        SHK 14.2308 Dramatis personae

It is evidently necessary to remind colleagues that rule number 22,
governing readings of Hamlet, provides

a) that whenever Claudius utters the word 'son', it is to be understood
that he means 'stepson'.

b) that whenever Claudius utters the word 'father' in connection with
himself, it is to be understood that he means 'uncle'.

Failure to observe these provisions may result in the offender being
branded 'fanciful'. God is not mocked.

Terence Hawkes

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Introduction to Matters of Editing

The Shakespeare Conference: SHK 14.2313  Tuesday, 9 December 2003

From:           David L. Gants <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 8 Dec 2003 13:42:44 -0400 (AST)
Subject: 14.2278 Introduction to Matters of Editing
Comment:        Re: SHK 14.2278 Introduction to Matters of Editing

Hello all,

I second Bill Godshalk's recommendation of Gaskell's *New Introduction*
and suggest another work that explores the material circumstances of
textual production: Peter W. M. Blayney's 1991 Folger exhibition catalog
*The First Folio of Shakespeare*. Ken Steele reviewed the catalog in
1991 (http://www.shaksper.net/archives/1991/0101.html), and the last
time I was at the Folger the foyer bookshop had plenty of copies.  I
believe the Folger will also ship the work if you don't happen to be in
the Washington area.

Dave Gants

_______________________________________________________________
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Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
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DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
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Volpone

The Shakespeare Conference: SHK 14.2311  Tuesday, 9 December 2003

From:           Bella Mirabella <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 8 Dec 2003 08:20:17 -0500
Subject:        Volpone

Hello:

I am seeking a film version of Volpone.  I saw a fabulous production
years ago on Public TV--do you know anything about this or how to track
it down. Thanks so much.

Bella Mirabella
Gallatin School
New York University

_______________________________________________________________
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 Web Site <http://www.shaksper.net>

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.

Bottom, Weaving Metaphors, Language and Reality

The Shakespeare Conference: SHK 14.2312  Tuesday, 9 December 2003

[1]     From:   Clifford Stetner <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Monday, 8 Dec 2003 10:13:05 -0500
        Subj:   Re: SHK 14.22876 Bottom, Weaving Metaphors, Language and Reality

[2]     From:   Dana Wilson <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Monday, 8 Dec 2003 10:52:16 -0800 (PST)
        Subj:   Re: SHK 14.22876 Bottom, Weaving Metaphors, Language and Reality


[1]-----------------------------------------------------------------
From:           Clifford Stetner <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 8 Dec 2003 10:13:05 -0500
Subject: 14.22876 Bottom, Weaving Metaphors, Language and
Comment:        Re: SHK 14.22876 Bottom, Weaving Metaphors, Language and
Reality

This question has always bothered me. There is an anonymous play of 1661
I haven't read called Bottom the Weaver that might shed some light. I
think it's obvious that the mechanicals refer to Shakespeare's company,
but in what sense? Probably one of the links provided by Mr Webbe points
out that a "text" is a woven object, from  texo, to weave. It's a
textile object just like the papyrus or paper it's written on. This idea
turns up in an astonishing variety of cultural myths. In addition to the
examples already given, there's Arachne who was challenged by Juno to a
weaving contest and according to Ovid was turned into a spider for
outweaving her with pictures of the metamorphoses of Jove:

 ...Chang'd to a bull to gratify his love;
How thro' the briny tide all foaming hoar,
Lovely Europa on his back he bore.
...Next she design'd Asteria's fabled rape,
When Jove assum'd a soaring eagle's shape:
And shew'd how Leda lay supinely press'd,
Whilst the soft snowy swan sate hov'ring o'er her breast...
Ovid Met Book 6

In the ME Emare, the daughter of the Emir of heathendom weaves a cloth
on the four corners of which are depicted: Ydoyne and Amadas; Trystram
and Isowde; Florys and Blawncheflour; the Sultan of Babylon and herself.
In the center is a unicorn representing virginity

These are two examples the poetic use of weaving as a metaphor for
constructing narratives. In the former, Arachne weaves together an
allegory of her own impending fate. In the latter, the Emir's daughter
weaves together her love into a coherent and supernaturally beautiful
whole with three love myths. There are four of five love myths woven
together in MND: Theseus and Hippolyta; Oberon and Titania; the four
Athenian youths; Pyramus and Thisbe; and perhaps, Bottom and Titania.
Like the four corners of the cloth/robe in Emare, these separate tales
are somehow woven into a coherent aesthetic object. The idea that what
is woven in text is not merely cloth but a sort of attire as in Emare is
set in a negative light in Merchant of Venice. Antonio tells Bassanio:

The devil can cite Scripture for his purpose.
... O, what a goodly outside falsehood hath!

Later Bassanio rejects the gold casket because:

So may the outward shows be least themselves:
The world is still deceived with ornament.
... In religion,
What damned error, but some sober brow
Will bless it and approve it with a text,
Hiding the grossness with fair ornament?

Antonio claims that an evil soul can clothe itself in a holy text. The
idea of the soul weaving attire for itself was less threatening to
Neoplatonism:

"Henry More tried to give a poetic representation of [Plotinus']
panpsychism.  The soul sits at the loom and causes an unceasing flux of
images to issue from itself.  It is for ever creating forms, and it is
concealed from us behind the profusion of its forms.  We never see the
soul itself, but only its cloak and drapery. ... What we call nature is
but the appearance of the original creativity, the fabric and veil which
it had woven about itself."

Cassirer, Ernst.  The Platonic Renaissance in England. Translated by
James Pettegrove.  Austin: U of Texas, 1953. 139

The goddess Astarte helped God create the world by her weaving of nature
as did many mother goddesses. Goethe refers to the Powers working at the
whirring loom of Time, and the Rig Veda describes the whole process of
creation as weavers weaving, but their shuttle is hymns:

Rig-Veda 10 HYMN CXXX. Creation.
1. THE sacrifice drawn out with threads on every side, stretched by a
hundred sacred ministers and one,- This do these Fathers weave who
hitherward are come: they sit beside the warp and cry, Weave forth,
weave back.
2 ...they made the Sama-hymns their weaving shuttles.
3 What were the rule, the order and the model? ... What were the hymn,
the chant, the recitation, when to the God all Deities paid worship?
4 Closely was Gayatri conjoined with Agni, and closely Savitar combined
with
Usnih. Brilliant with Ukthas, Soma joined Anustup: Brhaspati's voice by
Brhati was aided.
5 Viraj adhered to Varuna and Mitra: here Tristup day by day was Indra's
portion. Jagati entered all the Gods together: so by this knowledge men
were raised to Rsis....
7 They who were versed in ritual and metre, in hymns and rules, were the
Seven Godlike Rsis. Viewing the path of those of old, the sages have
taken up the reins like chariot-drivers.

So the weavers of the world are poets who weave together pairs of gods
in their hymns as the mythological couples are woven together on the
robe of the princess of heathendom in Emare and in the various plots of
MND.

Regarding the connection of the weaving of the tissue of the world with
a net Giorgio Santillana, who usually associates net and weaving myths
with the Pleides and Hyades points out many parallels including the
following remarkable echo of Saxo's Amleth in Hawaiian mythology:"Then
there is a true avenger-of-his-father, the Tuamotuan Ta


Shakespeare/Bakhtin : Bakhtin/Shakespeare

The Shakespeare Conference: SHK 14.2310  Tuesday, 9 December 2003

From:           Kathy Dent <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 08 Dec 2003 17:12:20 +0000
Subject:        Shakespeare/Bakhtin : Bakhtin/Shakespeare

Dear All

I am wondering whether anyone on the list can direct me to writing about
Shakespeare that might be considered 'carnivalised' (in a Bakhtinian
sort of a way)?

Simon Dentith (citing Terry Eagleton) in _Bakhtinian Thought_ seems to
offer the opinion that, whilst academics might embrace Bakhtin in a
theoretical way, they may not welcome the *practice* of 'carnivalised'
writing because of the loss of authority it might entail.  Is there any
evidence that this notion can be refuted -- and that the
interpenetration of form and content are being explored by way of
carnivalised writing about Shakespeare?

Kathy Dent

_______________________________________________________________
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 Web Site <http://www.shaksper.net>

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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