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Home :: Archive :: 2003 :: June ::
Re: Edmund
The Shakespeare Conference: SHK 14.1272  Tuesday, 24 June 2003

[1]     From:   L. Swilley <
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        Date:   Monday, 23 Jun 2003 11:43:22 -0500
        Subj:   Re: SHK 14.1225 France

[2]     From:   Michael Shurgot <
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        Date:   Monday, 23 Jun 2003 14:30:51 -0700
        Subj:   RE: SHK 14.1249 Re: Edmund


[1]-----------------------------------------------------------------
From:           L. Swilley <
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Date:           Monday, 23 Jun 2003 11:43:22 -0500
Subject: 14.1225 France
Comment:        Re: SHK 14.1225 France

Edmund Taft asks,

>1. Does Cordelia seem to sacrifice her marriage to save her father?
>
>2. If so, are we to admire that or have, at best, mixed feelings about
>it?

The play begins with a wrong-headed king who treats his realm - and
therefore its people for whom he is responsible ("Take physic, pomp"), -
as private, family property instead of public charge (and, worse,
dividing a unified kingdom).  Cordelia, the nut falling not too far from
the tree, is repeating his error; and it is not the marriage she is
abandoning, it is her responsibility as Queen of France. The King of
France's error is not that he should have returned to France (there
being something "imperfect" there), but that he  should not have taken
his Queen back to France with him; in this there is the vague suggestion
of his likeness to Albany, whose lack of control of his wife is
partially responsible for the tragedy.

L. Swilley

[2]-------------------------------------------------------------
From:           Michael Shurgot <
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Date:           Monday, 23 Jun 2003 14:30:51 -0700
Subject: 14.1249 Re: Edmund
Comment:        RE: SHK 14.1249 Re: Edmund

Dear Colleagues:

In reply to Professor Cacicedo's observation about Gloucester not
initially noticing Edmund's "wound," consider Happy's attempts in Death
of a Salesman to get his father's attention. In two of the "flashbacks,"
or at least one that I can remember, when Willie is praising Biff's
athleticism, Happy gets down on the ground and does sit-ups and/or
push-ups and says, "Hey Pop, look, I'm losing weight," (or something to
that effect). Willie ignores him completely. Miller I am sure borrowed
from, or thought about, this scene from Lear: the rejected son trying
desperately to get his father's attention.

Very different settings, or course, but similar emotions within the
scenes' sub-texts.

Just a thought about "influence"; whether anxiety ridden or not I cannot
say.

Cheers,
Michael Shurgot

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