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Home :: Archive :: 2004 :: February ::
Banned Shakespeare
The Shakespeare Conference: SHK 15.0381  Tuesday, 10 February 2004

[1]     From:   Martin Steward <
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        Date:   Monday, 9 Feb 2004 16:20:05 -0000
        Subj:   Re: SHK 15.0367 Banned Shakespeare

[2]     From:   David Lindley <
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 >
        Date:   Monday, 9 Feb 2004 16:45:48 -0000
        Subj:   RE: SHK 15.0367 Banned Shakespeare


[1]-----------------------------------------------------------------
From:           Martin Steward <
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Date:           Monday, 9 Feb 2004 16:20:05 -0000
Subject: 15.0367 Banned Shakespeare
Comment:        Re: SHK 15.0367 Banned Shakespeare

"The first point troubles me quite otherwise, as it seems to say that
the play is more about heterosexuality than love, with the implicit
suggestion that non-heterosexual love could not have the same intensity,
bad judgment, and tragic results. This does not square with my, albeit
limited, knowledge of non-heterosexual love. To put it another way: if
you kept the main characters, but made the two leads gay, and deleted
the elements of dynastic marital concerns, wouldn't you have roughly the
same story?"

Well, yes - but the play is about a boy and a girl, and so is
Prokofiev's ballet.

It is also "more about heterosexuality than love" in the sense that it
elevates heterosexual love above other kinds of love that figure in the
play, such as that of daughters for their fathers, for example; or the
publicly-virtuous citizen's love of the common good (although this might
be a misreading of the play's politics, it is certainly the most
pervasive popular reading).

m

[2]-------------------------------------------------------------
From:           David Lindley <
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 >
Date:           Monday, 9 Feb 2004 16:45:48 -0000
Subject: 15.0367 Banned Shakespeare
Comment:        RE: SHK 15.0367 Banned Shakespeare

 >I don't quite see the point of the Head Teacher who banned
 >R+J because it was excessively hetero: but I wonder if any
 >Head Teacher in a multicultural area of Britain (or anywhere
 >else) has suggested that R+J takes an excessively negative
 >view of arranged marriage as contrasted to romantic/erotic
 >choice made by young people themselves. (This question has
 >actually just arisen in a teaching context.)

I wonder if the play *does* take an 'excessively negative view of
arranged marriage'? It's those who follow their romantic choice who end
up dead, after all. I've always thought that this play was considerably
more tentative on the subject than its comic 'pair', Midsummer Night's
Dream.

David Lindley

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