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Home :: Archive :: 2005 :: May ::
Antony and Cleopatra 4.3
The Shakespeare Conference: SHK 16.0994  Wednesday, 25 May 2005

[1]     From:   Michael B. Luskin <
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        Date:   Tuesday, 24 May 2005 11:01:39 EDT
        Subj:   Re: SHK 16.0983 Antony and Cleopatra 4.3

[2]     From:   Elliott Stone <
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        Date:   Tuesday, 24 May 2005 16:50:16 -0400
        Subj:   Re: SHK 16.0983 Antony and Cleopatra 4.3


[1]-----------------------------------------------------------------
From:           Michael B. Luskin <
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Date:           Tuesday, 24 May 2005 11:01:39 EDT
Subject: 16.0983 Antony and Cleopatra 4.3
Comment:        Re: SHK 16.0983 Antony and Cleopatra 4.3

This is not really about the worm, it is about scholarship.

As a previous poster pointed out, sometimes a worm/cigar is just a
worm/cigar.  The instances of worm in A&C cited here do not demand
phallic interpretations.  Snake, worm, what's the difference?

A few weeks ago, we considered Macbeth's "swelling."  It is a minor
line, mid-conversation, but we somehow expanded the thought from a
simple statement of his increasingly bright future to phallic this and
that.

In the first chorus of Henry V, there is similar use of the word
swelling.  I suppose one could develop all sorts of meanings, but it
seems to be a quite straightforward.

Musicians quite often use swelling to refer to crescendo, as in "the
swelling final notes of the symphony..."  In this context, I hate to
point out that swelling is often associated with the crescendo of a pipe
organ...

Michael B. Luskin

[2]-------------------------------------------------------------
From:           Elliott Stone <
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Date:           Tuesday, 24 May 2005 16:50:16 -0400
Subject: 16.0983 Antony and Cleopatra 4.3
Comment:        Re: SHK 16.0983 Antony and Cleopatra 4.3

I did not find any of the replies to my inquiry concerning Shakespeare's
use of the word "worm" rather than "asp" in Anthony and Cleopatra 4.3
very convincing.

I do believe, however, that while Freud might not have gotten his
Shakespeare correct Shakespeare certainly got his Freud correct!  I find
this issue just as puzzling as Hamlet's four O's in line 358 of 5.2.  A
year or two ago The New Yorker Magazine had a long article on the
mysterious O's in the Canon that likewise gave no satisfactory answer to
an ambiguity at the very crux of the drama.

It would be helpful to have more input on these two issues.

Best,
Elliott H. Stone

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