Shakespeare and Emotions at Anzsa


The Shakespeare Conference: SHK 23.177  Friday, 27 April 2012


[1] From:        Paul Barry <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         April 13, 2012 6:02:37 PM EDT

     Subject:      Re: SHAKSPER: Emo Anzsa


[2] From:        Chris Whatmore <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         April 14, 2012 7:04:29 AM EDT

     Subject:      Re: SHAKSPER: Emo Anzsa



From:        Paul Barry <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 13, 2012 6:02:37 PM EDT

Subject:      Re: SHAKSPER: Emo Anzsa




>The 11th Biennial International Conference of the Australian 

>and New Zealand Shakespeare Association in collaboration 

>with the ARC Centre of Excellence for the History of Emotions


[ . . . ]


>The study of emotions in history, literature, and other aspects of 

>culture is a burgeoning field, and Shakespeare takes a very central 

>and influential place. The conveners invite papers on any aspect of 

>the ways in which Shakespeare and/or his contemporaries 

>represented emotions in poetry, drama, and other works, 

>and/or how these representations have been received by 

>audiences and readers from the sixteenth century to the 

>present day.


>There are paradoxes to be explored—how ‘the bodily turn’ 

>of physiological influence on emotions could in turn generate 

>more modern models of inner consciousness alone; how 

>concepts rooted historically in Elizabethan and Jacobean 

>England could be adapted to fit the philosophies and 

>concepts of later ages, through eighteenth-century literature 

>of sensibility, nineteenth-century and Darwinian approaches, 

>twentieth-century psychologism stimulated by Freud, and a 

>host of others. Did Shakespeare tap into a ‘collective 

>unconscious’ of ‘universal’ stories, or did he arbitrarily choose 

>stories to dramatise which his affective eloquence incorporated 

>into world literature? Why have his works proved so durable in 

>their emotional power, both in themselves and adaptations into 

>other media such as opera, music, film and dance? Equal 

>attention is invited to plays in performance and in ‘closet’ 

>critical readings, as well as textual studies and adaptations.

>The New Fortune Theatre, built in 1964 to the exact dimensions of 

>The Fortune playhouse that rivaled Shakespeare’s Globe in 

>seventeenth-century London, will be available for original 

>practice performances, open rehearsals, and stage-based 

>research papers, etc.


[ . . . ]


If you want to make a little sense out of the language problem in HV in production, try this:


Exploit the various dialects of the English speakers, AND when the French talk to each other, have them speak French.  When they speak to the Brits, they speak English with a slight French accent. No Brit speaks French except for Henry in his wooing scene and the Boy in that silly scene with Pistol and the French soldier.


Some of your audience will bitch, but most of them will know what’s going on.


Paul Barry



From:        Chris Whatmore <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 14, 2012 7:04:29 AM EDT

Subject:      Re: SHAKSPER: Emo Anzsa


The 11th Biennial International Conference of the Australian and New Zealand Shakespeare Association in collaboration with the ARC Centre of Excellence for the History of Emotions



Pedestrians Crossing Cairncross


The Shakespeare Conference: SHK 23.176  Friday, 27 April 2012


From:        Gerald E. Downs <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 22, 2012 12:23:10 AM EDT

Subject:     Pedestrians Crossing Cairncross


If textual scholarship gets misdirected, earlier investigators whose work is better (and on the right track) may be treated more harshly than they deserve. That has happened to A. S. Cairncross; I’ll note some instances and implications.


Perusing Michael Egan’s Woodstock (4 volumes in 3 books, or vice-versa), I saw he dismissed any text’s chances of being a bad quarto, citing Urkowitz’s prophetic “If I Mistake” (ELR, ‘88): “among the most devastating critiques of ‘memorial reconstruction’ . . .” (206). Rather than assume naive opinion (it is), I looked up “Mistake,” which argues that Q Contention is an early version of 2H6, most often by rating Quarto (‘Merthfull King’) against Folio (‘rightful King’), where the one “sounds like a bit of Shakespearean exuberance” (Is there an echo in here?) and the “cooler, more exact” other “better fits the humorless” York. Alas, poor York. The rhetoric goes nowhere, but Urkowitz lodges a big claim against Peter Alexander, an early advocate (after Kenny) of bad-quarto status for Contention:


“Alexander buries or distorts . . . bibliographical data . . . . [He] quietly amends his hypothesis to account for occasional passages in Q and F which are nearly identical yet which could not be explained as . . . memorizing.


Stage directions and speech prefixes, for example, could not be memorially reconstructed since they were never said aloud during performance. The pirates could not memorize what they could not hear . . . . Nevertheless, the Quarto text of [Contention] has a large number of close correspondences in stage directions which ought to have proven terminally embarrassing to Alexander’s case” (252 - 53).


Actually, it’s the other way round, though the pejorative ‘quietly’ doesn’t apply to “Mistake.” I’ll note first that memorial reconstructions need only to construct stage directions and speech headings. Very often these betray reports. At any rate, ‘Enter one crying, A miracle, a miracle.’ doesn’t require the miracle author.


More to the point, close correspondences between bad quartos and later texts strongly indicate a common industry preference for printed copy to manuscript. Alexander did suggest that the F printers may have referred to Q, but ultimately he assumed the same as Urkowitz, that a direct line of manuscripts provided the correspondences. Doran, Greg, van Dam, and McKerrow saw the truth of the matter ('28, '30, '36): F is a partial reprint of Q.


Urkowitz buries or distorts that possibility in a short note: “Cairncross (Arden 2 2H6) argues that the Folio was set in part from annotated pages cut from copies of Q2 and Q3. This hypothesis accounts for many of the typographic similarities in these stage directions, but it then leaves the differences between them as an equally vexing bibliographical puzzle” (254).


Correspondences are not the same puzzle as differences. Crosswords don’t account for sudokus. The bibliographical fact is, Q influenced F. Cairncross solidified the finding, observing Q3 influence, whose arbitrary alterations found their way into F.


The “annotated pages cut from Q2 and Q3” is a bit misleading. In his SB 8 article on the use of quartos in the printing of H5 (available on-line), Cairncross describes a possibly “loose-leaf” method, but the concept does not depend on it. He demonstrates quite well that faulty quartos could be (and were) part of an efficient system whereby the compositor used a page corrected either in the margin or by pasting transcriptions from the manuscript copy-text onto the opposite Q page. In that manner compositors availed themselves of printed copy as needed (or not).


In the cases Cairncross discusses (H5 & 2H6), two quarto exemplars were necessary because pasting mutilated a page that was otherwise needed for copy. In each case, different editions (Q2 & Q3) seem to be in evidence. The full manuscript itself would remain intact and available.


Others don’t follow. For example, Ronald Knowles (Arden 3 2H6) has Cairncross proposing “cutting out one page and presumably sticking it on the manuscript.” No wonder Knowles finds the hypothesis absurd, blaming it on Cairncross’s imagination, rather than evidence and some imagination. It’s hard to know how a series editor could so misstate a predecessor. Corrupt copy continually augments better copy; workmen had reasons that non-workmen appreciate only by pretending to work. (Some confusion may be caused by Cairncross’s wording in describing a ‘modified’ instance of quarto use at sig. A4.)


Knowles adds: “It simply does not make sense. If the authorial MS was legible why use anything else, especially as all the various corrections and additions would have come from the MS anyway?” But what about F King Lear, Hamlet, H5, and other texts augmented by quarto copy? Knowles himself questions the provenance of the 2H6 ms. Maybe the printer considered Q and F-copy two p’s in a case.


Knowles states that Cairncross overlooks stage directions as evidence of quarto influence on 2H6, but his earlier article on H5 makes the point well enough. More important, Knowles notes that “much of Cairncross’s case for the contamination of F rested on the category of agreement in error. Believing that a few demonstrable instances of contamination indicated large-scale corruption, Cairncross confounded inductive and deductive approaches and duly discovered a large number of instances only a few of which were discovered by other editors” (134).


As I recall, Gabriel Egan’s new Struggle also faults Cairncross, not for relying on agreement in error (which Egan OK’s), but for taking general Q and F agreement as evidence of Q influence, thereby violating some bibliographic principle.


Comparison of the textual differences, the features of Contention itself, and inter-play borrowings show Q to be a very corrupt memorial report. It must differ from authorial text more than is indicated by F differences; there’s no chance they could agree over moderate stretches. A principle that agreements are not valid measures of influence may well apply to the histories of unbroken transcriptions, but not to memorial transmission of such obviously corrupting kinds. Cairncross realizes the implication:


“The result is that a F passage which looks ‘good’ on the surface, and has hitherto been accepted as good precisely because F and Q agree, is really ‘bad’” (xxxvii). It is a shame that sixty-five years down the rut editors are unable to come to grips with these matters.


Why is a reasonable view elbowed aside by Mistakes, Misdiagnosings and Struggles? Part of the problem is The Problem of Hamlet, wherein Cairncross went against the grain to follow evidence of corruption in Shakespeare’s texts. But that’s how beliefs are adjusted (except, of course, our own). Having learned from Caincross and his attitude, I’ll end on his (painful?) Problem Appendix, “Parallels between Q1 Hamlet, The Contention, and The True Tragedy.”


The key to understanding his listed parallels, which are numerous, is that “words within brackets appear also in the corresponding ‘good’ texts. All other words appear only in the ‘bad’ texts. The parallels illustrate the thesis that the same actor wrote all three piracies” (189).


Before pooh-poohing parallels we must grasp that they’re strengthened in significance by the fact that the more legitimate texts either don’t have them (at that spot) or they merely suggest the bad quarto parallels. It is unlikely that the author included them in ‘first shots’ only to excise them later. Cairncross gives chapter and verse, which I omit:


5.   Tr. Tr.   . . . in mind will beare himselfe a king,

      Ham.    him that bare a Monarkes mind,


10.  Cont.    bid (me comfort)

                    bid Buckingham and Clifford . . .

       Tr. Tr.   bid the Duke . . .

                    bid Richard Neuill . . .

                    bid her come,

                    bid you fight,

       Ham.    bid (him . . .)


18.  Cont.    I intreat (you to . . .)

       Tr. Tr.  (To) intreat a marriage

       Ham.    let me intreat you,

                   shall I intreate thus much,

                   let vs againe intreate . . . to


28.   Cont.   Forbeare . . . to urge

        Tr. Tr.  . . . to forbeare a while,

        Ham.   but forbeare a while,

                    Forbeare (the earth a while),

                    Forbeare Leartes,

                    forbeare . . .,


46.   Cont.    And take my leaue,

        Tr. Tr.  Ile take my leaue,

        Ham.   I . . . take my leaue,

                   So . . . doe we take our leaue,

                   wee'le take our leaue,

                   And take your leaue,


59.   Cont.   To plot these Treasons

        Ham.   are plotting Treasons,

                   Hath plotted Treasons,

                   . . . subtle treason that the king hath plotted,


70.   Cont.   I tell you, I'le tell you,

        Tr. Tr.  I tell thee,

        Ham.   I tell you, I'le tell you


Hamlet has numerous variations on ‘I tell you’; the other examples may be found elsewhere in the better texts. Yet these misplaced items are much like Alfred Hart’s listed repetitions and transpositionsonly less notable. Whether they indicate a particular reporter I don’t know, but they seem to be adopted phrases “going forward,” as they say now ad queasiam, and Cairncross rightly sees them as signs of reporting.


Gerald E. Downs

Report on ISE from Coordinating Editor


The Shakespeare Conference: SHK 23.174  Friday, 27 April 2012


From:        Hardy Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 26, 2012 2:36:30 PM EDT

Subject:     Report on ISE from Coordinating Editor


[Editor’s Note: With permission from Michael Best I have created this report on the Internet Shakespeare Editions that Professor Best delivered to the editors at the annual breakfast meeting. -Hardy ]


Professor Best began by welcoming editors and advisory board members from our sibling organizations, the Queen’s Men Editions (QME) and Digital Renaissance Editions (DRE). Professor Best also welcomed Janelle Jenstad, now both an editor (The Merchant of Venice) and Assistant Coordinating Editor.


Professor Best had communicated most of this year’s news in advance by email but was able to add three additional announcements.


1. The ISE now has a formal agreement with UVic’s University Libraries to supplement the earlier agreement with the university as a whole. The effect of the agreement is to give the ISE a physical home, and support for future fundraising activities.


2. Roberta Livingstone (ISE) and Marjorie Mather (Broadview) are planning a celebratory launch of our joint publications at the next meeting of the SAA, in Toronto.


3. Thanks to the effective networking of Brett Hirsch, we will have access to digitized copies of early works held in the excellent collection of the Boston Public Library.


Professor Best also discussed the fundraising campaign that has just been launched, “Making Waves” (a title inspired by our logo). The campaign is directed by Roberta Livingstone and is aimed at university libraries; those attending the breakfast were provided with a copy of our brochure, and the covering letter to librarians. Those unable to attend will find the information—and copies of the materials—online:




Janelle Jenstad introduced herself, and outlined the responsibilities she is assuming as Assistant Coordinating Editor. Her focus will be on two areas of the site: performance, where she will be working with Alex Huang, our Performance Editor, and the section on the Life and Times. She invited all editors to review sections of the Life and Times which deal with topics related to the plays they are editing, and to forward suggestions for improvements and enhancements.


Helen Ostovich summarized the current state of the QME site: King Leir is complete, four other plays up in old-spelling, with modern versions on the way, and a further two plays under way. Eleven plays in total have been commissioned.


Brett Hirsch announced that the new site is up and running on the ISE servers, with the DRE “skin” (the appearance of the website) in place. He plans to launch the site officially at the 2013 SAA in Toronto, by which time he expects that there will be some six plays online.


Michael Best

Coordinating Editor, Internet Shakespeare Editions


Department of English, University of Victoria

Victoria B.C. V8W 3W1, Canada. 

In Memoriam


The Shakespeare Conference: SHK 23.175  Friday, 27 April 2012


From:        Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 23, 2012 7:12:36 AM EDT

Subject:     In Memoriam


Today, on Shakespeare’s birthday, and to commemorate the Globe Theatre’s multilingual celebration of his works, the Guardian has published the following: 


Skal jeg sammenligne deg med en sommers dag?

Veel zachter en veel zonniger ben jij  

Der Sturm zerreißt des Maien Blüthen‑Kränze,

Och sommarns fröjd hvad är så kort som den?

As vezes em calor e brilho o Sol se excede

Interdum, aut hebes est aureus ille color;

Toute beauté parfois diminue de beauté,

Sciupata dal caso o dal mutevole corso di natura;

Mas tu eterno estío no decaerá

Ty nikdy neztratíš nynejší jas své krásy,

Kuolemakaan ei kersku; vaikka vaellat sen varjossa,

Sen esitken ebedi misralarla zamana

Mentre els homes respirin i els ulls puguin mirar,

So long lives this and this gives life to thee.


Surely we can hope that this will now be recited solemnly on all formal occasions by the committee of the International Shakespeare Association. With gestures.


T. Hawkes

Early Modern Women Journal Move

The Shakespeare Conference: SHK 23.173  Friday, 27 April 2012

From:        Early Modern Women Journal <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 25, 2012 3:10:43 PM EDT

Subject:     Early Modern Women Journal Move


As of June 1, 2011, the editorial offices for the Early Modern Women Journal have moved to University of Miami, and subscription management has moved to Arizona State University.



Mihoko Suzuki, Professor of English and Director of the Center for the Humanities, Anne Cruz, Professor of Spanish, and Mary Lindemann, Professor of History, all of the University of Miami, Coral Gables will assume editorship of the Journal, beginning June 1, 2011.


All submissions should now be sent to:

  • Mihoko Suzuki
  • Director, Center for the Humanities
  • PO BOX 248292
  • University of Miami
  • Coral Gables, FL 33124
  • 305-284-5623, 1557 (office)
  • 305-284-1580 (Center)
  • This email address is being protected from spambots. You need JavaScript enabled to view it.

Visit the new journal website: http://humanities.miami.edu/publications/



Arizona Center for Medieval and Renaissance Studies has taken over publication of the annual Early Modern Women: An Interdisciplinary Journal. ACMRS has now assumed all managing editing responsibilities including subscription records and bookkeeping. 


For subscription inquiries, please contact:

  • William Gentrup, PhD
  • Assistant Director
  • ACMRS (Arizona Center for Medieval and Renaissance Studies)
  • Arizona State University
  • Box 874402
  • Tempe, AZ 85287-4402

Ph: 480-965-4661 | Fax: 480-965-1681 | Email: This email address is being protected from spambots. You need JavaScript enabled to view it.


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