Speaking of Shakespeare: Irene Dash and James Shapiro


The Shakespeare Conference: SHK 23.0367  Wednesday, 5 September 2012


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

Date:         September 4, 2012 8:55:44 PM EDT

Subject:     Speaking of Shakespeare: Irene Dash and James Shapiro


Speaking of Shakespeare


The Shakespeare Guild launches its 2012-13 season at the National Arts Club in Manhattan with two programs that celebrate the classical tradition in the performing arts. On Monday, September 17, we’ll enjoy a delightful conversation with critic, biographer, playwright, and novelist John Lahr. And on Monday, October 22, we’ll enjoy a survey of Shakespeare’s role in the American musical with Hunter College’s Irene Dash.


Looking ahead, we’re pleased to announce that on Monday, December 17, Columbia University’s James Shapiro will treat us to a preview of The King and the Playwright, his 3-part BBC documentary about Jacobean Shakespeare, which has been short-listed for a major television award in the United Kingdom. Professor Shapiro is the author of Shakespeare and the Jews, and he recently won the Theatre Library Association’s coveted George Freedley Memorial Award for Contested Will: Who Wrote Shakespeare?



Shakespeare and the American Musical


Monday, October 22, at 8:00 p.m.   

National Arts Club, 15 Gramercy Park South 

No Charge, but Reservations Advised


Have you ever wondered how a poet whose 450th birthday is less than two years away continues to supply material for films, TV screenplays, Broadway hits, and other forms of popular entertainment? If so, you’ll want to join us for a chat with Hunter College’s Irene Dash, who’ll talk about Shakespeare and the American Musical, copies of which will be on hand for purchase and inscription. Russell Jackson, a consultant for several of Kenneth Branagh’s cinemas, has praised Professor Dash’s new book for its “lively and expert understanding of the theatrical medium” and its “thorough and scholarly” grounding in plays that have inspired classics like Kiss Me, Kate and West Side Story. A pioneer in early-modern gender studies, Irene Dash is widely admired for such influential volumes as Wooing, Wedding, and Power: Women in Shakespeare’s Plays (1981) and Women’s Worlds in Shakespeare’s Plays (1997). 



The Guild is honored to be joining the Witter Bynner Foundation for Poetry as co-sponsor of a four-part series of SantaFe ShakesScenes, concert presentations that will combine drama and music to explore enduring themes in Shakespeare’s most popular plays for audiences in the Land of Enchantment. These Sunday matinees, to take place at The Forum on the campus of the Santa Fe University of Art and Design, will occur at 4:00 p.m. on September 9, 16, 23, and 30. They’ll be directed by Robert Benedetti, an artist whose work on stage and screen has garnered numerous awards, among them an Emmy and a Peabody, and they’ll feature such talented performers as Nicholas Ballas, Acushla Bastible, Charles Gamble, Kristie Karsen, Suzanne Lederer, and Jonathan Richards. To obtain more detail about these 75-minute programs – A Fool to Make Me MerryThe Very Ecstasy of LoveNot Wisely But Too Well, and The Depths and Shoals of Honor – see www.ticketssantafe.org.


For information about membership in The Shakespeare Guild, and for additional background about these and other offerings, including the Guild’s plans for future presentations of the Gielgud Award for Excellence in the Dramatic Arts, both in New York and in London, contact


John F. Andrews

The Shakespeare Guild

5B Calle San Martin       

Santa Fe, NM 87506        

Phone 505 988 9560


King Lear Analysis: F 2.1


The Shakespeare Conference: SHK 23.0366  Tuesday, 4 September 2012


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

Date:         September 3, 2012 5:48:23 PM EDT

Subject:     King Lear Analysis: F 2.1


Although eyeskip is most evident in Q1 Lear, I noticed an instance in F that Stone (and others) overlook. At the top of qq6r these lines occur:


But that I told him the reuenging Gods,

ʼGainst Paricides did all the thunder bend,

        (F 2.1.47–48 [TLN 981–82; qq6r1–2])


The qq5v catchword read “ ‘Gainst” until corrected at press to “But”. Stone rightly doubts eyeskip in compositor E’s reading of Q2 prose, where “gainst” and “but” are unlike and not placed (relative to each other) to induce an omission causing the catchword error:


       Bast. Perswade me to the murder of your Lordship, but that

I tolde him the revengiue Gods, gainst Paracides did all their

                 (Q2 2.1.47–48 [D1r36-37])


Stone proposes that E’s eye could stray from “but” to “ ‘gainst” if copy was lined as verse (as in F). But he doesn’t consider the probability of eyeskip caused by nearly identical phrases in the preceding lines at the bottom of qq5v:


Bast. Fled this way Sir, when by no meanes he could.

Glo.  Pursue him, ho: go after. By no meanes, what?

Bast. Perswade me to the murther of your Lordship,

       (F 2.1.44–46 [TLN 978–80; qq5v125–27])


After setting “by no meanes” at 978, E returned to his copy (likely Q2, identically lined here) a line below at “By no meanes,” when one line and a speech heading were omitted (“he could…meanes”). TLN 981 (“But . . . Gods,”) became the last line of qq5v and “ ‘Gainst” the catchword. On restoration, 981 was forced to qq6r, when E forgot to change the catchword to “But”, an oversight corrected at press. With this sequence, Q2, compositor E, and foul-proofing explain the evidence.


Charlton Hinman denies significant proofing before press-correction in The Printing and Proof-reading of the First Folio of Shakespeare, vol. 1 (London: OUP, 1963), 228. He addresses the consultation of copy necessary for this correction (306), but he does not account for the catchword error likely caused by restoration. Hinman wrongly asserts that the catchword “does not affect the text proper and hence barely deserves mention at all” (331). Cumulative evidence of eyeskip is important; Moxon describes restoration overrunning the sheet that “at last perhaps Drives out a Line to Come in in the next Sheet  (Mechanick, 236).


Without the mistaken catchword there is no obvious evidence here of foul-proofing. Yet that which doesn’t fit, ‘barely worth mention,’ can be key to understanding ‘the text proper.’


Gerald E. Downs


Thomas of Woodstock


The Shakespeare Conference: SHK 23.0365  Tuesday, 4 September 2012


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

Date:         August 31, 2012 3:57:37 PM EDT

Subject:     Thomas of Woodstock


It has been a year since SHAKSPER published my opinion for a unanimous panel of assessors resolving the dispute between Michael Egan and Ward Elliott & Robert Valenza over the authorship of the anonymous play commonly called “Thomas of Woodstock,” which Egan calls “Richard II, Part One.”  (SHK 22:0209, 8/30/11)   Egan promised to post an “extended response” and “rebuttal” (SHK 22:0239, 9/19/11), and repeated that promise at least three times (SHK 22:0307, 11/16/11).  Since it has now been a year since the opinion was published and Egan has submitted no such thing, we are probably safe in assuming that we may now regard this as a closed case.


[Editor’s Note: If you are interested, you may find the opinion here icon Egan V Elliott  --Hardy]


Frank Wadsworth


The Shakespeare Conference: SHK 23.0364  Tuesday, 4 September 2012


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

Date:         Tuesday, September 4, 2012

Subject:     Frank Wadsworth


I learned from Tom Reedy that Frank Wadsworth died recently.


Tom has set up a Wikipedia page as a memorial: http://en.wikipedia.org/wiki/Frank_Wadsworth


Frank W. Wadsworth (June 14, 1919 – August 9, 2012) was an American Shakespearean scholar, author, and sportsman.


Life: He was born in New York City, the son of Prescott Kingsley Wadsworth and Elizabeth Downing (Whittemore) Wadsworth. He graduated from the Kent School in 1938 and served as a naval aviator in WWII. After the war he completed his A.B. degree at Princeton University, as well as his M.A. and Ph.D. He served on the faculty teaching English literature at the University of California, Los Angeles; the University of Pittsburgh, and was a founder and Vice President for Academic Affairs for Purchase College. He also served as a member of the Selection Committee for The Woodrow Wilson National Fellowship Foundation; and as a member of the Advisory Council, Department of English Princeton University.


He was named a John Simon Guggenheim Memorial Foundation Fellow in 1961, and was the recipient of numerous academic awards and honors, including a Woodrow Wilson Fellowship, Folger Shakespeare Library

Fellow, and honorary Phi Beta Kappa.


Wadsworth was a trustee of the Wenner-Gren Foundation for Anthropological Research from 1970 to 2006, an organization supporting anthropological research, and served as Chairman of the Board from 1977 to 1987. In recognition of his commitment to the scholarly integrity of anthropology, the Foundation renamed the Professional Development International Fellowship the Wadsworth Fellowship Program. His hobbies included horseback riding and sailing. He is buried in Arlington, Vermont.


[ . . . ]


The Poacher from Stratford: Wadsworth was probably best known to the public for his The Poacher from Stratford (1958), a popular defense of Shakespeare’s authorship and the first such book written by an academic Shakespearean scholar. He thought that Shakespeare scholars should not dismiss the claims of those who believe that someone other than Shakespeare wrote the canon, and that treating the subject with silence worked instead to encourage rather than discourage such theories. [ . . . ]


An obituary appeared in the New York Times on August 15, 2012: http://www.legacy.com/obituaries/NYTimes/obituary.aspx?n=FRANK-WADSWORTH&pid=159185786#fbLoggedOut


Another at the “The Wenner-Gren Blog” with picture: http://blog.wennergren.org/2012/08/frank-wadsworth-1919-2012-wenner-gren-foundation-trustee/


“Global Hamlets” Symposium, Rhodes College, October 5


The Shakespeare Conference: SHK 23.0363  Tuesday, 4 September 2012


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

Date:         September 3, 2012 11:14:26 PM EDT

Subject:     “Global Hamlets” Symposium, Rhodes College, October 5


On October 5, 2012, the Pearce Shakespeare Endowment at Rhodes College will host a symposium on adaptations and appropriations of “Hamlet” across the globe, in Arab, British, Chinese, and South African contexts:




Speakers include Alexander Huang (George Washington University), Nick Hutchison (Royal Academy of Dramatic Art), Margaret Litvin (Boston University), and David Schalkwyk (Folger Shakespeare Library).


Their lectures will be free and open to the public.


Co-sponsors include Rhodes College programs in Asian Studies, British Studies at Oxford, English, International Studies, and Theatre. 


Please contact Scott Newstok (This email address is being protected from spambots. You need JavaScript enabled to view it.) for further information.








Thanks to the generosity of the late Dr. Iris Annette Pearce, Rhodes College enjoys an unusually wide range of Shakespeare-related resources. The Pearce Shakespeare Endowment was established in 2007 to enrich courses in Shakespeare and support events for the entire campus as well as the greater Memphis community. Dr. Pearce attended Rhodes College in the 1940s, when it was named Southwestern at Memphis, before graduating from Vanderbilt University. During World War II, she joined the women’s corps of the U.S. Naval Reserve (WAVES). As a medical student, she followed a long-established path in her family, where four generations of physicians preceded her. Yet she was also breaking new ground as a woman: she was one of only two female students in her University of Tennessee class; she served as the first female internal medicine resident at John Gaston Hospital (The Med); and she eventually became the director of the City of Memphis Hospitals while serving as a professor at the University of Tennessee. Her bequest generously continues to support her lifelong enthusiasm for Shakespeare. The late professor of Shakespeare studies at Rhodes, Dr. Cynthia Marshall, was instrumental in establishing preliminary planning for this bequest.


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