November
The Shakespeare Conference: SHK 8.1207. Wednesday, 26 November 1997. [1] From: Scott Shepherd <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 16:01:48 -0500 Subj: Re: SHK 8.1201 DNA Evidence [2] From: William P Williams <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 16:20:01 -0600 (CST) Subj: Re: SHK 8.1203 Line Numbers [1]----------------------------------------------------------------- From: Scott Shepherd <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 16:01:48 -0500 Subject: 8.1201 DNA Evidence Comment: Re: SHK 8.1201 DNA Evidence >But with two billion of us on >Earth, two persons might easily share a one-in-a-billion pattern. >Reasonable doubt? On the contrary, I think this is exactly the kind of doubt we mean to disregard by using the "reasonable" qualifier. In court we don't normally deal with the population of Earth. It's a relative handful of people who could possibly be involved in a given series of events, and a much smaller number who are likely to be. [2]----------------------------------------------------------------- From: William P Williams <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 16:20:01 -0600 (CST) Subject: 8.1203 Line Numbers Comment: Re: SHK 8.1203 Line Numbers In the case of line numbers in Shakespeare it makes a difference if the text is verse or prose, if the editors have done any re-lining, whether sections have been emended in or out, and similar considerations. In the case of prose, the page width of the edition will dictate the line numbering. Gone are the days when the "old" Cambridge edition's numbers were the norm. William Proctor Williams English/NIUThis email address is being protected from spambots. You need JavaScript enabled to view it.
The Shakespeare Conference: SHK 8.1206. Wednesday, 26 November 1997. [1] From: Joseph Tate <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 12:37:48 -0800 (PST) Subj: Shakespeare in Atlanta [2] From: Nicholas R Moschovakis <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 14:20:18 -0600 Subj: Re: SHK 8.1200 Nashville *Hamlet* [1]----------------------------------------------------------------- From: Nicholas R Moschovakis <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 14:20:18 -0600 Subject: 8.1200 Nashville *Hamlet* Comment: Re: SHK 8.1200 Nashville *Hamlet* Hey - I wish I had known about this in time to attend it. Any Shakespeare at all in my new Middle Tennessee environs (short of the summer festival in Atlanta) is something I would like to hear about; but it's not worth subscribing to a Nashville paper just for the entertainment listings. Is there any kind of national web-based clearinghouse for announcements of current Shakespeare productions? And if not, might we not use this list in the future, to pass on the word concerning notable (semi-pro or pro) performances in our respective areas? - Nick Moschovakis [2]----------------------------------------------------------------- From: Joseph Tate <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 12:37:48 -0800 (PST) Subject: Shakespeare in Atlanta Last year around this time, I happened upon a very entertaining production of *The Tempest* in Atlanta at the Shakespeare Tavern. I'm headed that way once again, and wondering if anyone has information on what the Shakespeare Tavern might be playing currently. Thanks, Joseph Tate Graduate Student Department of English U. of Washington, Seattle
The Shakespeare Conference: SHK 8.1204. Wednesday, 26 November 1997. [1] From: Stephen Orgel <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 15:41:46 -0700 Subj: Gallathea [2] From: Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Nov 1997 00:28:01 +0 Subj: Re: Gallathea [3] From: Peter Holland <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Nov 1997 10:55:05 GMT Subj: Re: SHK 8.1201 Re: Gallathea [1]----------------------------------------------------------------- From: Stephen Orgel <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 15:41:46 -0700 Subject: Gallathea Adrian Kiernander obviously isn't blowing his own horn, but he directed a splendid Gallathea with schoolboys in Armidale (Australia)--about 20 minutes of it are on tape, and the boys are astonishingly good. s. orgel [2]----------------------------------------------------------------- From: Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Nov 1997 00:28:01 +0 Subject: Re: Gallathea There was an amateur production of Gallathea by the students of the Shakespeare Institute of the University of Birmingham in Stratford UK in the summer of 1994. The librarian of the Institute, James Shaw, would be the person to contact to get access to a video recording of one of the performances, and his email address can be had from the university webpage at http://www.bham.ac.uk Gabriel Egan [3]----------------------------------------------------------------- From: Peter Holland <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Nov 1997 10:55:05 GMT Subject: 8.1201 Re: Gallathea Comment: Re: SHK 8.1201 Re: Gallathea There has been a more recent production of Lyly's *Gallathea* than the one Lisa Hopkins mentioned. The play was performed in June 1994 by students of the Shakespeare Institute in Stratford-upon-Avon in the Institute's gardens. There is a review by Sue Knott in issue 2 (1994) of *The Mason Croft Review*, the Institute's in-house magazine. More important for all those thousands of people who are fascinated by Lyly but have never seen the play, the production was video'd and can be watched in the Institute's library. Anyone who wants to know more should contact the Librarian atThis email address is being protected from spambots. You need JavaScript enabled to view it.
The Shakespeare Conference: SHK 8.1203. Tuesday, 25 November 1997. [1] From: Ryan Asmussen <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 24 Nov 1997 17:56:08 -0500 Subj: Jaques and Hamlet [2] From: Cristina Keunecke <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 13:45:03 -0800 Subj: Q: Line Numbers in Different Editions of the Plays [1]----------------------------------------------------------------- From: Ryan Asmussen <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 24 Nov 1997 17:56:08 -0500 Subject: Jaques and Hamlet Dear All, I was wondering if anyone would be able to recommend to me an article or two, or perhaps a book, that makes mention of the similarities in character between Jaques from "As You Like It" and Hamlet? In some ways, as I see it, Jaques seems almost a prototype of the melancholy Dane: with respect to how he sees the world, how other characters see him, etc. I'm interested in going into this a bit in depth for a paper I have to write, and wanted to run it by all of you (our library here at B.U. being less than helpful on the subject). I've taken what I think to be a fairly good run through the SHAKSPER files and, unfortunately, haven't come up with much relevant information... Yours, Ryan [2]----------------------------------------------------------------- From: Cristina Keunecke <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 13:45:03 -0800 Subject: Q: Line Numbers in Different Editions of the Plays I would like to ask if someone knows something about the following 'problem': Comparing two editions of the same play (New Shakespeare-Cambridge University Press, edited by J.Dover Wilson x Editions available in the Public Domain-MIT Server), I have percived that there are differences in the line numbers in both editions. Although the copies available at the MIT server don't have the line numbers edited, I can see that a specific line has not the same number that the same line in the Cambridge Edition. Is this possible or a commom fact ? Does this fact occour in other editions of the plays ? Thanks in advance. Cristina KeuneckeThis email address is being protected from spambots. You need JavaScript enabled to view it.
The Shakespeare Conference: SHK 8.1202. Tuesday, 25 November 1997. [1] From: Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 08:35:42 -0500 Subj: Rooky wood etc [2] From: Harry Rusche <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 09:58:11 -0500 (EST) Subj: Re: SHK 8.1196 Re: Rooky/Roaky [1]----------------------------------------------------------------- From: Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 08:35:42 -0500 Subject: Rooky wood etc. William Empson made the point long ago (in 1930) that Macbeth is himself in some sense the crow, making his silent, sinister way to the 'rooky wood' where the creatures on whom he will viciously fall prepare noisily and innocently for sleep. Of course, rooks are also crows. But as a man here turns against humanity, so nature turns against itself. The distinction permitted by the use of the two words is between rooks, who 'live in a crowd and are mainly vegetarian', and the solitary carrion crow, one of 'night's black agents' who aims to wreak havoc amongst them. This 'subdued pun' also hints at an opposite impulse: the crow's wish ultimately to be united with the rookery, or Macbeth's peculiar sense that by murdering Banquo he will somehow fulfill a larger human destiny. As king, he will be a crow amongst rooks. The ambiguities, ironies and bloody-minded double-think attendant on the institution of Monarchy in Britain are of course all operating here. The appalling scenes and outbursts accompanying the death of the 'people's princess' indicate that they are still current. In a later comment, Empson disarmingly allows that 'Obviously the passage is still impressive if you have no opinions at all about the difference between crows and rooks'. ( See his Seven Types of Ambiguity, London, Chatto 1930: 3rd edition Penguin Books, Harmondsworth 1961, pp. 37-9) Terence Hawkes [2]----------------------------------------------------------------- From: Harry Rusche <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 25 Nov 1997 09:58:11 -0500 (EST) Subject: 8.1196 Re: Rooky/Roaky Comment: Re: SHK 8.1196 Re: Rooky/Roaky Re: The rooky wood. I have not noticed, but has anyone mentioned William Empson's discussion of the passage from _Macbeth_ in his _Seven Types of Ambiguity_? It is worth looking at.