August
The Shakespeare Conference: SHK 10.1531 Tuesday, 31 August 1999. From: Frank Whigham <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 30 Aug 1999 11:21:16 -0500 Subject: 10.1516 Re: Selected Reference Tools Bibliography Comment: Re: SHK 10.1516 Re: Selected Reference Tools Bibliography >It should be *Annals of English Drama*. There are two: Annals of English Literature. 2nd ed. Ed. R. W. Chapman. Oxford, 1961. Annals of English drama, 975-1700; an analytical record of all plays, extant or lost. Ed. Alfred Harbage. Rev. ed. S. Schoenbaum. London, 1964. Unfortunately, the latter somehow dropped off the list as I was making final prep. I guess these things are never done. Frank Whigham
The Shakespeare Conference: SHK 10.1530 Tuesday, 31 August 1999. From: Marilyn Bonomi <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 30 Aug 1999 09:41:17 -0700 (PDT) Subject: 10.1522 Re: Directing Richard Comment: Re: SHK 10.1522 Re: Directing Richard Stuart Manger suggested having the best looking actor play Buckingham b/c of the first RIchard soliloquy. I'd suggest instead the power of having a handsome man play distortion... emphasizing the blackness/distortion of Richard's soul. I've seen Elephant Man played both in a grotesque mask and by an actor who made the distortions w/ his own body. The latter was far more effective somehow. Marilyn Bonomi
The Shakespeare Conference: SHK 10.1529 Tuesday, 31 August 1999. From: Catherine Fitzmaurice <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 30 Aug 1999 12:52:43 -0400 (EDT) Subject: 10.1528 Re: Arden Editions Comment: Re: SHK 10.1528 Re: Arden Editions I too have found that Milla Riggio rushes to judgement without seeing the whole picture. What is at stake for her? Catherine FitzmauriceThis email address is being protected from spambots. You need JavaScript enabled to view it.
The Shakespeare Conference: SHK 10.1528 Monday, 30 August 1999. From: John D. Cox <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 30 Aug 1999 09:40:54 -0400 Subject: Arden Editions I was surprised by Milla Riggio's evaluation of the third Arden edition. Her experience bears no resemblance to mine. Since she is editing an MLA publication, I'd like to ask her to offer SHAKSPER a more specific critique. In what respect do third Ardens no measure up to second? Text? Text notes? Commentary notes? Introduction? Let's be precise. In many cases the same editors are editing plays for both third Arden and for Oxford and Cambridge. Al Braunmuller and David Bevington come to mind. Do these editors drop their standards when they work for Arden? What specifically is wrong with Bevington's Troilus and Cressida in comparison to his Oxford 1 Henry IV and Cambridge Antony and Cleopatra? In my experience, he is the same extraoardinary editor in all three. I wonder if Riggio is really complaining about changes in editorial assumptions. If so, she needs to make clear what changes she dislikes. And she needs to explain how those changes have affected Arden in particular, without affecting Oxford and Cambridge. I hope Riggio is being more careful in her MLA volume than her comments on SHAKSPER suggest. John Cox
The Shakespeare Conference: SHK 10.1527 Monday, 30 August 1999. From: Rachelle Slater <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 29 Aug 1999 21:42:35 EDT Subject: The Scottish Tragedy I have two new questions regarding the play Macbeth that I am hoping someone can help me with: #1 - In Act I;vii, Lady Macbeth states, "I have given suck", referring to the fact that she has given birth and has breast fed, but in Act IV;iii, Macduff states after the slaughter of his family, "He has no children" and he is referring to Macbeth. Did Macbeth have any children or has Shakespeare made an error here? #2 - In Act I;iv, Duncan names Malcolm the Prince of Cumberland; this would allow him to be next in line for the Scottish throne. When Malcolm escapes to England in Act II;iv, "I'll to England", Macbeth then becomes the next in line for the throne. Did the Thane of Cawdor have this power or is Macbeth really a cousin of Duncan as Duncan states in Act I;ii "O valiant cousin, worthy gentleman!"? Thank-you in advance