July

Re: Swear!

The Shakespeare Conference: SHK 14.1453  Thursday, 17 July 2003

From:           Carol Barton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 11 Jul 2003 19:35:39 -0400
Subject: 14.1434 Re: Swear!
Comment:        Re: SHK 14.1434 Re: Swear!

For Jay Feldman, in response to his comment that

"As to Gertrude's inability to see or hear the ghost I have no idea of
that cause; perhaps the ghost does not choose to further aggravate his
former wife's fighting soul. On the other hand, in the first encounter
the ghost gave Hamlet information no one else could provide and there
were witnesses to the visit. In the queen's chamber neither of these
conditions were met, perhaps indicating it was a symptom of madness, or
at the very least the result of the powerful and emotional dynamics of
Hamlet's day":

Remember that the Ghost tells Hamlet, "Taint not thy mind, nor let thy
soul contrive / Against thy mother aught: leave her to heaven, / And to
those thorns that in her bosom lodge, / To prick and sting her . . ."
(1.5.85-88).  His appearance would have the same effect on her that
Banquo's appearance has on Macbeth: she is not necessarily an accomplice
in her husband's murder, but clearly his "most seeming-virtuous queen"
was unfaithful to him with his brother: unlike true "virtue, as it never
will be moved, / Though lewdness court it in a shape of heaven," her
"lust, though to a radiant angel link'd . . . / Sate[d] itself in
[their] celestial marriage bed, / And prey[ed] on garbage" (1.5.53-57).
That infidelity led directly to the Ghost's death, making her an
accessory before the fact to his murder whether she touched the vial of
poison or not. If you recall precedent revenge tragedies (particularly
the _Oresteia_), Gertrude's likely affirmation of her guilt upon seeing
the Ghost would require that Hamlet avenge his father's death on her as
he must on his uncle (in direct violation of the Decalogue: "Honor thy
father and thy mother, that thy days may be long upon the
earth")--uncomfortable for a Judeo-Christian poet to encourage,
regardless of his personal commitment to the CofE, and even
uncomfortable for Sophocles (hence the pursuit of Orestes halfway round
the globe by the Furies).

Instead, Shakespeare ties off that loose end rather neatly, by having
the victim enjoin the avenger to "leave her to heaven": Hamlet _can't_
in good faith harm a hair on Gertrude's head and be a good son to his
father. He must concentrate all of his wrath on his uncle.

All best,
Carol Barton

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Holinshed

The Shakespeare Conference: SHK 14.1452  Thursday, 17 July 2003

From:           Holger Schott <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 11 Jul 2003 19:27:00 -0400
Subject:        Holinshed

Dear SHAKSPERians --

John Manning claims in his Camden Society edition of John Hayward's
_Life and Raigne of King Henrie III_ (1991, p. 21) that ""The details of
[Richard II's] deposition, for example, thoroughly described in the 1577
edition of Holinshed's Chronicles, had been censored from the 1587
edition." I can't find any evidence for this claim -- I have looked at
both editions of Holinshed, and, although there are dramatic differences
in layout (significant enough, to be sure, but hardly the consequence of
censorship), the only difference in content I could find were minor
additions to _1587_, no deletions. Annabel Patterson doesn't mention any
state interference with this episode in her 1994 _Reading Holinshed's_
Chronicles either.

Does anyone know more about this? Was _1587_ censored during its
print-run, so that there are versions that contain the full description
of the deposition, and others that don't? Manning doesn't cite a source
for his assertion.

Many thanks for your help,

Best,
Holger Schott

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Salvatore Sciarrino Macbeth Opera

The Shakespeare Conference: SHK 14.1450  Thursday, 17 July 2003

From:           Richard Burt <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 11 Jul 2003 16:56:32 -0400
Subject:        Salvatore Sciarrino Macbeth Opera

LINCOLN CENTER FESTIVAL REVIEW |'MACBETH'
A Shakespeare Tale, Down to the Essentials
By ANTHONY TOMMASINI

The Italian composer Salvatore Sciarrino worked on his modernist
operatic version of "Macbeth" in fits and starts for more than 25
years.  That fact, when I learned of it, did not automatically command
respect. Why would it take so long to complete a 110-minute musical
drama?" I saw the performance last ngiht (Thrusday, July 11) and liked
the production and opera a lot.  The set was great, drawn more on di
Chirico and Expressionist movie sets than on surrealism.  I see the
reviewer's point about the Lady Macbeth sleepwalking scene--it was
rather static.  But it was long to make a point.   Macbeth and Lady
Macbeth are set up as twin parts of the same person in this adaptation,
and Macbeth is, effectively absorbed into Lady Macbeth in the third Act,
which begins with her sleepwalking scene.  After this cene ends with her
suicide, Macduff enters briefly, and the Act ends with Macbeth alone on
stage doing "tomorrow, tomorrow, and tomorrow" in a way that parallels
the sleepwalking scene.

http://www.nytimes.com/2003/07/11/arts/music/11MACB.html

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Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Web Site <http://www.shaksper.net>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
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Hepburn as Cleopatra

The Shakespeare Conference: SHK 14.1451  Thursday, 17 July 2003

From:           Mary Rosenberg <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 11 Jul 2003 15:09:25 -0700
Subject:        Hepburn as Cleopatra

I was fascinated to learn that Katherine Hepburn had played Cleopatra
(Stratford, Connecticut, 1960).

If anyone has any personal memories and/or reviews of this performance
I'd be grateful if you would kindly share them with me - either through
SHAKSPER or privately on my husband's e-mail.

Thanks.

Mary Rosenberg

_______________________________________________________________
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Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
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DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
editor assumes no responsibility for them.

Sorry 'bout That

The Shakespeare Conference: SHK 14.1449  Thursday, 17 July 2003

From:           Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, July 17, 2003
Subject:        Sorry 'bout That

Dear SHAKSPEReans,

It appears that when I was out of town some mysterious force reset the
defaults in the mailer I use for SHAKSPER and the first few digests
today when out with the Chinese character set. Stuart Manager called the
problem to my attention, and I have corrected it

I very much enjoyed Chicago. I cannot imagine that I lived there for
five months in 1969 and never visited the Art Institute. Those were
different times. Now, I cannot wait to return.

Well, I'm back, somewhat rested, and about to renew my subscription to
the Chronicle of Higher Education.

Best wishes,
Hardy

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Webpage <http://www.shaksper.net>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
editor assumes no responsibility for them.

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