DOCSLIB.ORG

Fall 2006 Shakespeare Matters Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fall 2006 Shakespeare Matters Page 1 Fall 2006 Shakespeare Matters page 1 6:1 "Let me not to the marriage of true minds admit impediments..." Fall 2006 Special Issue: Teaching Shakespeare Teaching Shakespeare Shakespeare, Meet Robert and the Law Frost.... by Thomas Regnier by Robert M. Barrett, Jr. n the spring of 2006 I taught, for the first time, a one-semester omething there is that doesn’t love a wall,” Robert Frost course on Shakespeare and the Law at the University of Miami wrote in 1914, using iambic pentameter and inverted syntax ISchool of Law. I highly recommend the experience. In the Sthat are nearly Shakespearean in his blunt but memorable course, we studied seven Shakespeare plays – Merchant of Venice, line. The line speaks for me personally in a very particular way: Measure for Measure, Hamlet, Merry Wives of Windsor, 2 Henry When I finished reading The Mysterious William Shakespeare, by VI, Richard III, and Charlton Ogburn, Jr., something there was within me that didn’t Othello. In addition, the love the wall that hid the true Shakespeare. course included over As a layman, newly introduced to a difficult subject, I responded forty articles about legal to my reading in a way that was undoubtedly visceral—just in part, issues in Shakespeare by though, a small part. The larger part, I submit, was intellectual. I such writers as Edith looked for reason, plausibility, evidence, coherence, and conviction Friedler, Daniel in Ogburn’s words, and I found those qualities much more often Kornstein, Anthony present in the book than absent. I finished reading not indoctrinated, Burton, Thomas Glyn but excited by a new interest, one that has been increasingly rich Watkin, B.J. and Mary and rewarding for me. Sokol, George W. If you will indulge me, I would like to explain how I brought Keeton, Charles Ross, this exciting, new interest into a junior high school classroom. The C.M.A. McCauliff, Lord general outline of what I experienced will be familiar and even Campbell, Mark predictable to some of you; to others, what I have to say might be Alexander, myself, and Edmund Plowden (1518-1585), the famed instructive. I see it primarily as a cautionary tale. many others. Students Catholic jurist whose record of Hales v. Before reading Ogburn, I had had a lifelong but superficial also had to read portions Petit, a famous law case involving suicide appreciation of Shakespeare. In high school, I read Julius Caesar and the state, is parodied in the Hamlet of the Magna Carta and gravedigger’s scene. and memorized many of the shorter passages and lines. That fueled certain English statutes a temporary hunger that led me to buy the Folger paperback and cases. I used J.H. editions of Romeo and Juliet, Macbeth, Hamlet, Othello, and King Baker’s excellent book, An Introduction to English Legal History1, Lear—tragedies all, befitting my dark, teenage personality at the as a basic text on the common law of England. Although the course time. I was fascinated by the language, which for me was analogous involved a tremendous amount of reading, the students never to geometry, my favorite school subject, in that it was problematical, complained, and some even said they wanted more. but rational and solvable by concentrated thought and flashes of The class was taught as a seminar and had ten students. The insight. class sessions emphasized discussion more than lecture, and we In college, I was introduced to authorship purely by accident. (Cont. on p. 11) (Cont. on p. 9) page 2 Shakespeare Matters Fall 2006 Letters.... To the Editor: To the Editor: Mr. David Moffat in his article discovery about Vicars’ reference, which (Shakespeare Matters, Summer 2006) uses Further to your interesting story “The was unknown to us when we wrote the a six-step approach to solving the Sonnet Famous Poet ‘Shakes His Spear’” book, plainly adds weight to our case. In dedication puzzle and, by applying those (Shakespeare Matters, Summer 2006, p. 4), contrast, I can see no links of any kind principles, agrees with Dr. John Rollett in on the discovery of an apparent reference to between Vicars and the Earl of Oxford, let arriving at the solution of the puzzle: THESE Shakespeare as a pseudonym in the third alone between Vicars and William SONNETS ALL BY EVER THE FORTH. (1628) edition of a Greek work by Thomas Shakespeare. This solution, says Mr. Moffat, is Vicars, I would like to point out that Vicars both “very appealing, but ultimately was the son-in-law of Sir Henry Neville. Professor William D. Rubinstein disappointing” and continues “. we Vicars married Neville’s daughter Anne in Dept. of History, University of Wales cannot ignore these last two words - nor can 1622, seven years after his death. Before we explain them.” that, Neville’s widow Ann had remarried By applying the rules laid out by Mr. Bishop George Carleton (c1557-1628), an Moffat, it is true we cannot ignore the words old friend of Neville’s who was a fellow- the and forth, but what better way to explain alumnus of Merton College, Oxford, and them than to consult a dictionary and define whose first apointment was as vicar of them? Mayfield, Sussex, one of Neville’s estates. A dictionary search quickly yields one As the stepfather of Ann Neville Vicars, definition of the word the as “beyond any Carleton did much to advance Vicars’ career. other.” In The Truth Will Out, which I co-authored Similarly a definition of the word forth with Brenda James, we advance the view is “out into view.” that Sir Henry Neville (c. 1562-1615) was the By using these definitions, the real author of Shakespeare’s works, and this meaning of the dedication becomes: THESE SONNETS ALL BY E.VER, BEYOND ANY OTHER, OUT INTO VIEW. Shakespeare Matters Subscriptions to Shakespeare Matters are One interpretation of beyond any Published quarterly by the $40 per year ($20 for online issues only). other might be that this collection of The Shakespeare Fellowship Family or institution subscriptions are $45 per sonnets is beyond the excellence of anything Please address correspondence to: year. Patrons of the Fellowship are $75 and up. like it published before. Please send subscription requests to: Editorial Offices An interpretation of out into P.O. Box 65335 The Shakespeare Fellowship view might be saying that the sonnets are Baltimore, MD 21209 PO Box 421 now published and available for all to see for Hudson, MA 01749 the very first time--as opposed to being Editor: privately circulated amongst friends. Roger Stritmatter, PhD The purpose of the Shakespeare Fellowship is to promote public awareness and acceptance Whether or not this was the intention Contributing Editors: of the authorship of the Shakespeare Canon by of T.T. I cannot say. Mark Anderson, K.C. Ligon, Lynne Kositsky, Edward de Vere, 17th Earl of Oxford (1550- Howard Schumann, Dr. Charles Berney, 1604), and further to encourage a high level of Charles Boyle, Dr. Felicia Londre, scholarly research and publication into all Sincerely, Alex McNeil, aspects of Shakespeare studies, and also into Dr. Anne Pluto, Elisabeth Sears, the history and culture of the Elizabethan era. Ian Haste William Boyle, Richard Whalen, The Society was founded and incorporated Hank Whittemore, Dr. Daniel L. Wright in 2001 in the State of Massachusetts and is Mission, British Columbia chartered under the membership corporation Phone (Baltimore, MD): (410) 764-9202 laws of that state. It is a recognized 501(c)(3) email: [email protected] nonprofit (Fed ID 04-3578550). All contents copyright ©2006 Dues, grants and contributions are tax- The Shakespeare Fellowship deductible to the extent allowed by law. Shakespeare Matters welcomes articles, essays, commentary, book reviews, letters and news items. Contributions should be reasonably concise and, when appropriate, validated by peer review. The views expressed by contributors do not necessarily reflect those of the Fellowship as a literary and educational organization. Fall 2006 Shakespeare Matters page 3 From the Editors Shakespeare’s Language--and Our Education The books, the academes, from whence doth spring the true Promethean Fire — LLL n graduate school, one can overhear enough to phone the reporter and tell her News has a funny way of traveling in many curious and often paradoxical that the Professor, whose course on another unexpected circuits. As I said, the Professor Itheories about Shakespeare. A tenured subject he had taken, didn’t know what he was not dumb. Moreover, when he had English professor of my acquaintance was time to reconsider his words, he realized certain that Shakespeare couldn’t possibly that he really didn’t give a damn who have had a serious education because it Shakespeare was. It was not as if [he] it was would have ruined him as a writer. The The reporter thought your editor any skin off his nose. opinion was expressed to a newspaper “Do you know something?” the reporter who had called to elicit his view was attacking the Professor, Professor told your editor a few days later, on the authorship question. He explained whom she had “liked,” and not “Shakespeare knew Anglo-Saxon! In Troilus that there was no such question among and Cressida, he conjugates the anglo- educated persons at universities, and that his misguided notions. saxon verb, to seethe: “My business Shakespeare was, like Caliban, “a natural” “I like him too,” said your editor, seethes.—sodden business….”(3.1.43). (3.2.33) who acquired a talent for courtly Funny how a change in perspective diction as a hanger-on at court – an auditor, “but that doesn’t change the fact matters. We’re used to the mantra, based if you will, at the trough of higher that he doesn’t know what he’s on quoting Ben Jonson out of context, that education.
Load more

Recommended publications
  • Shakespeare and London Programme
    andShakespeare London A FREE EXHIBITION at London Metropolitan Archives from 28 May to 26 September 2013, including, at advertised times, THE SHAKESPEARE DEED A property deed signed by Mr. William Shakespeare, one of only six known examples of his signature. Also featuring documents from his lifetime along with maps, photographs, prints and models which explore his relationship with the great metropolis of LONDONHighlights will include the great panoramas of London by Hollar and Visscher, a wall of portraits of Mr Shakespeare, Mr. David Garrick’s signature, 16th century maps of the metropolis, 19th century playbills, a 1951 wooden model of The Globe Theatre and ephemera, performance recording and a gown from Shakespeare’s Globe. andShakespeare London In 1613 William Shakespeare purchased a property in Blackfriars, close to the Blackfriars Theatre and just across the river from the Globe Theatre. These were the venues used by The Kings Men (formerly the Lord Chamberlain’s Men) the performance group to which he belonged throughout most of his career. The counterpart deed he signed during the sale is one of the treasures we care for in the City of London’s collections and is on public display for the first time at London Metropolitan Archives. Celebrating the 400th anniversary of the document, this exhibition explores Shakespeare’s relationship with London through images, documents and maps drawn from the archives. From records created during his lifetime to contemporary performances of his plays, these documents follow the development of his work by dramatists and the ways in which the ‘bardologists’ have kept William Shakespeare alive in the fabric of the city through the centuries.
    [Show full text]
  • Summer 2006 Shakespeare Matters Page 1
    Summer 2006 Shakespeare Matters page 1 5:4 "Let me not to the marriage of true minds admit impediments..." Summer 2006 “Stars or Suns:” The Portrayal of the Earls of Oxford in Elizabethan Drama By Richard Desper, PhD n Act III Scene vii of King Henry V, the proud nobles of France, gathered in camp on the eve of the battle of Agincourt, I speculate in anticipation of victory, letting their thoughts and their words take flight in fancy. While viewing the bedraggled English army as doomed, they savor their expected victory on the morrow and vie with each other in proclaiming their own glory. The dauphin1 boasts of his horse as another Pegasus, leading to a few allusions of a bawdy nature, and then a curious exchange takes place between Lord Rambures and the Constable of France, Professor William Leahy explains plans for a Shakespeare Charles Delabreth: Authorship Studies Master’s Program at Brunel University. Photo by William Boyle. Ram. My Lord Constable, the armor that I saw in your tent to-night, are those stars or suns upon it? Con. Stars, my lord. Brunel University to Offer 2 (Henry V, III.vii.63-5) Masters in Authorship Studies Shakespeare scholars have remarked little on these particular speeches, by default implying that they are words spoken in hile Concordia University has encouraged study of the passing, having no particular meaning other than idle chatter. Shakespeare authorship issue for years, Brunel One can count at least a dozen treatises on the text of Henry V that W University in England now plans to offer a graduate have nothing at all to say about these two lines.3 Yet numerous program leading to an M.A.
    [Show full text]
  • Tethys Festival As Royal Policy
    ‘The power of his commanding trident’: Tethys Festival as royal policy Anne Daye On 31 May 1610, Prince Henry sailed up the River Thames culminating in horse races and running at the ring on the from Richmond to Whitehall for his creation as Prince of banks of the Dee. Both elements were traditional and firmly Wales, Duke of Cornwall and Earl of Chester to be greeted historicised in their presentation. While the prince is unlikely by the Lord Mayor of London. A flotilla of little boats to have been present, the competitors must have been mem- escorted him, enjoying the sight of a floating pageant sent, as bers of the gentry and nobility. The creation ceremonies it were, from Neptune. Corinea, queen of Cornwall crowned themselves, including Tethys Festival, took place across with pearls and cockleshells, rode on a large whale while eight days in London. Having travelled by road to Richmond, Amphion, wreathed with seashells, father of music and the Henry made a triumphal entry into London along the Thames genius of Wales, sailed on a dolphin. To ensure their speeches for the official reception by the City of London. The cer- carried across the water in the hurly-burly of the day, ‘two emony of creation took place before the whole parliament of absolute actors’ were hired to play these tritons, namely John lords and commons, gathered in the Court of Requests, Rice and Richard Burbage1 . Following the ceremony of observed by ambassadors and foreign guests, the nobility of creation, in the masque Tethys Festival or The Queen’s England, Scotland and Ireland and the Lord Mayor of Lon- Wake, Queen Anne greeted Henry in the guise of Tethys, wife don with representatives of the guilds.
    [Show full text]
  • 1940, February
    Li. _____.... d1Y l '"'T�� tt r t>' J�:� 6•1?4�' news-£e e UN<\ The SHAKESPEARE FELLOWSHIP-E.wA,HIM,rnN AMERICAN BRANCH VOL. I FEBRUARY, 1940 NO. 2 The Secret Personality of "Shakespeare" Brought to Light After Three Centuries The Ashbourne portrait (above), owned by the cally for the first time in history - with results Folger Shakespeare Library, and two other famous likely to change the whole course of Shakespearean paintings of the poet have been dissected scientifi• research. Solution of authorship mystery at hand. 2 NEWS-LETTER Scientific Proof Given that Lord Oxford Posed for Ancient Portraits of the Bard X-RAYS AND INFRA-RED PHOTOGRAPHY SHOW THAT EDWARD DE VERE, MYSTERIOUS LITERARY NOBLEMAN, IS THE REAL MAN IN THE FAMOUS ASHBOURNE "SHAKESPEARE" AND ALSO IN OTHER PAINTINGS OF ENGLAND'S GREATEST DRAMATIST. CHARLES WISNER BARRELL'S EPOCH-MAKING DISCOVERIES ARE FEATURED BY SCIENTIFIC AMERICAN AND TELEGRAPHED TO MORE THAN 2,000 NEWSPAPERS BY THE ASSOCIATED PRESS AND OTHER NEWS AGENCIES. WORK OF AMERICAN SECRETARY OF THE SHAKESPEARE FELLOW­ SHIP REPRESENTS A LANDMARK IN ELIZABETHAN RESEARCH AND MAY CAUSE IMMEDIATE REVALUATION OF THE COMMONLY ACCEPTED THEORY OF THE AUTHORSHIP OF THE PLAYS. Early in the morning of December 13, 1939 - It has remained for the American secretary of a date not soon to be forgotten by anyone in­ THE SHAKESPEARE FELLOWSHIP and a skilled terested in the pictorial record of "Mr. William group of technicians working under his direction, Shakespeare" - the news operators of the As­ to bring to light and accurately interpret after sociated Press began to tap out across two exhaustive corroborative studies among Eliza­ thousand wires leading to newspapers throughout bethan and Jacobean art, historical and genealog­ the length and breadth of the American continent, ical records, facts which the foremost "orthodox" a feature story that began as follows: Shakespearean authorities have completely over­ New York, Dec.
    [Show full text]
  • Actes Des Congrès De La Société Française Shakespeare, 36 | 2018 “The Dread of Something After Death”: Hamlet and the Emotional Afterlife of S
    Actes des congrès de la Société française Shakespeare 36 | 2018 Shakespeare et la peur “The dread of something after death”: Hamlet and the Emotional Afterlife of Shakespearean Revenants Christy Desmet Electronic version URL: https://journals.openedition.org/shakespeare/4018 DOI: 10.4000/shakespeare.4018 ISSN: 2271-6424 Publisher Société Française Shakespeare Electronic reference Christy Desmet, ““The dread of something after death”: Hamlet and the Emotional Afterlife of Shakespearean Revenants”, Actes des congrès de la Société française Shakespeare [Online], 36 | 2018, Online since 22 January 2018, connection on 25 August 2021. URL: http://journals.openedition.org/ shakespeare/4018 ; DOI: https://doi.org/10.4000/shakespeare.4018 This text was automatically generated on 25 August 2021. © SFS “The dread of something after death”: Hamlet and the Emotional Afterlife of S... 1 “The dread of something after death”: Hamlet and the Emotional Afterlife of Shakespearean Revenants Christy Desmet 1 Contemplating suicide, or more generally, the relative merits of existence and non- existence, Hamlet famously asks: Who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered country from whose bourn No traveler returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of. (Hamlet, 3.1.84-90, emphasis added)1 Critics have complained that Hamlet knows right well what happens after death, as is made clear by the earlier account of his father, who is Doomed for a certain term to walk the night And for the day confined to fast in fires Till the foul crimes done in my days of nature Are burnt and purged away.
    [Show full text]
  • English 725: Shakespeare: Tragedies Week 1 Organization Romeo and Juliet. Acts
    English 725: Shakespeare: Tragedies Week 1 Organization Romeo and Juliet. Acts 1-2 Week 2 Romeo and Juliet. Acts 3-5 Romeo and Juliet Week 3: Julius Caesar, Acts 1-2 Julius Caesar, Acts 3-5 Week 4: Julius Caesar Review Week 5: EXAM: Take Home Hamlet, Acts 1-2 Week 6: Hamlet, 3-5 Hamlet Week 7: Hamlet Othello, Acts. 1-2 Week 8: Othello, Acts 3-5 Othello Week 9: Review of Hamlet and Othello Week 10: King Lear, Acts 1-2 King Lear, Acts 3-5 Week 11: King Lear Macbeth, Acts 1-2 Week 12: Macbeth, Acts 3-5 Macbeth Week 13: The Winter’s Tale, Acts 1-2 The Winter’s Tale, Acts 3-5 Week 14 The Winter’s Tale Paper Due: (Submitted online by 5:00 P.M.) Week 15 Review Review Final Exam: Take Home Exam Assignments: --One in class report; 20-30 minutes (see topics below) --Complete reading assignment before each class. --One take home midterm exam; one take home final exam. --One 4000-6000 word paper: due April 28. Topics listed below. To be submitted online by 5:00 P.M. Early drafts of the paper may be submitted for me to return and read no later than one week before the due date. --Final exam: Take Home Exam Learning objectives: Through classroom discussion and original written criticism, students will be able to explain the historical importance of Shakespeare’s tragedies as works of art and as historical documents. Students will learn how to analyze, evaluate, and employ interpretative approaches in speaking and writing about Shakespeare and will develop a professional competency in critical thinking and writing about literature.
    [Show full text]
  • R.S. Thomas: Poetic Horizons
    R.S. Thomas: Poetic Horizons Karolina Alicja Trapp Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy December 2014 The School of Culture and Communication The University of Melbourne Produced on archival quality paper Abstract This thesis engages with the poetry of R.S. Thomas. Surprisingly enough, although acclaim for Thomas as a major figure on the twentieth century’s literary scene has been growing perceptibly, academic scholarship has not as yet produced a full-scale study devoted specifically to the poetic character of Thomas’s writings. This thesis aims to fill that gap. Instead of mining the poetry for psychological, social, or political insights into Thomas himself, I take the verse itself as the main object of investigation. My concern is with the poetic text as an artefact. The main assumption here is that a literary work conveys its meaning not only via particular words and sentences, governed by the grammar of a given language, but also through additional artistic patterning. Creating a new set of multi-sided relations within the text, this “supercode” leads to semantic enrichment. Accordingly, my goal is to scrutinize a given poem’s artistic organization by analysing its component elements as they come together and function in a whole text. Interpretations of particular poems form the basis for conclusions about Thomas’s poetics more generally. Strategies governing his poetic expression are explored in relation to four types of experience which are prominent in his verse: the experience of faith, of the natural world, of another human being, and of art.
    [Show full text]
  • John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
    JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery.
    [Show full text]
  • Download Full-Text
    William S h ak e s p e ar e : an overview of his life, times, and work an NAC English Theatre company educational publication THE NATIONAL ARTS CENTRE ENGLISH THEATRE PROGRAMMES FOR STUDENT AUDIENCES Peter Hinton Artistic Director, English Theatre This backgrounder was written and researched by Jane Moore for the National Arts Centre, English Theatre. Copyright Jane Moore, 2008. It may be used solely for educational purposes. The National Arts Centre English Theatre values the feedback of teachers on the content and format of its educational materials. We would appreciate your comments or suggestions on ways to improve future materials. Comments may be directed to Martina Kuska, either by email at [email protected] or fax at (613) 943 1401. Made possible in part by the NAC Foundation Donors’ Circle Table of Contents page(s) Section I: Introduction to Shakespeare............................................................................................1 - 3 William Shakespeare: Who was he, and why do we study him? .................................................1 Shakespeare‘s biography................................................................................................... 1 œ 2 Shakespeare‘s plays .......................................................................................................... 2 œ 3 Section II: Shakespeare and the Sanders Portrait............................................................................ 4 œ 5 What did Shakespeare look like? ..............................................................................................4
    [Show full text]
  • The Speaking Picture of the Mind: the Poetic Style of Samuel
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1974 The pS eaking Picture of the Mind: The oP etic Style of Samuel Daniel Harold Norbert Hild Loyola University Chicago Recommended Citation Hild, Harold Norbert, "The peS aking Picture of the Mind: The oeP tic Style of Samuel Daniel" (1974). Dissertations. Paper 1405. http://ecommons.luc.edu/luc_diss/1405 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1974 Harold Norbert Hild p ''THE SPEAKING PICTURE OF THE MIND:" THE POETIC STYLE OF SAMUEL DANIEL by /' Harold N. Hild A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy June 1974 r VITA The author, Harold Norbert Hild, is the son of Harold Joseph Hild and Franc;es (Wilson) Hild. He was born June 1, 1941, in Oak Park, Illinois. His elementary education was obtained in the public and parochial schools of Chicago, Illinois, and secondary education at Leo High School, Chicago, Illinois, where he was graduated in 1959. In September, 1959, he entered DePaul University, Chicago, and in June, 1964, received the degree of Bachelor of Arts with a major in English Literature and minors in philosophy and psychology. While attending DePaul University, he was president of Alpha Chi fraternity, president of the Inter-fraternity Council, president of the junior class.
    [Show full text]
  • 2011 As You Like It
    AS YOU LIKE IT Study Guide - 2011 Season Production E DIRECT AT SPEAK MACBETH THAISAGROW PROSPERO TOUCHSTONE JULIET CRE VIEW TEACH SEE CREATE HAMLET DISCUSS CLEOPATRA SEE LISTEN LAUGHROSALIND PLAY DIRECT SHYLOCKCRE LEARN CAESAR A AT ACT TEACH E OTHELLO OPHELI A Message from the Director are transformed by encountering what is “down the rabbit hole.” stark contrast to Hamlet, As IN You Like It is a play about The forest in Shakespeare’s plays is the metamorphosis of the self. always a place of transformation, a A young woman, Rosalind, is able freeing of the self from rigid societal to discover what love truly is by and parental bonds in order to pretending to be someone else, the find an authentic self. With that boy Ganymede. Through playing in mind, we have made our forest she becomes more and more into a whimsical playground where expansive, bolder and more fully objects, clothes, sound, light and herself. color are literally transformed from what they are in the court. Through Inspiration for the physical imaginative play, the characters production of As You Like It came transform themselves. from stories like The Chronicles of Narnia, Through the Looking Glass, Thank you for celebrating the and Coraline. A door is opened into human spirit with us! another world and the characters 2 Contents Shakespeare’s Life and Times ..................................................4 What Did Shakespeare Look Like? ...........................................4 Shakespeare Portrait Gallery ....................................................5 The
    [Show full text]
  • Coppelia Kahn's Address in Washington, D.C., 2009
    Coppélia Kahn Address in Washington, D.C., 10 April 2009 At last this moment has arrived. Like all the former SAA presidents I know, I’ve been agonizing over it for two years, ever since you were so generous as to elect me vice-president. In states of low, medium and high anxiety I’ve mulled it over on two continents, waking and sleeping; during department meetings, on the exercise bicycle, in the shower and in the supermarket . I’ve juggled various topics in the air: “the battle with the Centaurs,” “the riot of the tipsy Bacchanals, / Tearing the Thracian singer in their rage,” and especially in this bleak economic season, “The thrice three Muses mourning for the death / Of Learning, late deceased in beggary” (Midsummer Night’s Dream 5.1.44-53). I think I remember my immediate predecessor, Peter Holland, whom I have never known to be at a loss for words, describing himself as lying despondent on the living room couch, like the speaker in Sidney’s sonnet, “biting [his] truant pen” and “beating [him]self for spite” as he searched for a topic for his luncheon speech. I’ve been there, too. On March 10, 2009, I was released from this state of desperation by a fast-breaking news story girdling the globe: “Is this a Shakespeare which I see before me?” read the headline on my New York Times, one of many in which reporters would show off their knowledge of Shakespeare by deliberate (or unwitting) misquotation of his words. [On screen: Cobbe portrait] There on the front page was a color photograph of a painting that Stanley Wells, chairman of the Shakespeare Birthplace Trust, had presented to the world the day before as “almost certainly the only authentic image of Shakespeare made from life” (SBT press release, 3/9/09).
    [Show full text]