QotW (#64): 21 January 2019

If there’s anyone more maligned than Greene who wasn’t actually a serial killer or worse, I’m struggling to come up with a name. 

jiminy cricket

Although it increasingly appears to have been abandoned in the twenty-first century, conscience is everywhere in the late sixteenth.  Hamlet, of course, blames it for his cowardice; Margaret curses Richard III with it; and it seems almost a rule that if you hire two thugs to carry out some dastardly act, one of them will prove reluctant …

It is also, it seems, only for the poor and the base – much like its cousin, Patience.  Even in moments of classic anagnorisis, I’d suggest we scarcely see it in our tragic heroes – a subject for another post, perhaps.

Anyway, to Robert Greene

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Forensic Friday (#09): Edward II (iv.400-407)

Without any protection from his class background, Gaveston’s fall was always going to be fatal.

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Alex Honnold – image: Jimmy Chin

Meet Alex Honnold:

‘history’s greatest ever climber in the free solo style, meaning he ascends without a rope or protective equipment of any kind.'[a]

Just researching a picture for this post made me feel a little nauseous …

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Cultural Capital 07: Tragedy

We loved a fall from grace as much then as we do now …

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For Christ’s sake, can’t you see I’m busy, Ophelia? Get thee to a nunnery!

[this article first appeared in the in-house magazine I edit for our sixth-form English students]

Tragedy!  When the  feeling’s gone and you can’t go on …

It’s not that long ago that I appalled a class by stating that whilst the death of a pet dog might be ‘quite sad’, it definitely wasn’t ‘tragic’. ^

I definitely spend too much time in the late 16th century!

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No greater love …

No allergy excuses this time, kids …

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image:  Manuel Harvan

[Andrew Scott is Hamlet:  director, Robert Icke]

Part Two:

Forgive the delay in arriving at Part II: here’s an explanatory (and favourite) quotation from Stephen King by way of apology:

“The most important things are the hardest to say. They are the things you get ashamed of, because words diminish them — words shrink things that seemed limitless when they were in your head to no more than living size when they’re brought out. But it’s more than that, isn’t it? The most important things lie too close to wherever your secret heart is buried, like landmarks to a treasure your enemies would love to steal away. And you may make revelations that cost you dearly only to have people look at you in a funny way, not understanding what you’ve said at all, or why you thought it was so important that you almost cried while you were saying it. That’s the worst, I think. When the secret stays locked within not for want of a teller but for want of an understanding ear.”

And don’t forget the health warning:  you don’t read Shakespeare, he reads YOU.

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PTS 11/066: Alas, poor Richard …

For God’s sake, let us sit upon the ground, and tell sad stories of the death of kings …

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PTS read-through:  Richard II, act III (part ONE)

Witnessing the utter disintegration of a human being – even a fictional one – is, I’d suggest, an uneasy, distressing experience.  And yet … 

Voyeuristic shame accompanies the compulsion to keep spectating what is usually such a private affair.  My first experience of this type of slow-mo car-crash literature was Hardy’s The Mayor of Casterbridge, when I was about 12.  It scarred me – I’ve never quite been able to revisit Michael Henchard’s self-induced immolation; it also, I think, gave me my first seductive bittersweet taste of tragedy.  Like that initial stolen underage drink, whilst I wasn’t quite sure I liked it, I wanted another – just to be certain.

Richard’s collapse is the most devastatingly beautiful in Shakespeare, perhaps in the wider canon: it begins here, spanning three poignant acts. 
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Quote of the Week: 22 January 2018

It’s man’s ‘imaginations and stupidities’ that makes the tragedies so affecting – and effective …

BH bernalJD BernalThe World, The Flesh and the Devil: An Enquiry into the Future of the Three Enemies of the Rational Soul (Verso:  London, 2017)

Last year’s ‘reading river’ reflected a monomaniac attitude towards Shakespeare, which I think I’m going to try to avoid this year.

First off was a virtual trolley dash through the sale aisle of Verso Books, ‘the largest independent, radical publishing house in the English-speaking world‘ on New Year’s Eve.  Only one of the baker’s dozen of political tracts I bought had any specific link to Shakespeare  But I can’t and won’t dismiss Shakespeare entirely this year, and there’s some added fun in finding the ‘applicability’ – NOT ‘relatability’ – of my wider reading to the plays, and vice versa.

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Macbeth: Villain, or Victim?

Can I REALLY be an apologist for Macbeth? I think so.

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Kate Fleetwood and Sir Patrick Stewart as the happy couple …

“Something something isn’t Macbeth a villain!?!?!? something something.”

This is someone’s response to my suggestion that Macbeth (and, incidentally, his wife) is one of Shakespeare’s most ‘memorable’ characters.  The ‘something’s are their words.

It set me thinking … IS he a villain, or simply a victim?  Can I really be an apologist for him, I asked myself?

I reached for my Arden …

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