Sunday, September 3, 2017

September 2017

Maybe the quietest Shakespeare month ever! We’ve started reading Measure for Measure but that’s about it. So let’s get started.

As always, I will once again mention to visitors of this blog that Shakespeare Calling – the book is available for purchase. Please help promote the book by buying it, of course, and telling your friends about it, by liking and sharing it on Facebook, Twitter, Amazon, Bokus…. And please encourage your local book shops and libraries to buy it.  Thank you. Your support is needed to keep this project alive.

or
or Adlibris. Or contact the publisher info@vulkan.se

Shakespeare Calling – the book is promoted by
and

Shakespeare sightings:
  • In the novel Broken Homes by Ben Aaronovitch
    • Peter, who is told that Oberon wanted to keep the beautiful child from Efrra,  (the river god and goddess of the Thames, fairies if you will) thinks: ‘She never had so sweet a changeling,’ and remembers that he had been the third magic tree on the left in a school production of A Midsummer Night’s Dream when he was twelve.
    • In describing ‘Southwark as the oldest bit of London proper’, Peter reminds us that ‘Shakespeare got pissed on a regular basis in Southwark.’ Well, we don’t know that for sure, but it’s quite possible.
  • In Kazuo Ishiguro’s masterpiece Never Let Me Go when young Tommy has one of his temper tantrums he is described as ‘rehearsing his Shakespeare.’
  • In the Norton Anthology English Literature Volume 1 I’ve come to the mystery plays. We are told that The Chester Play of Noah’s Flood was still performed when Shakespeare was a boy.
  • In Season 4 of Grimm a detective describes an old triangle murder case as Shakespearean.
  • In Season 3 of Buffy the Vampire Slayer the English class is discussing Othello and Buffy, who is temporarily a mind reader, gets the answers right (for once) since she can read the teacher’s mind. 
  • Jacqueline Winspear begins her novel Journey to Munich with a quote: ‘The wheel is come full circle, I am here,’ from King Lear. 

Further since last time:
  • Finished reading: James Shapiro’s 1599 - a Year in the Life of William Shakespeare
  • Started reading aloud with Hal: Measure for Measure

Posted this month
  • This report





Sunday, August 6, 2017

August 2017

We’ve finished reading A Midsummer Night’s Dream and watched a few films. It took a while but the text is also now written (see below). We haven’t yet chosen our next play but will do so in a day or two.                               

As always, I will once again mention to visitors of this blog that Shakespeare Calling – the book is available for purchase. Please help promote the book by buying it, of course, and telling your friends about it, by liking and sharing it on Facebook, Twitter, Amazon, Bokus…. And please encourage your local book shops and libraries to buy it.  Thank you. Your support is needed to keep this project alive.

or
or Adlibris. Or contact the publisher info@vulkan.se

Shakespeare Calling – the book is promoted by
and

Shakespeare sightings:
  • Dagens Nyheter writes about Dani Kouyaté who has been nominated for the African movie academy awards in seven categories, including best film by an African living abroad, for his Medan vi lever (While we live), which it won. He is planning a film of The Tempest to be filmed on Fårö.
  • In the novel New York 2140, by Kim Stanley Robinson:
    • The financial wizard Franklin, living in the flooded New York in the 22nd century, wonders how ‘do you invest in a mangled ambiguous zone still suffering the slings and arrows of outrageous tide flow?’
    • The two geeks called Mutt and Jeff, who reminded me from the beginning of Rosencrantz and Guildenstern, are once again doing the talking thing. Mutt asks Jeff if he’s read Waiting for Godot or Rosencrantz and Guildenstern Are Dead. Jeff has not.
    • Amelia is dancing with Mutt and Jeff. They are all terrible dancers. ‘Some are born bad, some achieve badness…Mutt, the situation having been thrust upon him, moves in tiny abrupt jerks.’
  • In How to Be a Tudor by Ruth Goodman we are told
    • that tennis was very popular and refers to the tennis balls sent derisively to Henry V in that play.
    • that the costumes used in Titus Andronicus were a lavish mix of Roman and Elizabethan.
    • that Shakespeare really is very funny’ (we knew that! But many still don’t) and that 1,700 of the words and expressions Shakespeare invented are still with us. Her examples: moonbeam, mountaineer, bedroom, submerge, lacklustre, hobnob, friended, as dead as a doornail, up in arms, all of a sudden, it’s a foregone conclusion. 
    • in the chapter about supper that women were often the ale brewers and offered their products in a simple tavern consisting of a bench outside their home. It was such a bench the night watchmen will ‘sit upon… til’ two’ in Much Ado About Nothing. Furthermore the singing of Sir Toby, Sir Andrew and Feste in Twelfth Night is typical alehouse behaviour.
  • In the TV series Grimm one of the villains, having placed the comatose hero Nick in a coffin, says, ‘Good night, sweet grimm, and flights of angels sing thee to thy rest!’
  • In Buffy the Vampire Slayer (yes, I am addicted to this kind of thing…) in Season 2, Giles says in planning with the others Buffy’s surprise birthday party, ‘Discretion is the best part of valour.’
  • In the TV quiz show Vem vet mest? Junior (Who knows the most – juniors) the question was, ’What was the surname of the author who wrote The Tempest and Hamlet?’ The boy didn’t know the answer and had never heard of Shakespeare! Another contestant was active in a theatre group but they hadn’t done any Shakespeare yet.
  • In Ian McEwan’s The Children Act the main character Fiona refers to ‘her infinite variety’ and other quotes from Antony and Cleopatra. She had played Enobarbus in an all-woman production when she was a law student.
  • Nicci French opens their (it’s a duo) latest Frieda Klein novel Sunday Morning Coming Down with a quote from Henry IV Part One:
    • Glendower: I can call spirits from the vasty deep. Hotspur: Why, so can I, or so can any man,/ But will they come when you do call for them? 

Further since last time:

Posted this month





'Thou painted maypole' Helena in A Midsummer Night's Dream

‘Thou painted maypole’
Helena
in
A Midsummer Night’s Dream

     When I give my lectures on Shakespeare I often wear my T-shirt with the quote ‘Though she be but little she is fierce.’ Being short of stature myself I like to think this applies to me.
     The line is said by Helena about Hermia who indeed is little and fierce and an interesting character. Not, however, as interesting as the wonderfully, tragically, hilariously neurotic Helena.
     It’s only right that Shakespeare gave Helena this, one of the best lines of all the plays, after having given her one of the worst: ‘I am your spaniel… / The more you beat me, I will fawn on you’ (Act 2:1). What kind of awful line is that?!
     But, as noted, Helena is neurotic. She has zero self-esteem and is supremely envious of Hermia:

Call you me fair? That ‘fair’ again unsay.
Demetrius loves your fair: O happy fair! (Act 1.1).

     She goes on to exclaim over Hermia’s beauty and the fact that Demetrius loves Hermia while she, Helena, loves Demetrius. We learn that Demetrius had in fact loved Helena until he met Hermia and in her monolog Helena astutely observes the eternal and universal, ‘Love looks not with the eyes, but with the mind’ (Act 1.1).
     It is then in the forest, where upon Helena’s conniving Demetrius meets her, that her ‘spaniel’ words are spoken. One cannot help but pity Demetrius who tries in vain to rid himself of the clinging love-mad lass, who in her raving of love for him once again manages to produce a line of wisdom, an observation of the gender roles of her society:

We cannot fight for love, as men may do;
We should be wooed and were not made to woo (Act 2.1).

     Later comes the line even more neurotic than the spaniel line: ‘Stay, though thou kill me. Sweet Demetrius’ (Act 2.2). No, no, no, Helena!
     So symptomatic of women/victims throughout the ages: a sense of worthlessness.  Mourns Helena: ‘I am as ugly as a bear… a monster…’ (Act 2.2). When, only seconds later, Lysander, under Puck’s misplaced enchantment, awakes and falls in love with her she doesn’t believe it:

Wherefore was I to this keen mockery born?
When at your hands did I deserve this scorn?
Is’t not enough, is’t not enough, young man,
That I did never, no, nor never can,
Deserve a sweet look from Demetrius’ eye,
But you must flout my insufficiency? (Act 2.2)

     She is astute enough to recognise that Lysander’s love for her is not true. Sadly for her she gets the reason wrong. She believes she is worthy of no man’s love. She believes that her friends merely mock her. Even her beloved Demetrius who now claims to love her:

O spite! O hell! I see you all are bent
To set against me for your merriment…
Can you not hate me, as I know you do,
But you must join in souls to mock me too? (Act 3.2)
    
     Poor, poor Helena! How dreadful to feel this way. Amongst all of Shakespeare’s tragedies, surely Helena’s pain is as heart-rendering?
     And what follows is so very funny. So awful and so funny. The four lovers hurl insults at each other.  Thou cat, thou burr, you canker blossom, vixen, dwarf, thou painted maypole.
     What a beautiful insult! Maypoles are, after all, beautifully flowered, a celebration of light and life.
     Maybe this penetrates Helena’s psyche and gives her the oomph to flee this disastrous encounter: ‘My legs are longer though, to run away’ (Act 3.2). And run she does.
     All is not yet well however. Alone in the forest, darkness again descends upon her:

O weary night, O long and tedious night,
Abate thy hours! Shine comforts from the east,
That I may back to Athens by daylight,
From these that my poor company detest;
And sleep, that sometime shuts up sorrow’s eye,
Steal me awhile from mine own company (Act 3.2).

     Who has not felt such despair, alone in the dark, longing for sleep? Poor, poor Helena!
     Well. We know she gets her Demetrius in the end but this is Shakespeare. All is not love and joy. There is doubt. When the four lovers awaken in the morning and Hermia notes that everything seems double, Helena replies:

So methinks:
And I have found Demetrius like a jewel,
Mine own and not mine own (Act 4.1).

     Still undeserving. Still uncertain. But Helena’s last line is interesting. As the lovers’ eyes and minds clear they start to see those who found them. The duke. Hermia’s father. And, as Helena observes, ‘And Hippolyta’ (Act 4.1).
     Not to make too big a point of this, Helena sees the Amazon queen. Maybe she draws a bit of strength from that?
     Helena plays the role of many of Shakespeare’s fools, offering us nonsense sprinkled with wisdom. But Helena does it with so much more pain than the fools, such depth of feeling. Helena reaches out to us from the heart of a real, suffering person.
     Shakespeare’s characters are all a part of us. Helena more than most?

Works cited:
William Shakespeare, the Complete Works, the RSC edition, 2007. Edited by Jonathan Bate and Eric Rasmussen.

Films seen this time:
  • BBC, 1981. Director: Elijah Moshinsky. Helena: Cherith Mellor.
    • Cherith Mellor as Helena is very good. Helen Mirren is always good. One of BBC’s best productions.
  • 1999. Director: Michael Hoffman. Helena: Calista Flockhart.
  • RSC, 1996. Director: Adrian Noble. Helena: Emily Raymond.
  • 2014.The Globe. Director: Dominic Dromgoole. Helena: Sarah MacRae. Hermia: Olivia Ross.
    • An unsubtle interpretation with little of the depth of feeling the play offers, though Hermia and Helena do better at times. Otherwise it’s hammy, especially the Mechanics, especially Peter Quince, who overdoes it completely. They all shout too much, but they all have their moments as well. Flawed but entertaining and the beginning and finale are impressive.



Monday, July 3, 2017

July 2017

Antony and Cleopatra – ah, what a play. Maybe if somebody would do a really good production of it I would learn to like it. Any takers out there? Now A Midsummer Night’s Dream – that’s a play to read and read again and enjoy it more each time. This time we started reading it a couple of days before Midsummer and we’re now in the last act. We have several films to watch, including one of the Globe production from 2013. Sadly we did not see it when we were in London in 2013, it hadn’t started yet. Now we are looking forward to seeing the filmed version. I’m hoping there will be a text next time I’m on the blog, but for now you will have to make do with the text on Antony and Cleopatra. And for that, many thanks to AA for the inspiration!

And now, as always I will once again mention to visitors of this blog that Shakespeare Calling – the book is available for purchase. Please help promote the book by buying it, of course, and telling your friends about it, by liking and sharing it on Facebook, Twitter, Amazon, Bokus…. And please encourage your local book shops and libraries to buy it.  Thank you. Your support is needed to keep this project alive.

or
or Adlibris. Or contact the publisher info@vulkan.se

Shakespeare Calling – the book is promoted by
and

Shakespeare sightings:
  • Dagens Nyheter
    • Asks if the Trump family is by Shakespeare or Aaron Spelling (producer of, among many other things, Dynasty). The journalist Malin Ullgren hopes for an HBO series about Trump. ‘It could be brilliant’. Reality outdoes fiction, once again…
    • Reports that New York’s Public Theatre has upset some with its interpretation of Julius Caesar because Julius Caesar bears a resemblance to Donald Trump and the play is said to promote the assassination of a despot.
  • On the TV program Vem vet mest? (Who knows the most?) the question was: In what country was Shakespeare born? Again, it was kids, and the answering kid got it right.
  • In Buffy the Vampire Killer
    • Season One - the teacher reads the ‘If you prick us do we not bleed’ quote and asks for comments. The awful Cordelia (! – how significant is that choice of name?) says, ‘Shylock is so self-centred! Whine, whine, whine!’ Teacher: ‘Interesting. It’s nice to know some students do their reading.’ Well, as an English and history teacher, I would certainly have responded differently.
    • Season Two - Giles heaves a huge sigh of relief when Buffy turns off the music (which he calls ‘noise’) to which she has been doing her calisthenics and says contentedly, ‘The rest is silence.’
  • In the novel The Sun is Also a Star, by Nicola Yoon, Daniel tries to convince his scientific girl friend of the value of poetry by quoting ‘Shall I compare thee to a summer’s day? Thou art more lovely and more temperate.’
  • In the fourth St. Mary’s novel by Jodi Taylor, A Trail Through Time, Max denies that she’s a sound sleeper: ‘I’m the world’s lightest sleeper. On a bad day, I can make Lady Macbeth look like a raging narcoleptic.’
  • On TVs Kulturnyheter (Culture News) there was a report on the production of A Winter’s Tale on the island of Gotland at Romateatern, old church ruins used as a theatre since 1989. The director is Maria Åberg who has worked with the RSC. She focusses on the women, who provide the strength and humour. The stringent tragedy of the beginning moved the critic deeply. The theatre is magical, she says, but advises playgoers to take a jacket – it’s cold!
  • In the novel The Muse, by Jessie Burton, Odelle Bastien, who moved from Trinidad to London five years ago, is dismayed that she has yet to meet anyone who can name three of Shakespeare’s plays.
  • In How to Be a Tudor by Ruth Goodman we are told about Shakespeare’s infamous will in which he left his wife Anne the second-best bed.  This has been interpreted by many, including my hero Stephen Greenblatt in the book mentioned below, to mean that he had no love for his wife, that it was almost an insult to leave her their second-best bed.  Goodman writes that this was actually probably a sign of great devotion since a good bed was a highly sought-after luxury in their day.

Further since last time:
  • Read for the second time: Will in the World by Stephen Greenblatt. A wonderful book!
  • Started reading aloud with Hal: A Midsummer Night’s Dream
  • Ordered and received from the Royal Shakespeare Society:
    • A Comedy of Errors with Judi Dench
    • Hamlet with Paapa Essiedu
    • Shakespeare Live! Broadcast in BBC last year on the anniversary of Shakespeare’s birth and death
    • A 2018 calendar
    • Various pens, pencils and erasures
  • Watched: the above-mention Shakespeare Live! What a pleasure to see it again. Since the first time we have seen David Tennant and Catherine Tate in Doctor Who and have bought, as mentioned above, the Hamlet with Paapa Essiedu, so we had a new appreciation of the To Be or Not to Be sketch, which was as hilarious as the first time. 

Posted this month




Still trying to like...

Still trying…
to like
Antony and Cleopatra

     There seem to be many reasons to like this play. My friend and fellow Shakespearean scholar AA, for example, thinks it one of Shakespeare’s best and he helpfully tries to explain why:
  • The intensely alive, complex and contradictory title characters
  • Their love which, for all that seems to the contrary, gives the impression of a world well lost for
  • The gorgeous verse that manages to be stirring and visionary without the overblown rhetoric and clumsy verbosity that sometimes affect Will’s earlier plays
  • The elaborate structure that covers the whole known world of the 1st century BC
  • Enobarbus
  • The marvellously individual minor characters
  • The final scene in which Cleopatra is transformed from shallow to sublime and the Romans are taken in completely


     Most interesting, AA! And on some points we do agree.
     Enobarbus is indeed a strong character, the voice of reason in all the hysteria. He supports Antony but not blindly, telling Cleopatra that she was right to flee the battle and that Antony ‘would make his will/ Lord of reason…though you fled…why should he follow? …’Twas a shame… to leave his navy gaging’ (Act 3.13). When he then turns from Antony his guilt kills him. ‘I am alone the villain of the earth… I will go seek/ Some ditch wherein to die’ (Act 4.6). So yes, I like Enobarbus, a quietly tragic character.
     And Charmian. With humour and intelligence to match Cleopatra’s she keeps her frenetic queen under control while offering unwavering friendship and loyalty. Her two best lines: ‘O, excellent! I love long life better than figs’ (Act 1.2) shows the exuberance of Cleopatra’s private chambers and it is ironically tragic when Cleopatra dies and Charmian cries, or perhaps murmurs, ‘Now boast thee, death, in thy possession lies/ A lass unparalleled’ (Act 5.2), then dies herself. What a wonderful word, ‘lass’. Two lasses who cheat the Romans. Oh yes, I like Charmian.
     As for Cleopatra, nothing in her life became her like the leaving it. I do agree with you, AA, that in Cleopatra’s final scene she is ‘transformed from the shallow to the sublime.’
     I also appreciate the historical sweep of the play. Fascinating and ambitious. But. Oh, woe is me, lover of history! – all the historical and military stuff is unbearably boring! And confusing. And unending. All of Shakespeare’s history plays plus Julius Caesar plus Coriolanus plus Cymbeline are so much better!
     ‘Gorgeous verse’? AA, many agree with you, but try as I might I find it verbose, long-winded, convoluted – as we read I mutter, ‘Yeah, yeah, get on with it!’ It’s a long play and could be cut by half just by striking every other line or so!
     Their love. Much heralded by bardolators. I am not a romantic and I have often commented on the strange love matches in Shakespeare. Of course I’m not alone in that. But it seems most scholars accept this love affair. Well, as much as Antony and Cleopatra go on about their love of one another and the other characters go on and on and on about it, I am, if not exactly unconvinced, completely unmoved.
     Because.
     And now to your first point, AA, the intensely active and complex and contradictory characters. Yes, agreed! But so unlikeable! Marjorie Garber asks in her Shakespeare After All if Antony is ‘a failed hero, or a successful myth’ (p. 726). Neither, I say. In Julius Caesar he is brilliant. In Antony and Cleopatra he is a bore and a boor. Completely uninteresting and his death scene, where he has to be dragged up to Cleopatra’s platform – come on, Shakespeare! Clumsy staging! It doesn’t work. As for Cleopatra? Oh please, give me Queen Margaret, Queen Gertrude, Queen Hermione – any queen but this unpleasant diva! It is a relief when she dies.
     Oh what a terrible thing to write. But at least it means that this seemingly interminable play is over at last.
     Harsh. And blasphemous (forgive me, Shakespeare!). And unreasonable. I have had similar objections to many of Shakespeare’s plays but still loved them. So, AA, I fully accept your outraged, ‘Wha’? Are you daft??’¨when you read this.
     Probably. And no doubt missing the whole point. But so it is. I still don’t like Antony and Cleopatra.
     But thanks for trying, AA. Don’t give up. I might like it next time!

Works cited:
  • Garber, Marjorie. Shakespeare After All. Anchor Book. 2004.
  • William Shakespeare, the Complete Works, the RSC edition, 2007. Edited by Jonathan Bate and Eric Rasmussen.  

Films seen this time:
  • 2014.The Globe. Director: Jonathan Munby. Cast: Antony – Clive Wood; Cleopatra – Eve Best; Enobarbus – Phil Daniels; Charmian – Sirine Saba
  • We saw this at the Globe in 2014 and now we watched the film version of it. It’s always fun to see Shakespeare at the Globe no matter what, but this production did not do much to make me like the play better. I didn’t like any of the interpretations of the characters, with the possible exception of Octavius. Watching it now on DVD did nothing to change my mind. A pity.

Sunday, June 4, 2017

June 2017

Finally, after half a year, we’re back to reading Shakespeare! For various reasons we chose Antony and Cleopatra, which might be considered an odd choice since we didn’t much like the play the last time we read it, or even when we saw it at the Globe. We still don’t like it! Please, can someone who loves the play, please please explain why it’s a good play? I’m sure we must be missing something!
As always I will once again mention to visitors of this blog that Shakespeare Calling – the book is available for purchase. Please help promote the book by buying it, of course, and telling your friends about it, by liking and sharing it on Facebook, Twitter, Amazon, Bokus…. And please encourage your local book shops and libraries to buy it.  Thank you. Your support is needed to keep this project alive.

or
or Adlibris. Or contact the publisher info@vulkan.se

Shakespeare Calling – the book is promoted by
and

Shakespeare sightings:
  • Dagens Nyheter
    • Reports that the Norwegian Shakespeare Magazine does everything right. It’s quite a long review.
    • Tells us that again this summer the Park Theatre will be performing A Midsummer Night’s Dream, which I already knew because I’m FB friends with Pontus Olgrim of the Polar Eclipse Theatre after seeing the play last summer. I hope we can see it again.
  • In the novel The Underground Railroad by Colson Whitehead a minor character involved in the emancipation movement had had connections with a printer who had published Shakespeare’s plays.
  • In Leila Aboulela’s novel The Kindness of Enemies the actor Malak Raja had played one of Macbeth’s witches on stage.
  • In Rosalind Franklin the dark lady of DNA, a biography by Brenda Maddox, it is pointed out that it was almost impossible ‘to get through English schooling in the twentieth century without knowing of Shakespeare’s Shylock, with his ‘Jewish heart’ moaning over his lost ducats’ (relevant because Franklin was Jewish). Later it is mentioned that Franklin, in patriotist fervour, saw Laurence Olivier three times as Henry V.
  • On the TV program Vem vet mest? (Who knows the most?) the question was: What’s the name of Romeo’s beloved in Shakespeare’s play?  The contestants were kids so maybe the question wasn’t as easy as it seemed.
  • In Karsten Alnaes’s Historia om Europa Uppvaknande 1300-1600 (Europe’s history, awakening) I’ve come to the chapter about Elizabethan England:
    • The prevalence of travelling is shown by the comparison to Antonio in Two gentlemen of Verona saying about  his son that he was wasting his time and nothing would come of him until he travelled and learnt something.
    • Essex and his revolt is mentioned and the playing of Richard II the evening before, supposedly to show that even Elizabeth was a tyrant and could be dethroned. It didn’t help the revolt.
    • Shakespeare’s world, we are told, is one of poverty and misery, not just the luxury of Shakespeare’s major characters.
    • Historian George Macaulay Trevelyan pointed out that Shakespeare was lucky having been born in and living in the best of countries.
    • In a book that covers Europe’s history for three hundred years, Shakespeare gets six pages all to himself. Not bad! Other than dealing with his biography and giving quotes from Macbeth and The Tempest Alnaes writes: ‘In this country lived Shakespeare. He embraces a whole world. A poet for all time, who probes the deepest abysses in the human soul. His visions expand human knowledge, but still mirror his environment’s bitter irony and reflect with the insight of darkness the existential crisis created by violence and evil. Because he frees himself from all yardsticks he belongs not primarily to the era of Elizabeth but to the future… Of course Shakespeare is history, but he is also of the present. And it is his significance in our present, his sense of both the human and the mysterious outside the human that makes him an important part of history. He is one of the geniuses who unites us in a common frame of reference…it is that which has made him a part of the common European heritage.’  Fine words! 
Further since last time:
  • Started reading aloud with Hal: Antony and Cleopatra
  • Ordered and received: CD From Shakespeare with love – the best of the sonnets because David Tennant reads several of them
  • Translated into Swedish for the Swedish Shakespeare Society’s magazine: ‘Richard and Henry do history’

 Posted this month
  • This report





Sunday, April 30, 2017

May 2017

Dear Shakespeare friends,
Today, 1 May, is the day for international solidarity. It’s needed more than ever. Things do not look good in the world at the moment. Racism, sexism, fear and hatred, religious fanaticism amongst followers of all the religions, environmental catastrophe and blindness and denial of science, all of this is frightening. But let us remember: ‘The web of our life is of a mingled yarn, good and ill together,’ Shakespeare wrote in All’s Well that Ends Well. And surely together we can, in solidarity, counteract the ill and strengthen the good.

Meanwhile, again life has conspired against Hal and me and we have been unable to read any Shakespeare plays together. Hopefully next time!

As always I will once again mention to visitors of this blog that Shakespeare Calling – the book is available for purchase. Please help promote the book by buying it, of course, and telling your friends about it, by liking and sharing it on Facebook, Twitter, Amazon, Bokus…. And please encourage your local book shops and libraries to buy it.  Thank you. Your support is needed to keep this project alive.

or
or Adlibris. Or contact the publisher info@vulkan.se

Shakespeare Calling – the book is promoted by
and

Shakespeare sightings:
  • The Time Traveller’s Guide to Elizabethan England by Ian Mortimer is, as I mentioned last time, a wonderful book. Here are some more sightings that are well worth repeating:
    • Shakespeare often mentions bad breath, which was indeed a big problem in Elizabethan England. There were many rotten teeth due to eating too many sweets.
    • Considering the vicious delight Elizabethans take in seeing bear baiting and other cruelty to animals, Mortimer wonders how they could also appreciate Shakespeare’s humanism.
    • One of the most famous bears in England’s bear-baiting enthusiasm was called Sackerson and Shakespeare mentions him in The Merry Wives of Windsor.
    • Seeing that Elizabeth loves to go to Paris Garden to enjoy the bloodshed of bear-baiting Mortimer finds it odd that she never went to the Globe to see Shakespeare.
    • Music plays an important part in Elizabethan society and Mortimer writes: ‘Although no one has yet conclusively proved that music is the food of love, there is little doubt that Shakespeare himself thinks it is. More than 170 passages in his plays allude to music or musicians…’
    • Many musicians live in the parish of Saint Helen Bishopsgate, as does Shakespeare.
    • ‘Shakespeare has given voice to so many of our feelings. Probably no other Englishman has been more influential. His influence is not militaristic or nationalistic, nor is it the discovery of a scientific phenomenon; it is simply that his writings are the biggest step ever taken along the path towards understanding the human condition. It is a path we are still following.’
    • ‘If Shakespeare is ‘for all time’, then so too is Elizabethan England.’
  • Norda Mullen, flutist for the Moddy blues, compares Justin Hayward’s lyrics to Shakespeare – ‘everyone can relate’. Well, I wouldn’t go that far.
  • In the musical film Singing in the Rain aspiring actor Kathy Selden (Debbie Reynolds) tells silent star Don Lockwood (Gene Kelly) that real acting is only done on stage such as Shakespeare and Ibsen. When she shortly thereafter pops up out of a cake as a dancing girl he asks her for Hamlet’s soliloquy or some lines by Juliet. Later in the song ‘Make ‘em Laugh’ Cosmo (Donald O’Connor) sings that you could do Shakespeare but it’s better to make ‘em laugh. The song writer had apparently never seen a Shakespeare play.
  • On the TV quiz show Vem vet mest? (Who knows the most?) the question was who directed The cook, the thief, his wife and her lover? The answer: Peter Greenaway and the program leader said, ‘He also directed a film of Shakespeare’s The Tempest.’
  • On another TV quiz show Smartare än en femteklassare (Smarter than a six year student) one of the kids is going to be in a summer production of A Midsummer Night’s Dream.
  • In Dagens Nyheter Johan Hilton writes: ‘Without having a doctorate in the subject I can still claim that all political leaders in the world, now and historically, can find their role model in one of Shakespeare’s kings. Emmanuel Macron? Henry V, with a little luck. Theresa May? Henry VI. Vladimir Putin? Undoubtedly Richard III. With Donald Trump it’s harder. Richard II, the vain title role in one of Shakespeare’s best plays maybe? …History professor Rachel Weil writes that Trump is unpredictable, lives in a dream world and solves conflicts with the help of narcissistic impulses. He therefore risks, like the king, undermining the legitimacy of the whole administration. I don’t know though. Trump is closer to the swashbuckling liar Falstaff. Minus the charm.’ Hmmmm.
  • In Tana French’s novel The Secret Place Detective Stephen Moran finds a book amongst one of the suspects’ belongings: ‘…it looked old, Shakespeare old.’


Further since last time: Well, that’s it.

Posted this month
  • This report