November
Shakespeare Electronic Conference, Vol. 1, No. 130. Friday, 30 Nov 1990. Date: Fri, 30 Nov 90 19:07:10 EST From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Ex Libris Rare Book Discussion Group [Yet another Bitnet discussion group which might interest members of SHAKSPER has recently been brought to my attention by Roy Flannagan. The complete version of this announcement is available on the SHAKSPER Fileserver as EXLIBRIS ANNOUNCE, in the Related Bitnet Conferences Area. KS] Announcing ExLibris, the Rare Book, Manuscript, and Special Collections Electronic Discussion Group ExLibris is an unmoderated news and discussion group for the purpose of discussing matters related to rare book and manuscript librarianship, including special collections and related issues. Membership is open to anyone who wishes to subscribe. The contents are archived and will be printed off at a future date for hard-copy donation to an appropriate collection. The full membership will be circulated from time to time unless objections are heard. Feel free to forward this message to those who might be interested in joining the discussions. Please direct questions (but not subscriptions to <This email address is being protected from spambots. You need JavaScript enabled to view it. >. Thank you and enjoy yourselves. You may subscribe by sending a message to: <This email address is being protected from spambots. You need JavaScript enabled to view it. >. (do NOT send such messages directly to the ExLibris list or to this author) with a subject indicating subscription request ("Subscription request" would do just fine) and a text which gives your name and electronic address. Give the address in as full a form as you can (i.e. include the domain), e.g. Firstname J. LastnameThis email address is being protected from spambots. You need JavaScript enabled to view it. OR Firstname J. LastnameThis email address is being protected from spambots. You need JavaScript enabled to view it. etc. etc. Peter Graham, Rutgers U., (908) 932-2741 <This email address is being protected from spambots. You need JavaScript enabled to view it. > Rutgers -- The State University of New Jersey. Fax: (908) 932-5539 504 Hill Center / Piscataway, N. J. 08855 - 1179
Shakespeare Electronic Conference, Vol. 1, No. 129. Friday, 30 Nov 1990. (1) Date: 30 November 1990, 07:39:21 EST (14 lines) From: FLANNAGA at OUACCVMB Subject: weeping deer (2) Date: Fri, 30 Nov 90 18:22:01 EST (55 lines) From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Weeping Deer (1) -------------------------------------------------------------------- Date: 30 November 1990, 07:39:21 EST From: FLANNAGA at OUACCVMB Subject: weeping deer In Act II, Scene i of *As You Like It*, an anonymous lord describes seeing Jaques who himself is observing a deer wounded by hunters, weeping into a stream. Jaques moralizes and even politicises the event, saying to the herd that fled their wounded companion "Sweep on, you fat and greasy citizens." But what I and my students worried about was how the deer could cry. Shakespeare, though he seems to observe Jaques as a melancholy moralist skeptically, lets the weeping deer pass as a natural possibility. What gave Shakespeare the idea that a wounded deer could cry enough tears to "augment" a stream? Roy Flannagan (2) --------------------------------------------------------------60---- Date: Fri, 30 Nov 90 18:22:01 EST From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Weeping Deer Several years ago I noticed that Shakespeare mentions weeping deer only twice (to my knowledge), in *As You Like It* and in *Hamlet*. A survey of occurrences of the words deer, hart, hind, doe, etc. in proximity to tear, cry, weep, etc. produces only these three examples in the Riverside Shakespeare (WordCruncher version): As You Like It 2.1:47 <1. Lord.> O yes, into a thousand similes. First, for his weeping into the needless stream: "Poor deer," quoth he, "thou mak'st a testament As worldlings do, giving thy sum of more To that which had too [much]." Then being there As You Like It 2.1:66 <Duke S.> And did you leave him in this contemplation? <2. Lord.> We did, my lord, weeping and commenting Upon the sobbing deer. <Duke S> Show me the place. I love to cope him in these sullen fits, Hamlet 3.2:271 <Pol.> Lights, lights, lights! <Exeunt all but Hamlet and Horatio.> <Ham.> "Why, let the strooken deer go weep, The hart ungalled play, For some must watch while some Not only are these plays chronological neighbours, but I would argue that they have many other similarities as well: usurping brothers, an on-stage duel or physical contest, Hamlet's and Jaques' melancholies, the descriptions of the conventional stricken lover (by Ophelia and by Rosalind), the metatheatrical focus (the players at Elsinore and Jaques' "All the world's a stage" speech, for example), and even the similarity between "play false strains upon thee" (AYLI 4.3.68) and "play upon me" (Hamlet 3.2.364). Like RJ and MSND, these are two plays which work out very similar materials in different genres, I think, and enlighten each other greatly. Has anyone noticed other paired plays like this in Shakespeare? I thought I had encountered an article or book on weeping deer, in fact, but can't find the reference right now. Does anyone have any recollection of it? Perhaps the scope was wider than just Shakespeare.... One explanation, at least, for the proverbial association of deer and tears is that the shape of a deer's eye, with a tear duct (or something) almost swollen at the front edge, does indeed look like a tear swelling in its eye. Any more reasoned explanations? Ken Steele University of Toronto
Shakespeare Electronic Conference, Vol. 1, No. 128. Thursday, 29 Nov 1990. Date: Thu, 29 Nov 90 16:44:05 EST From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: More Errors in the ETC Riverside Shakespeare As many of you may already know, the file RIVERSID ERRORS on the SHAKSPER Fileserver contains a listing of errors I have found in the Electronic Text Corporation WordCruncher Riverside Shakespeare. This is the first addendum to the file, consisting of eight cases of mistaken punctuation: in every case, two commas have been substituted for quotation marks. (And in one case, the speech prefix has been truly garbled as a result). I ask you all once more to report any errors you may find in the Riverside Shakespeare text, so that they can be added to the RIVERSID ERRORS file on the SHAKSPER Fileserver. Naturally, any errors found in that list should also be reported to me. Ken Steele University of Toronto |L43 <tellus,"> I trust you not, <"Hic steterat Priami,',> take (Taming of The Shrew 3.1:43) |L343 <Speed. "Item,> She is curst.,, (Two Gentlemen of Ver 3.1:343) [Note that here, even the speech prefix identification has been garbled.] |L21 cur is that?" says another. "Whip him out,', says (Two Gentlemen of Ver 4.4:21) |L20 And world's exile is death; then "banished,, (Romeo and Juliet 3.3:20) |L19 "Call me not fool till heaven hath sent me fortune.,, (As You Like It 2.7:19) |L113 "In her excellent white bosom, these, etc.,, (Hamlet 2.2:113) |L97 For such a guest is meet.,, <[Throws up another skull.]> (Hamlet 5.1:97) |L162 hair is my father, and all the rest are his sons.,, (Troilus & Cressida 1.2:162)
Shakespeare Electronic Conference, Vol. 1, No. 127. Thursday, 29 Nov 1990. (1) Date: Thu, 29 Nov 90 16:13:58 EST (61 lines) From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Records of Early English Drama Bitnet Seminar (2) Date: Thu, 29 Nov 90 16:16:38 EST (64 lines) From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Early Music Bitnet Discussion Group (1) -------------------------------------------------------------------- Date: Thu, 29 Nov 90 16:13:58 EST From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Records of Early English Drama Bitnet Seminar REED-L: Records of Early English Drama Bitnet List [I have taken this introduction to REED-L from the first mailing in the REED logbooks. KS] A good way to start, I think, is to explain what REED is about. The statement at the front of our volumes states: "The aim of Records of Early English Drama (REED) is to find, transcribe, and publish external evidence of dramatic, ceremonial, and minstrel activity in Great Britian before 1642." In pursuit of that goal, REED has brought out thus far records collections for York, Coventry, Chester, Newcastle-on-Tyne, Norwich 1540-1642 (pre-1540 Norwich is in progress), Cumberland, Westmoreland, Gloucestershire (those three bound in one volume), Devon, and the town and university of Cambridge. As you can see, REED started off with areas distinguished by cycle drama, and has been moving into less well known material with the county collections. The collections currently under preparation are also county ones: Herefordshire and Worcestershire. A good deal of folk activity, such as Robin Hood plays and morris dancing, is emerging in the county volumes. Part of the goal of the collections is to print the primary source material with as little editorial interpretation as possible, leaving the interpretative activity for a different forum. Those of you who are up on theatre history debates in North America at least will be aware that recently some have questioned the possibility of success, or even the propriety, of such an attempt. Over the course of the published collections, REED has progressively cast its nets more widely as we have come to recognise a wider range of activities which could be classified as dramatic or semi-dramatic and as we have realised the possibilities in types of archives whose importance was not originally understood. It is to be hoped that this kind of development will continue for the life of the project. REED is not officially or formally sponsoring this discussion group, except insofar as we are using the REED computer account. Opinions expressed by me are thus simply my opinions and should not be taken as expressions of policy! The goal is to discuss, even argue, about matters which pertain to the sort of activity documented in REED and Malone Society volumes. Abigail Ann Young, Research Associate Records of Early English Drama REED@UTOREPAS orThis email address is being protected from spambots. You need JavaScript enabled to view it. The REED-L List itself is <REED-L@utoronto>, but to subscribe please send the following command: TELL LISTSERV@utoronto SUB REED-L your name. Anything sent to <REED-L@utoronto> will be echoed to the entire group; anything sent to <REED@utorepas> will reach the editor. This file is available on the SHAKSPER Fileserver as REED-L ANNOUNCE. (2) --------------------------------------------------------------47---- Date: Thu, 29 Nov 90 16:16:38 EST From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: Early Music Bitnet Discussion Group Early Music Redistribution List <This email address is being protected from spambots. You need JavaScript enabled to view it. > (Early Music Redistribution) Editor: GONTER@AWIWUW11 (Gerhard Gonter) As stated in the announcement, this list is provisorially hosted atThis email address is being protected from spambots. You need JavaScript enabled to view it. , until we find a better distribution facility. This list is not a LISTSERV discussion group, which has pros and cons. cons: * fewer distribution features * no online database * no automatic handling of administrative requests pros: * full fledged natural language interface to handle your requests * editor to help you, if necessary Please send your contributions *and* requests toThis email address is being protected from spambots. You need JavaScript enabled to view it. Why did I write `proposal' in the announcement? Well ... some people argued, that there is not much interest in this topic at all. On the other hand, the number of subscribers is almost hitting the mark of 50 right now. List of Topics: Anything about EARLY MUSIC (medieval, renaissance etc.) including discussions/comments/questions about a) (new) records b) books c) performances d) song texts & translations e) encoding early music scores in electronic form f) concert/festival announcements etc... To become a member of the Early Music Discussion Group, send a subscription query to <This email address is being protected from spambots. You need JavaScript enabled to view it. >. This file is available as MUSIC ANNOUNCE on the SHAKSPER Fileserver. ------------------------------------------------------------------- Fileserver Procedures: SHAKSPEReans can retrieve files or logbooks from the SHAKSPER Fileserver by issuing the interactive command, "TELL LISTSERV AT UTORONTO GET fname ftype SHAKSPER". If your network link does not support the interactive "TELL" command, or if Listserv rejects your request, then send a one-line mail message (without a subject line) to LISTSERV@utoronto, reading "GET fname ftype SHAKSPER". For a complete list of files available, send the command "GET SHAKSPER FILES SHAKSPER" to obtain an annotated index. (Note that the "INDEX SHAKSPER" and "GET FILELIST SHAKSPER" commands will result in an *un*annotated list generated automatically by Listserv. These lists include size information, but are less legible to human eyes.) For further information, consult the appropriate section of your SHAKSPER GUIDE, or contact the editor, <This email address is being protected from spambots. You need JavaScript enabled to view it. > or <KSTEELE@utorepas>.
Shakespeare Electronic Conference, Vol. 1, No. 126. Wednesday, 28 Nov 1990. Date: Wed, 28 Nov 90 17:19:31 EST From: Ken Steele <This email address is being protected from spambots. You need JavaScript enabled to view it. > Subject: 1991 SAA Seminar Papers on SHAKSPER Fileserver SHAKSPER was originally conceived as a year-round forum to perpetuate discussion initiated by conference papers and seminars at the annual Shakespeare Association meetings, to store copies of seminar papers for easy retrieval by auditors, and to facilitate the advance planning of such seminars. SHAKSPER is now taking the first tentative steps in this direction, with the inauguration of a Fileserver area devoted to abstracts and seminar papers for the 1991 Shakespeare Association of America conference (scheduled for Vancouver, British Columbia, March 21-23). Seven members of SAA Seminar 3, "Shakespeare's Quartos: Text, Performance, Memory," including its two leaders, Linda Anderson and Janis Lull, are already members of SHAKSPER, and have agreed to circulate electronic copies of their abstracts and papers via the SHAKSPER Fileserver. SHAKSPEReans interested in auditing Seminar 3, or interested in the subject but unable to attend the Vancouver conference, are welcome to retrieve abstracts and papers, and to participate in the advance discussions here on SHAKSPER, which I hope will be both vigorous and thought-provoking. Conventional mail has always allowed seminar members to read each other's papers in preparation for conferences, and occasionally to write responses. SHAKSPER, however, should permit dialogue to a revolutionary degree: seminar members and auditors can review abstracts, make comments and suggestions, adapt their research in response to this discussion, and distribute final papers. It is my hope that this experiment will prove sufficiently successful to demonstrate the potential of electronic mail and SHAKSPER to the Shakespeare Association at large. SHAKSPEReans writing papers for other sessions at the 1991 SAA conference are also heartily encouraged to submit electronic copies of abstracts, drafts, and/or completed papers to me for inclusion on the SHAKSPER Fileserver. Authors are welcome to ask fellow SHAKSPEReans for comments and suggestions on abstracts or draft papers, or to raise related issues in notes or queries. (Please see the guidelines for submitted files in the new version of the SHAKSPER GUIDE, available from the Fileserver.) For now, then, let me announce the first abstract in the Seminar 3 area of the Fileserver: Skip Shand's "Queen of the First Quarto," a performance-oriented study of the figure of Gertrude in the first quarto of *Hamlet*. (Stored as SHAND ABSTRACT on the Fileserver.) More abstracts should be joining it by the end of November, and final papers should be in place by February. Let me encourage seminar members and especially SHAKSPEReans unable to attend the conference to discuss questions raised by these abstracts and papers right here on SHAKSPER. I have no doubt that there will be plenty left to say in Vancouver! Ken Steele University of Toronto [General information on the 1991 SAA Conference and its Programme can be found in the file VANCOUVR CONFERNC on the SHAKSPER Fileserver.]