Don't forget to vote in our Halloween poll, at right!
|"Well, at least she didn't dress up the kitty!"|
|"Well, at least she didn't dress up the kitty!"|
neurotic and lonely - 20Delusional or what? I don't even know where to begin!
Reply to: firstname.lastname@example.org
Date: 2006-02-14, 9:45PM EST
average height, brown eyes (slightly disportionate), brown curly hair (jewfro), 20 y/o, slightly hunched, occasionally employed anthropologist, chainsmoking jew, currently living with parents, off from school to deal with emotional problems (medicated), seeks gorgeous artsy genius woman interested in philosophical discourse, making out, television, woody allen movies, thelonious monk, the nazis, chinese food, thomas pynchon, digestive disorders. must enjoy video games. must own a video game system. (my parents refuse to buy one for me) no ugg boots. no long island.
|"They do protest too much, methinks."|
In an early scene, Shakespeare’s contemporary Christopher Marlowe watches a new play, “Henry V,” which supposedly happens on the same day that Lord Essex departs for Ireland. But Marlowe died in 1593, while Essex left for Ireland in 1599. When Marlowe is killed, Ben Jonson confronts Shakespeare with the crime, saying that he “slit [his] throat,” but Christopher Marlowe was actually stabbed above the eye, according to the coroner’s report. Simple chronological or factual fudges, you might say — sure, but there’s more. The theatrical censor responds with shock to the idea that in Shakespeare’s version of “Richard III,” the king is portrayed as a hunchback. But Shakespeare did not invent that idea. In the influential “History of Richard III,” by Thomas More, written around 1516, Richard is “little of stature, ill featured of limbs, crook backed, his left shoulder much higher than his right.” And so on. In the film, Shakespeare’s fellow playwrights are all amazed that “Romeo and Juliet” is in iambic pentameter, but by the time “Romeo and Juliet” came out, drama in iambic pentameter was the standard; the first extant English play in iambic pentameter was “Gorboduc,” by Norton and Sackville, in 1561.The movie is doubtless great fun if one grants it a willing suspension of disbelief. Readers interested in the whys and wherefores of the history of attribution would be better served by James Shapiro's book Contested Will: Who Wrote Shakespeare?, which we have in hardback for a few farthings (so, as Iago said, you can "keep money in your purse").
The craziest idea in “Anonymous,” however, is that Edward de Vere wrote a version of “A Midsummer Night’s Dream” 40 years before its performance at court, putting the composition of the play somewhere around 1560..... To put the issue in a contemporary framework, it’s one thing to say that somebody other than Jay-Z wrote “The Blueprint”; it’s another to say that this clandestine Jay-Z wrote “The Blueprint” in 1961. You can’t write a hip-hop masterpiece before hip-hop has been invented. And you can’t write “A Midsummer Night’s Dream” until English secular comedy has come into existence.
It would be hard to imagine a more charismatic and forceful personality in the history of 20th-century music.... She began her career as a composer studying under Fauré, but eventually turned to performance in keyboard (she also studied with Charles Marie Widor) and conducting. She was central to the rebirth of public performances of pre-classical music during the first part of this century, particularly music from the Renaissance and Baroque. Boulanger’s first performance in the United States was as the organist in the premiere of the Symphony for Organ by her most famous pupil, Aaron Copland. Boulanger was the first woman to conduct the major symphony orchestras in the United States. One of her last appearances was here in New York with the New York Philharmonic in 1962, when she conducted works by her sister and the Fauré Requiem. With characteristic elegance and generosity, she dedicated the Sunday afternoon performance to the memory of Bruno Walter, who had died the night before. ....What made Boulanger a great and magnetic teacher not only for a cadre of famous composers but for many other distinguished musicians who studied with her was less the imposition of an aesthetic than the transmission of discipline and the encouragement of individuality.
|''I will have no man in my boat,' said Starbuck, 'who is not afraid of a whale.''|
|"Call Me Ishmael."|
|'...and when the ship was gliding by, like a flash he darted out; gained her side; with one backward dash of his foot capsized and sank his canoe; climbed up the chains...'|
|'But look! here come more crowds, pacing straight for the water, and seemingly bound for a dive.'|
|Kish at work.|
Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,—
While barred clouds bloom the soft-dying day,
And touch the stubble plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.
|"Degas meets Cassatt"|