#maps of everything

[pdaliceliveblogs]

oh my god Eda is a SUPER useful person to have in your rebellion

[vermiculated]

newlabours replied to your post “do you ever like the worst character? The noble duke hath sworn his...”

I like Tony Blair

true! a question for you is: was Tony Blair trying to dismantle the established system of government that had held for hundreds of years because he was left out of committee meetings, generally spiteful, and disliked how the head of state dressed? or was he trying to dismantle the same because of his own paralyzing fear over what might come next, and he couldn’t imagine it happening without his participation? 

[vermiculated]

do you ever like the worst character?

The noble duke hath sworn his coming is But for his own; and for the right of that We all have strongly sworn to give him aid; And let him ne'er see joy that breaks that oath!

no one is proposing that! what the heck.

Northumberland is a pit of vipers dressed in human clothes, and in a play about two elements of recognizable and organized leadership, divine right v/s commonwealth, splits the difference and says “remember The Anarchy?”

[vermiculated]

In poetic tragedy we contemplate beings greater than ourselves, greater than it is possible for man to be, enduring and brought to a calamitous end by sorrow or affliction or weakness of character which we should find unendurable; and we contemplate all this with unquestioning assent and with astonishment that deepens to awe. 

J D Wilson, What happens in Hamlet. Cambridge, 1993 (1935). pbk, 220

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Unfortunately, to convey the impression of nonsense is precisely Shakespeare’s point: both Hamlet and the Gravedigger only feign to know what they are talking about. Their attempts to speak the new language of numbers offer a comically macabre miniature of the pretence that drives life in Elsinore as a whole.

R Lewis, “Young Hamlet.” TLS, August 31 2016.

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Back in 1880, Henry James had said that Ellen Terry possessed "a face altogether in the taste of the period, a face that Burne-Jones might have drawn." (The Scenic Art, 143) In 1895, Irving hired Burne-Jones to design King Arthur. Both men knew that for Ellen Terry's Guinevere, psychological realism was out of the question. She could not play a mature, disobedient, and sensuous woman, even though she was one, but only a Guinevere translated into Ophelia, who is herself translated into a mystic, hieratic spirit of nature. Because Ellen Terry's Ophelia was so resonant a creation of artists, the artists who designed Lyceum productions translated her every possible character into Ophelia's emanation. 

N Auerbach, Ellen Terry. New York, 1987. hbk, 245

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It's not a King Lear sort of rain, not a torrential downpour beneath which the people weave to and fro in desperation. Nor is it the hard rain that's gonna fall. It is soft, like the mist inside car windows, leaving no more than jewels of moisture on hair and beards and hats. 

S Thomas, Correspondence. Woodstock, 1993. hbk, 38-9

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To young actresses, she sends not Hamlet's cry of friendship, but Iago's boast of self-sufficiency, though in the context of Othello these words are brashly irreverent: the villain delivers to the corrupt gull Roderigo a message Ellen Terry loved. His line reads in its entirety: "Virtue! a fig! 'tis in ourselves that we are thus and thus." (I. iii. 322-3). Ellen Terry turns this blasphemy into a prayer for power in her Christmas letter to Audrey Campbell: "Now mind you are Merry at Xmas, & that you are happy in the new year = ''Tis in ourselves that we are thus -- or thus.'"

N Auerbach, Ellen Terry. New York, 1987. hbk, 217