Wednesday, December 30, 2009
Romeo and Juliet: Just as You Remembered It
This is my first post, so sorry if I don't get it all correct, but a friend just sent me this link to a very funny NPR/Morning Edition story about a new productions of R&J, based only on people's remembrances of the plot/words, etc.
Here's the link:
http://www.npr.org/templates/story/story.php?storyId=121975740
Happy 2010 to all,
Grace
Tuesday, December 29, 2009
Why are the plays in 5 acts? asks Carrol Kindel
Greetings from the Folger,
I have found the answer to your question, Janet, from Thursday's tour at the Folger Shakespeare Library. My colleague, Bill, who was sitting at the desk when we finished our tour went home to his copy of Halliday's "Companion to Shakespeare". There he discovered that dividing plays into 5 acts was a classical convention derived from Seneca. It wasn't practiced consistently until after 1600 when Ben Jonson regularized it. The First Folio follows it in some of the plays, but not all of them with no real consistent pattern. For example, Romeo and Juliet does not follow the 5-act convention in the Folio. Plays were later divided in this way, sometimes following the French convention of using the entrances and exits of main characters as break-points. I hope this was helpful and that you and your husband enjoyed your visit to the Folger.
Monday, December 28, 2009
Docent Board of Directors By Steve Krawczel
Serves as the direct liaison to the Folger Education Department
Submits the annual docent budget to the Education Department and approves/monitors budget expenditures
Oversees docent participation in major activities like the Elementary School/High School Festivals, 12th Night Celebration and Shakespeare’s Birthday Bash
Tracks docent membership, maintains the monthly schedule and collects hours worked
Arranges for new docent training
Reviews changes to docent policy
Just as importantly, the Board seeks to keep you informed and serves as a forum for your ideas and concerns. Your input is welcome! Please contact any Board member with your thoughts, ideas or questions at any time or feel free to attend the Board Meeting the first Tuesday of every month. A list of the board members is provided below:
Julian Ullman , Chair (julianmullman (at) hotmail.com)
Louise Wheatley, Vice Chair (lswdc (at) aol.com), Docent Dispatch December 2009 Page 7
Otice Sircy, Treasurer (ocsircy (at) verizon.net),
Mary Seidell, Secretary
Nancy Howard, (idodrma (at) hotmail.com),
Diane Shages (Diane.shages1 (at) verizon.net),
Helen Urquhart (h_urquhart (at) juno.com),
Steve Krawczel (rex2rex1 (at) cox.net)
Wednesday, December 23, 2009
Carpe Vitam from Larry Plotkin (with quill in hand and excuses to the Bard)
I read another bio of the Bard:
Soul of the Age* is full of Shakespeare lore,
Impeccably informed. I drop my guard.
The author weaves a web of well-wrought words.
I am enmeshed: so easily led to trust,
So weak my will, so generous the rewards.
What vows are proof against my lust?
If women were my sin, and not Will’s life,
By now I would a social outcast be,
Not fit for moral company, a caitiff
Wretch, condemned for incredulity.
But, Oh, forbidden pleasure never palls.
I wait for next week’s bio at the stalls.
*Soul of the Age, Jonathan Bate Random House, 2009
Tuesday, December 22, 2009
Education News from Dr Young, aka Bob
In addition to working on the toolkit, the Education staff prepared for the new season of Shakespeare Steps Out/ Shakespeare at School with a number of new schools being added to the roster of participating schools. A new group of High School Fellows started class in early September and the "Shakespeare for Seniors" program introduced at the end of the last school year has been expanded for this year. We are continuing our work at New Beginnings (formerly Oak Hill), part of the Division of Youth and Rehabilitative Services. Shakespeare is now part of the school’s curriculum, and students will be studying Othello.
We are following up on our very successful June conference for elementary school teachers (Teaching Shakespeare in the Elementary School) with the creation of new web pages designed to encourage and support elementary school teachers across the district and throughout the country as they introduce the Bard to young people. We were successful in our application for a grant from the National Endowment for the Humanities for another Teaching Shakespeare Institute next summer, so we look forward to having a full-house of teachers at the library for four weeks next summer (June 28-July 23, 2010).
This year we’ll be working with the docents to create a "permanent" exhibit for the Shakespeare Gallery to be on display at the end of the theater season until the end of summer, so that visitors to the library during the summer will have an opportunity to see material about Shakespeare along with the exhibit in the Great Hall. A group of docents have volunteered to help create the exhibit, and more information will be distributed as the plan takes shape.
Our new brochure listing all of the events and workshops scheduled to take place looks terrific. There is a great picture of our wonderful docents taking some senior citizens through their paces in a "Shakespeare for Seniors" workshop.
We’ve gotten off to a good start this school year. Thank you for all you are doing to help bring Shakespeare into the classroom for students and teachers, and for helping the general public gain new insights and understanding about the Bard and his work.
Inclement Weather Policy at the Folger
In the wake of this weekend's "snowpocalypse," I'm re-sending our Inclement Weather Policy. Please make your safety a priority in the event of bad weather conditions!
This is a reminder that we follow the federal government's lead for inclement weather. If the federal government announces a liberal leave policy for its employees, it means that Folger staff, with the exception of essential personnel, may use hours of personal or annual leave if conditions are sufficiently hazardous to make traveling to the Folger unsafe. Liberal leave also covers the need for late arrival or early departure. In all cases, your supervisor must be notified by voicemail or e-mail if there is a change in your regular arrival or departure time.
Our standard inclement weather policy is below. Please listen to the news for any delays or closings, check www.opm.gov/status or call 202-606-1900, the federal government phone number to call for its operating status.
In the event of emergency conditions due to inclement weather, snow removal guidelines are in effect for Security and Facility Staff. These staff members are considered "essential" personnel and must make every effort to report to work and to be prepared to remain at work if needed. Your supervisors will inform you of specific schedules, work assignments and other work details as required.
If the Federal Government announces a policy of "Liberal Leave" as is often the case when inclement weather strikes, employees are expected to make a good faith effort to come in to work. All staff are expected to use good, sound judgment, keeping in mind the risks of travel during snow or ice conditions. With the new calendar year, everyone will again have 21 hours of excused (personal or Y) leave to use as needed. With approval from your supervisors, this leave may be used if you are a late arrival or an early dismissal. Supervisors are encouraged to consider individual circumstances when employees workday schedule is changed by the weather.
If the Federal Government announces "Code II or "Late Arrival," Folger employees are expected to make a good effort to arrive on time, but if conditions inhibit timely arrival, supervisors have discretionary authority to disregard late arrival if individual circumstances warrant.
If the Federal Government is closed for snow or ice conditions, the Folger will also be closed. If you have additional questions, please call the main line at 202-544-4600 before calling the guard line at 202-675-0309 to verify the status of the Folger.
What all this means is this. Do not attempt to come to the Folger if weather or driving conditions are unsafe. Some regions of the Metropolitan area are more prone to icy or snowy conditions than others, so use sound judgment. Follow the safe and prudent choice rather than a risky one. Make your commute to and from the Folger a safe one.
Saturday, December 19, 2009
In-Service with Theater Director Timothy Douglas by Jennifer Newton
"I never bend Shakespeare to my concept," Douglas says. "If the concept doesn’t work, I have to adjust." But the vision of a Much Ado that takes place during the preparations for a big celebration like Carnivale—a concept that came to Douglas in a telephone conversation with Folger producing director Janet Griffin—just kept working for him. Attending a Caribbean festival in his hometown of Brooklyn focused Douglas’s attention on Trinidad; hanging out with Trinidadian musicians in Washington got him thinking about the African roots of their music and customs.
So, for his production, Leonato’s house becomes a present-day urban community center where local Trinidadians are making a float for the Carnivale parade. The masked ball and even the wedding in the play are only dress rehearsals for the big parade itself. The setting allows for new twists on a number of the characters—Dogberry, for example, is the self-appointed watchman of the neighborhood; Borachio is a woman in a rather dysfunctional relationship with Don John.
Douglas, who originally trained as an actor, auditions his casts by getting up and reading with them himself. For Much Ado, he has brought together actors he has worked with in the past as well as ones new to him and to the Folger. Washington audiences may recognize his Benedict, Howard Overshown, a D.C. native who started his career here before moving to New York. Craig Wallace and Doug Brown, also in the cast, are also familiar Washington faces.
Douglas did his early work as an actor at Tina Packer’s Shakespeare and Company in Lenox, Massachusetts. Packer’s belief that American actors were physically and psychologically well suited to Elizabethan language freed Douglas from anxiety about classical work. He also was inspired by company co-founder Kristin Linklater’s vocal technique, which emphasizes the body’s need to communicate as well as its connection to the vocal apparatus. The work of these two women informs Douglas’s physical approach to Shakespeare to this day, as both actor and director.
Since 1995, Douglas has lived the life of an itinerant director, working at Yale Rep, Actors’ Theater of Louisville and American Conservatory Theater in San Francisco, among many others. He notes that, though staying home in Brooklyn looks increasingly appealing, he is delighted to be back at the Folger, where a 1995 production of Richard III was in fact his professional directorial debut. He thanks Janet Griffin for inviting him back to Much Ado and a "directing reunion."
Et in Arcadia ego (ah, the memory liners on!) by Gina Guglielmo
Tom Stoppard is undoubtedly the most ingenious of all modern playwrights, so when he chose to explore the idea of death hovering above the most vivacious and ephemeral of lifestyles, one could expect a hell of a ride. The play starts out in the early 19th C., the Romantic Period in England, at Sidley Park where a precocious child, Thomasina Coverly, Lady Thomasina actually, is approaching the discovery of a mathematical breakthrough while being tutored by an Oxfordian named Septimus Hodge. Septimus was at school with that bad George Gordon, Lord Byron, whom he brings to Sidley for a visit. Also sashaying around the drawing room are Lady Croom, the mistress of Sidley; a writer of most bathetic rhymes named Ezra Chater; Captain Brice, Lady Croom’s sea-captain brother; and a demented architect Richard Nokes who is systematically converting all Sidley Park’s classical and orderly gardens, designed by Capability Brown, into a Romantic wilderness. For his troubles he is excoriated by that harpy, Lady Groom, and rechristened Culpability Nokes. A fascinating character is the licentious Mrs. Chatter who has affairs with all the above men, but with Stoppardian deft humor, never appears in the play!
These goings on would seem enough for a night’s entertainment. But remember who is writing this Arcadia. The setting of Sidley Hall remains the same, but the audience is catapulted into the present where a novelist/garden book writer Hannah Jarvis is researching the pre-Nokian gardens. The descendants of the Coverlys are in residence: Chloe, Valentine and the mostly mute Gus. His counterpart in the other world is Tomasina’s brother, Augustus. Hannah’s peaceful diggings are interrupted when a scholarly critic, one Bernard Nightingale, comes to the stately house to do a bit of unearthing on his own. He believes that Byron killed Chater in a duel, and tries to unearth the evidence to stage a coup in the literary world. Valentine is a computer savant working on his own math breakthrough (using grouse and the old hunting logs of Sidley), and is connected to the past because he has found Tomasina’s workbooks. These modern folk are constantly one-upping each other with discoveries in one book or another, and eventually solve the mysteries shrouding Byron and the mysterious Hermit who lived a solitary life on the estate for twenty years and left rooms and rooms full of paper.
The intellectual and scientific dialogue bandied about by these characters both in the past and present is daunting and could be off-putting were it not for the skillful handling of plot, personalities and technical jargon in the recent production of Arcadia, directed by Aaron Posner at The Folger Theater. When one realizes that Stoppard takes us from the old world of Newtonian Predictability to the new realization of an increasingly chaotic universe, it’s amazing that the play truly comes off as a deeply human, humorous and poignant experience. Posner’s approach was everything: the cast was perfect in its fidelity to the text; these were living, breathing, flawed, loveable human beings who despite their brilliance beyond most normal people’s taught us this message: "It’s the wanting to know that makes us matter." In the program notes, Posner counsels us to ever be open to "wonder" as he leads us through this magical mystery tour.
Holly Twyford was marvelously wry as Hannah. The expressive face and body language were wonders to behold. Erin Weaver was a beguiling Tomasina and managed to portray both genius and girlish vulnerability. Her romantic waltz with Septimus at the conclusion, while contemporary characters strode in and out of the scene, introduced a note of sadness knowing as we did his and her fate. Suzanne O’Donnell as Lady Croom, was a protean force of nature, a comic whirlwind of a seductress whose life was idyllic and painless since her most serious thoughts were about the Ha-Ha in the park.
Equally strong and devastatingly attractive in their roles were the gentlemen of the ensemble. The comedic turns and bombast of Eric Hissom’s Nightingale were perfectly matched to Stoppard’s twisting and turning ideas. Cody Nickell made such an appealing Septimus that one fell in love with him along with Tomasina, not just for his beauty, but for his clever mind, his ability to laugh out loud at himself and his society, and his underlying vulnerability to the phantom that lurks in this earthly Paradise. Peter Stray deserved a medal for memorizing and clarifying all that mathematical jargon. It is not hyperbole to state that the entire cast of Arcadia lived their parts to the hilt. Finally I would be remiss not to conclude with my own Helen Hayes nomination for best costumes this season: there is just one adjective for Kate-Turner Walker’s designs: delicious!
Thursday, December 17, 2009
The Ashbourne Portrait and the Earl of Oxford from Sarah Rosenbaum
"They see in the design of the thumb ring a Boar’s Head, representing de Vere.
They identify the 3 animals in the Coat of Arms not as rams (the Hamersley Coat of Arms), but as griffins (the de Vere Coat of Arms). They also believe that the entire inscription of age and date was added later since Oxford was long dead by then.
Also the ears were covered up (by hair) to prevent the obvious recognition of de Vere’s ear."
Look what you just missed. Keep your eye on the film series schedule from Joe Adcock
Get into your car and drive to an English Manor House (What we did on our summer vacation.) by Sarah Rosenbaum
Surrounding the house are gardens, added over the years by the purchaser’s widow. These include a knot garden, a herb garden and a Tradescant Garden containing only plants first identified by the English naturalist John Tradescant. On the other side of the house is a turf maze and a bowling green.
Docent Emeritus Marie Anne Schiffmann and I made a lovely day trip of it, having lunch and also visiting an antebellum mansion that was built by a member of Virginia’s famous Randolph family. I recommend the excursion to any of you.
Digital Docent Dispatch from Diane Shages and Caitlin
Now that Caitlin has set up this Docent Blog and has trained at least some of us in accessing it (and is willing to teach others), the Docent Board has decided it is time to GO GREEN! Many of us will miss opening our mailboxes to find the Dispatch and holding it in our hands. However, there are some positives to this: information will be more current than has often been the case in the past, and we don’t need to worry about losing track of the paper Dispatch because the contents will always be available on the Blog.
Further, JC will continue to send out the monthly Calendar with other tidbits of useful information. For the Docents who do not have computers, we hope this will keep you in the loop. Also, we will continue to call those Docents who are not on the computer with important information which might not make the Calendar.
The next training session will take place in January. Stay tuned for details.
Wednesday, December 16, 2009
August Film Inservice: Was Hamlet Criminally Responsible? by Sarah Rosenbaum
This is the set up for a mock trial held in the Supreme Court building in 1994 with Justice Anthony Kennedy presiding. The whole thing was part of a fund raiser for the Shakespeare Theatre; the participants and attendees were mostly lawyers. Most of the audience were not identified, but the docents enjoyed a game of "Spot the Celebrity." Ruth Bader Ginsburg was a member of the jury. Hamlet was present at the defense table, dressed in the traditional Elizabethan black suit; he stood and sat as requested, but never spoke.
The two lead attorneys were Abbe Lowell and Theodore Olson. They stuck close to the facts as given in the source document; i.e. Hamlet. A side shot showed that at least one of them was using the Folger edition. The key issue was whether Hamlet was feigning madness: it was pointed out that he acted mad only in the presence of people that he didn’t trust. A psychiatrist was called for each side. The one for the defense diagnosed Bipolar Disorder. Key symptoms in this diagnosis were hearing voices (no one else hears the ghost speak), a feeling of grandiosity and special mission (but as the opposition pointed out, he was in fact the prince.), mood changes and finally a habit of word play, puns, etc. In the "to be or not to be" soliloquy, was he contemplating suicide or meditating on the human condition? The parallel was drawn between him and Ophelia; both had a father murdered by someone too highly placed to bring to justice. She clearly went mad.
Was his response madness or cunning cloaked in madness?
The jury verdict was that Hamlet was sane; they also recommended that the prosecutor consider prosecuting him for the destruction of Ophelia. The judge remanded him to pages of our Literary Canon.
Tuesday, December 8, 2009
Chest in Founders' Room
Unfortunately this is not true.
The initials on the left panel look like FB, but they’re more likely TB (based on the style of T in the inscription along the top). And even if they were FB, there’s no evidence FB was Francis Bacon except that a previous owner wanted it to be Bacon.
Please take a chance to make sure this change (cleared up in 1991) has been made to the Docent Handbook at the desk!
Monday, December 7, 2009
Twelfth Night
Twelfth Night Revels
High Tea
On Sunday, January 3, 2010
From 3:00-5:00 p.m.
In the Tea Room and Board Room of the Folger Shakespeare Library
Docents with Unbelievable Talent will perform for you.
RSVP to E.J. Truax at truax1934@verizon.net or 202-546-7638
Please bring a savory, sweet, or wine
Shakespeare Quartos Archive Demo 12/16
Date: Wed. Dec. 16
Time: 11:30 - 12:30; repeated 12:30 - 1:30
Location: Folger Board Room
URL: http://www.quartos.org/
Background:
Funding for the one-year pilot project was provided by a JISC/NEH Transatlantic Digitization Collaboration Grant: http://www.neh.gov/grants/guidelines/JISC.html.
Our aim was to both demonstrate how the quartos could be compared and analyzed if fully transcribed and presented in a single user interface, and to create a single online collection of page images for at least one copy from every pre-1642 edition of the plays.
The main site at http://www.quartos.org/ now includes 32 image sets and transcriptions of the 5 pre-1642 editions of Hamlet. The site includes copies owned by the Bodleian, British Library, Folger, Huntington, National Library of Scotland, and University of Edinburgh. Hamlet texts are presented in a prototype user interface designed by the Maryland Institute for Technology in the Humanities. Transcription was overseen by staff at the Oxford Digital Library, with help from Folger and British Library staff and interns. We had help in evaluation and planning from many Folger staff, readers, teachers, and friends; and also from faculty and students at the Shakespeare Institute of the University of Birmingham.
The British Library’s companion site “Shakespeare in Quarto” was launched in 2004 with page images (but no transcriptions) for each pre-1642 quarto edition of Shakespeare’s plays owned by the British Library. As part of the SQA project, this site was updated so that it now includes at least one image set per edition of each of the 21 Shakespeare plays printed in quarto. Digital images for this portion of the project were provided by the Bodleian, Edinburgh, Folger, and National Library of Scotland. Here’s a link: http://special-1.bl.uk/treasures/SiqDiscovery/ui/search.aspx. And here’s a description of the new material added: http://www.bl.uk/treasures/shakespeare/partners.html.
Hope to see you on the 16th! In the meantime I’m happy to answer any questions or help you get started if you’d like to dive right in on your own.
best,
Jim Kuhn
Monday, November 9, 2009
Parking - again
Wednesday, October 14, 2009
Inservice with Timothy Douglas
“I never bend Shakespeare to my concept,” Douglas says. “If the concept doesn’t work, I have to adjust.” But the vision of a Much Ado that takes place during the preparations for a big celebration like Carnivale—a concept that came to Douglas in a telephone conversation with Folger producing director Janet Griffin—just kept working for him. Attending a Caribbean festival in his hometown of Brooklyn focused Douglas’s attention on Trinidad; hanging out with Trinidadian musicians in Washington got him thinking about the African roots of their music and customs.
So, for his production, Leonato’s house becomes a present-day urban community center where local Trinidadians are making a float for the Carnivale parade. The masked ball and even the wedding in the play are only dress rehearsals for the big parade itself. The setting allows for new twists on a number of the characters—Dogberry, for example, is the self-appointed watchman of the neighborhood; Borachio is a woman in a rather dysfunctional relationship with Don John.
Douglas, who originally trained as an actor, auditions his casts by getting up and reading with them himself. For Much Ado, he has brought together actors he has worked with in the past as well as ones new to him and to the Folger. Washington audiences may recognize his Benedict, Howard Overshown, a D.C. native who started his career here before moving to New York. Craig Wallace and Doug Brown, also in the cast, are also familiar Washington faces.
Douglas did his early work as an actor at Tina Packer’s Shakespeare and Company in Lenox, Massachusetts. Packer’s belief that American actors were physically and psychologically well suited to Elizabethan language freed Douglas from anxiety about classical work. He also was inspired by company co-founder Kristin Linklater’s vocal technique, which emphasizes the body’s need to communicate as well as its connection to the vocal apparatus. The work of these two women informs Douglas’s physical approach to Shakespeare to this day, as both actor and director.
Since 1995, Douglas has lived the life of an itinerant director, working at Yale Rep, Actors’ Theater of Louisville and American Conservatory Theater in San Francisco, among many others. He notes that, though staying home in Brooklyn looks increasingly appealing, he is delighted to be back at the Folger, where a 1995 production of Richard III was in fact his professional directorial debut. He thanks Janet Griffin for inviting him back to Much Ado and a “directing reunion.”
Tuesday, October 13, 2009
Sunday Poll
The Folger's Board of Directors is taking into consideration the possibility of being open on Sunday afternoons. This will not be an immediate change, but we would like your input.
1) Would you be available/willing to come in on Sunday afternoons?
2) Do you think it would be beneficial to the Folger to be open every Sunday, or just 1 or 2 Sundays per month?
3) The hours under consideration are 1pm-5pm. Would this be a single shift, or two?
Keeping in mind that the only other times we are open on Sundays are for performances in the Theatre, please let us know what you think!
Thank you,
Thursday, October 1, 2009
Digital First Folio
I'm writing to invite you to a training session on the digital First Folio to be held Tuesday, October 27th at 1:00 pm at the kiosk in the exhibition hall.
The session will consist of an orientation to the interface of the digital Folio and a survey of the ways some of our colleagues use those features to present background on such topics as
- the prominence of Ben Jonson,
- the Droeshout engraving,
- the list of actors,
- the table of contents of the plays,
- the lack of a prologue at the start of "Romeo and Juliet,"
- the law of printing and presenting plays, and
- the value of our having so many First Folios.
Time for Q&A will follow the presentations.
The upcoming session will be based on what several of us learned from one another at a discussion of the First Folio held last month, and we hope you can join us on the 27th.
Please respond to neuman@georgetown.edu (that is, do not reply to Caitlin's message) if you think you may be willing and able to attend. Your reply does not constitute a commitment, but it will help us gauge interest and set the format.
Best wishes,
Mike Neuman
Friday, September 25, 2009
Parking Question
Hoitsma 2009 - An Evening with Barbara Mowat
Barbara Mowat, co-editor of the Folger editions of Shakespeare’s plays, gets this question a lot at dinner parties. Recently retired as the Folger’s Director of Academic Programs, Barbara kindly returned to the Library to deliver the 2009 Hoitsma Lecture to a fascinated crowd of docents, answering this and many other questions about what it actually means to edit Shakespeare.
Any editor, she noted, bumps immediately into the fact that all Shakespeare’s manuscripts are completely missing. For plays that only come to us in the First Folio, there is nowhere to go when a word or phrase makes no sense. For other plays, which may have been published in one or more quarto editions as well as in the Folio, the textual narrative can get complicated indeed. In fact, every play has its own history, and it can be misleading to generalize about editing Shakespeare.
Exactly 300 years ago in 1709, the first known editor of Shakespeare’s work, Nicholas Rowe, published his edition. Barbara remains fascinated by the power of Rowe’s impact even today. In his effort to reconcile the four Folio editions and 70-some quartos published by his time, Rowe also regularized character names, inserted stage directions, and wrote Dramatis Personnae lists that persisted into the 20th century.
In fact, every edition reflects its editor’s reaction to prior editions. Over the course of the 18th century, editors after Rowe gravitated back to the First Folio, viewing quartos as stolen, bungled versions. The discovery that the Folio texts of Romeo and Juliet, Much Ado about Nothing, and Midsummer Night’s Dream were simply reprints of quartos published during Shakespeare’s lifetime led to serious exploration of quarto texts and editorial efforts to judge which are “good” and which “bad.”
In modern times, some editors have argued that Shakespeare himself wrote different versions of the same play at different points in his life, others that he merely revised and edited the plays throughout his career. The “New Bibliographers” believe that different versions reflect different manuscripts circulating for different purposes—prompt books, for example, in addition to published texts.
Barbara and her co-editor Paul Werstine feel that in the end “we cannot discern where the texts come from and we just have to work with everything that comes down to us.” They start with the First Folio text, modernize spelling and verb tenses, and consult other editions to resolve the inevitable questions that arise. Much work is in revising and updating explanatory notes, because earlier ones were written for a very different educational system, when knowledge of the Bible and classics was assumed. They began work on the new Folger editions in 1989, and the first six plays were published in 1992. The last, Two Noble Kinsmen, will appear in February 2010. The hardest play to edit? It was Othello, “because two very different texts come down to us, both disasters,” says Barbara. But each play offered some challenge, because ambiguities are still being discovered and debated.
In the end, the Shakespeare that is alive and beloved among us is the product of 400 years of different editions. “People are troubled and even offended that the Shakespeare they know is an editorial construct,” Barbara laughed. “They often say, ‘But I read him in the original!’ I like to think that if they knew how much love and care we editors lavish on the works, they might not mind so much.”
Friday, September 18, 2009
Imagning China with Timothy Billings Part 4
Q: You have said there are lots of excellent illustrations in China illustrata. Are we going to see them on the Folger Website?
A: Some are on the wall throughout this exhibit and on the Title cards for each case. Others will appear in the next Folger magazine.
Q: Your enthusiasm in contagious. Can you tell us how you got interested in this subject?
Then at Cornell he studied with Scott MacMillen, the great Shakespeare scholar. He felt that he had to choose between his two interests, WS and China; then discovered, maybe not. So it led to things like this exhibition. The FSL has a lot of material about the Early Modern European’s view of China, but it is not well known When Tim presented this idea to Gail Paster, her response was “Do we have any?”
A: Only one, in Measure for Measure, Act II, Scene 1 , Pompey is giving a long discursive answer to a question and includes “they are not China dishes, but very good dishes,” WS didn’t take any of his sources from China; he gets a lot from the Bible, from Plutarch, a completely different set of texts. He does use the word “Cathayan” to mean a liar. In this context, a “Cathayan” is a European traveler who has returned from China. Their unbelievable stories led to the general use of the word for someone who stretched the truth.
Q: When did the Chinese first learn about WS?
A: In the late 19th century, in connection with the Opium Wars, there was a transfer of history books into China. WS showed up in the context of history. As far back as the early 16th century, some Chinese went back to Europe with merchants, but most did not leave written accounts. There was one who lived in Paris and died apparently of heartbreak at being isolated from his country. He seemed to be of a melancholic disposition; it is a mistake to consider an individual as representing his whole culture; he is himself.
Chinese Dynasties
Jin Dynasty, 266 through 420 CE
Tang Dynasty, 618-907 CE
Yuan Dynasty, 1271-1368 CE, an occupying dynasty of Mongols
Ming Dynasty, 1368-1644 CE
Qing Dynasty (pronounced “Chin”), 1644-1911, a Manchu dynasty
Books Available at the Shop
Vermeer’s Hat: the Seventeenth Century and the Dawn of the Global World by Timothy Brook
Chinese Shakespeares by Alexander Huang, the Video Curator
On Friendship---One Hundred Maxims for a Chinese Prince by Matteo Ricci, translated and
introduction provided by Timothy Billings, the Exhibit Curator
The Memory Palace of Matteo Ricci by Jonathan Spence, out of print, but recommended byJennifer Newton and endorsed by curator
Imagining China with Timothy Billings Part 3
This figurine has never been publically shown. It is not the sort of art that collectors collected. It is missing its cap and scepter; the scepter was probably made of jade... Upper right: A London edition of a Jesuit work with additional illustrations of what Chinese people looked like; the illustrations were copied from similar figurines brought back by English sea captains.
Case 8: Religion & Superstition
This 17th century porcelain figure shows the Great General and hero, Guandi. He is also shown in the engraving above the figure. Later, after his death, he was given the posthumous title of
Emperor. He was venerated; in fact. he became the most popular deity in the Daoist pantheon.
European writers don’t give Chinese religion a fair shake, but the information is detailed and
accurate when you filter out the cheap shots.
Case 9: Civilized Comforts
Two pairs of chopsticks, one of ebony and one of ivory. Matthew Ricci wrote that chopsticks were made of ebony and ivory, with silver tips. In one pair the silver is on the handle end; in the other the silver is on the eating end. Supposedly silver will reveal the presence of poison. The chopsticks are also borrowed items; one from the curator, one from an antique dealer.
Free Standing Case: Polyglot Bible
This Bible was printed in several languages. To set it apart from some other multilingual Bibles, the publisher wished to include some samples of other languages including Chinese. So they went to the Orientalist, Thomas Hyde, for a text that they included in their Bible. On the right is a facsimile of the page (now in the British Library) which was copied. A popular Chinese novel, The Romance of the three Kingdoms, had been dismantled and its pages acquired by various scholars who wanted an example of Chinese writing. This page is actually the last page of the novel, the colophon identifying the date and place of publication.
Case 10: Real Characters
In Europe there was much discussion among intellectuals about devising a Universal Language, something everyone in the world could speak. This would return us to the period before the Tower of Babel. These 16th and 17th century European philosophers believed that the Adamic or Edenic language, as they referred to the one first spoken in the Garden of Eden, was intimately connected with things in the real world; (as opposed the modern deconstructionists’ belief that words are merely arbitrary symbols). They tried to reconstruct or invent such a language so that the name of a thing would make clear where it fit into creation. As an example, the word for horse might consist of three parts; the first would indicate an animal, the second that it was a quadruped and the third be the specific kind of animal. They saw Egyptian hieroglyphics as an example of this. When they learned that Chinese written symbols involved combinations of several basic words, they welcomed that into their theories...Upper left: One wacky fellow named John Webb wrote a book claiming that Chinese was closest to the Edenic language because of its picture writing...
Lower right: John Wilkins was working from a sample of Chinese characters that looks nothing like real Chinese characters.
Case 11: Kong Fu Zi Says
This case is on Confucius, something we had to have in the exhibit. He was the Aristotle of Chinese culture and lived at about the same time. Matteo Ricci started trying to translate his work; the translation was very difficult and took centuries. Jesuits worked together on the translation...
Left: This very precious book is borrowed from the Library of Congress (the FSL does not own a copy.) The little round things shown on the table are ink stones, used to grind solid pieces of ink. Two characters appear over and over in the Chinese version; translated literally as “the master says” or as every Fortune cookie has it “Confucius says.”...Center. A 1573 Chinese edition of Confucius. This was written by the Grand Secretary as a simplified version to be read by the young emperor. So it was written as a more easily understandable edition to help him with his studies. The Jesuits used this to help them decipher Confucius. The writings of Confucius are hard to translate, especially when you have to write your own dictionary as you go along. In the 17th century there arise a huge controversy about Confucius, especially the fact that the Chinese apparently worshiped him. They paid homage to their deceased parents, to their ancestors and to great figures of history. Was this pious remembrance or worship? Matteo Ricci said it was a secular paying of respect, not worship; but others disagreed. By the time Ricci died, he had changed his mind. The custom was officially ruled to be worship and so incompatible with Christianity. “If it walks like a duck and quacks like a duck” etc. This brought down the Jesuit mission since the Chinese wouldn’t give up their custom. By the early 18th century, the Jesuits were out of China. When they came back much later, they were redefined as missionaries.
Case 12:Imperial Letters
Case 13: A New Dynasty
This is the first of two cases related to drama. In 1644, the Ming Dynasty fell and was replaced by the Manchu Qing Dynasty which lasted until 1911 and was the last dynasty of China. This historical happening fascinated Europeans and became the source of a play written in 1676 by the up and coming dramatist Elkanah Settle, then the hottest thing on the English Stage. Some people claimed he was better than Dryden, but he turned out to be a flash in the pan while Dryden was ... Dryden. Settle’s play was not a bit historical or accurate. As was customary in the period, he included “tableaus” where the curtain would rise to show a number of actors in a still pose. One particularly dramatic one showed all the wives and concubines who had committed suicide (as ordered) after the overthrow of the old Emperor. That part of the story is true. Free
Standing Case: Chinese Translations of Shakespeare
By the early 17th century there were translations of WS’s works into German and French. By the mid 19th century, there was a great Japanese translation. In 1904 a Chinese scholar, a master of classical Chinese, translated some of the plays. He knew no English, but depended on a bilingual collaborator to tell him the stories. In turn, this collaborator was working, not from the original plays, but from a copy of Lamb’s Tales. Because of the excellence of the Chinese language, WS attained a very high reputation in China. The most popular stories (they were not translated as plays) were Hamlet and Macbeth because of the supernatural aspects. The title of the Chinese version is roughly “Strange Stories from across the Seas.”...The first translation of Hamlet as a play was in the 1920's. It was not until the 1960's that all the plays were translated. During the late 1930's and 1940's, there were two competing translators working; one affiliated with the Communists and the other with the Nationalists. During the Japanese occupation, they worked on the run. The Communist translator died after he had completed 30 of the plays. After the war, the Nationalist fled to Taiwan where he lived to an old age. The two translations are very different: one more oriented toward performance, the other toward a reading version. A individual’s preference is often based on his politics.
Case 14: The Orphan of China
The Yuan Dynasty was the Golden Age of Chinese drama. The Orphan of China was probably written around 1275. It was a variety play, like an operetta; colloquial speeches were interspersed with songs that are in a dense form of poetry and very hard to translate. For a Chinese audience these songs were very important, but they were sometimes omitted in the translations. It tells of a young man who survived the complete eradication of his family by a corrupt official. He became a hero, showing humor and nobility. At the end, he reveals the evil of the corrupt official; then chooses to turn him over to justice rather than taking personal vengeance. In 1735, it became the first Chinese play to be translated into a Western language, in this case French, and was included in a monumental work Description...de l’empire de la Chine. (This book is not in our exhibit)...
Upper left: Voltaire adapted the play into a work of his own. Also in the case are English translations of both the straight translation and of the Voltaire adaptation. David Garrick liked the play in the translation by Arthur Murphy and put it on at Drury Lane...
Upper right: There are lots of things we do not know about that production, but we do have the play bill...
Lower right. A letter from David Garrick to a friend about the play.
Imagning China with Timothy Billings Part 2
Lower right. China illustrata, a book so popular that this pirated version was published in 1667 by a Dutch printer. It is extensively illustrated; many of its illustrations are used on the wall and on the case cards throughout the exhibit. The author, Athanasius Kircher, was famous, a celebrity scholar. He wrote this, one of the most famous books on China, despite the fact that he had never been there and didn’t know a word of Chinese. He depended on material sent by the Jesuits in China.
Marco Polo had reported that there were communities of Nestorian Christians in China.
When the Jesuits arrived 300 years later, the Jesuits had hoped to contact them; but they had all disappeared. So when a stele, left by Nestorian missionaries, was discovered in 1625 in Xi’an
(where the terra cotta warriors were found.); it was particularly important to the Jesuits. ( A rubbing of the stele is on the wall to the right of the case.) The text is about Christian rulers and missionaries; the Jesuits spent decades working on the translation...Upper left. One of the most expensive books of the time, also by Kircher. The fold out shows the first Chinese text printed in
Europe. The text is from the Nestorian stele, but is not entirely accurate. It was engraved on a metal plate and printed like an illustration. With it are included two translations, one very literal, and lots of commentary by Kircher.
Free Standing Case
A copy of the original edition of China Illustrata belonging to Tim Billings. A pirated edition was
in Case 1.
Case 2: Friends and Collaborators
Matteo Ricci was a Jesuit who spent many years in China and learned to write in felicitous Chinese and to write beautiful Chinese characters. He was born in eastern Italy and died in 1610 so next year will be the 400th anniversary of his death. He had a Chinese friend, “Paul” Xu Guangq, who helped him with the language...Upper right. In answer to a question, Ricci wrote an
eloquent “Essay on Friendship” in Chinese; based on classical European sources, such as Aristotle and Plutarch. It was very popular and circulated widely in manuscript. Two of Ricci’s friends, independently, arranged to have his treatise published. He proclaimed loudly that this was without his knowledge and consent because if a Jesuit wished to publish anything, he had to have permission (a lengthy process that required approval from Europe.) This printed book became an instant best seller in the late Ming dynasty. He was invited to court and would have met the emperor, but by this time the emperor lived in total seclusion, seeing only his eunuchs. The emperor loved the mechanical clocks that Ricci gave him. He also loved the harpsichord that Ricci had ordered from Europe and taught one of the eunuchs to play. Ricci even wrote a piece of music to be played for the Emperor. (The Folger Consort will play this piece at their next concert.) The manuscript for this music was only discovered in 2000 AD among the papers of the Earl of Guilford, who had lived in Italy in the 17th century...
Lower left: Ricci attempted to translate Euclid’s Geometry into Chinese, but found it too difficult. Later with the help of his friend “Paul” , he was able to complete it. Upper left: Marco Polo had visited during the Yuan Dynasty; this dynasty was an occupying one of Mongols so he learned the Mongolian, not Chinese, names for places. He called China “Cathay” and used Mongolian names for the major cities as well. The word “China” comes from the Qing (pronounced “Chin”) dynasty that took power in 1644. Early maps showed Cathay and China as two separate places. The early Jesuits knew they were in “China” and kept looking for “Cathay”. Ricci was the one who definitely concluded that China and Cathay were one and the same.
Question: Is the Jonathan Spence book still considered a good source? It is a wonderful read.. {It is a biography of Ricci with a lot of information about the time and places in which he lived. See
book list at end of write-up. SPR}
Answer: Yes, Tim thought at the time that it had covered everything, but when he started work, he found out more. After these two cases, it is easy to make fun of the misconceptions the Europeans had about China.
Case 3: In Search of the Silkpeople
Case 4: The Great Walls
Here is where we begin the theme of what Europeans thought of when they thought of China. Freestanding Case This copy of Theatrum orbis terrarum is one of Tim’s favorite books in the exhibit. It is open to a map of China; in the lower right are some of the famous land ships, little sailing wagons or carts that were one of the first associations anyone in Europe had with China.
Over Case 5
Around 1600 AD a Flemish engineer built such a wagon, based on the description of the Chinese ones. It was not very successful since it tipped easily and was hard to steer. A fine example of a cross-cultural conversation. In fact, there were no such sailing wagons in China. A single reference from the 4th or 5th century shows a wheel barrow equipped with a sail.
Case 5: Cany Wagons Light
Center: A map by John Speed shows little sailing wagons in the upper left. Like his maps of European countries, he shows small pictures along the side of men and women dressed in their native clothing...Left: John Milton’s Paradise Lost is open to the page with the quote “With Sails and Wind thir canie Waggons light” referring to the Chinese sailing carts. On Wall: Strange Wonders In European reports of China, it is (and was) hard to separate what was real from what was crazy. They believed that there were no beggars in China. Some things were partly true. There was a picture showing fishermen lying back in a boat while birds caught the fish and dropped them into the boat. Most people considered that a legend. But later they learned about the trained cormorants who had rings around their necks to prevent them from swallowing the fish and who did bring them to the fishermen.
Case 6: Chinese Tales: Marco Polo’s Legacy
Lower right: This edition of Marco Polo has only one illustration; it shows a stalk of rhubarb! This kind was called the true rhubarb, unlike the kind found in Europe. It was held in high esteem as a medicine, very effective in purging. When Europeans thought of China, they thought of musk, rhubarb, sailing wagons and the Great Wall. Surprisingly, they did not associate silk with China. The best silk came from Italy. In early years, the Chinese had carefully guarded the secret of how silk was made. In the 6th century the Emperor Justinian sent some Jesuit missionaries to China to discover the secret. They carried bamboo walking sticks. They concealed larva of silk worms and mulberry leaves inside the hollow sticks and walked with them back to Rome to present them to the Pope. Thereafter silk was considered as Italian.
On Wall: Musk deer
Musk was a priceless commodity, used both in perfume and as a very popular medicine, used in cases of epilepsy among other conditions. It shows up in a lot of European medical texts.
Case 7: New Medicine
Visitors will be surprised at how open the Europeans were to acupuncture...Upper left. A 17th century European text based directly on a Chinese medicinal text. In the 1670's the Royal society devoted a session to discussing the efficacy of Chinese medicine. We’re not looking at straightforward progress from A to A+1. Remember, European medicine of the time believed in bleeding and the balance of humors so was similar in principle to Chinese medicine. The 16th and 17th century Europeans had a different set of assumptions about China than we do.
End Case: China Dishes
Imagining China: The View from Europe, 1550-1700 Overview given by curator Timothy Billings Part 1
Introduction:
the consultant on the preparation of this exhibit.
Materials: There is neither a catalogue nor a free brochure for this exhibit. There is material on the Folger Website and a cell phone tour, somewhat briefer than usual. (Phone number for the cell phone tour: (202)595-1844. There will be an article in the Folger magazine which will arrive soon. At the Information Desk, there is also a Children’s Guide, with a related page to take home.
Sources: Most of the books and documents in the exhibit are from our collection. A few rare
Chinese books and documents are borrowed from the Library of Congress or private owners (one of them is the Curator) or are facsimiles of things in other collections. Most of the Porcelain is from the Walters Gallery in Baltimore; about half is usually on exhibit and half is in storage there. Some of these pieces have never before been publicly shown.
Dynasties: For those of us with a very limited grasp of Chinese history, I have put a list of
dynasties and dates at the end of this write-up. Case Title Cards: The Chinese characters following the English titles are translations of the English titles (more or less.) Most of the pictures on the cards are taken from China illustrata; small print at the bottom identifies the source of each illustration. A few previous exhibits have used illustrations on the Title cards; this is the first time that identifying information has been used as well.
Overview
He asked us how much time we usually spent on the exhibit during our regular tours. When he heard “five to fifteen minutes”, he said he would go around and give us an idea of some
themes that he wished to highlight with this exhibit.
From the 1550's to the early 1700's, Europe looked at China with awe and admiration. By the mid 18th century, a negative tone crept in which led to the racist ideas of the 19th century. The Jesuit scholars who lived in China and learned the language really understood the society. But when their writings were translated and filtered through European biases, much misinformation crept in. He compares it to the game of “telephone” in which the message at the end bears little resemblance to the one at the beginning. (Cases 1 and 2) When Europeans of this period thought of China, they first thought of Rhubarb!, of sailing wagons, of musk and of porcelain. Except for porcelain, very different ideas than we have today. (Cases 5, 6 and 7)
The Jesuit mission ended because of a dispute about ancestor worship. The Chinese venerated with incense their own deceased parents, their ancestors and certain revered people of past times. One of these was Confucius. Was this proper respect or a type of worship incompatible with Christianity? The Pope finally ruled that is was worship, but the custom was so ingrained in the culture that it was Christianity that lost out. (Cases 8 and 11)
Cases 13 and 14 and the computer display show how Chinese history and Chinese plays were a source for European plays. Also Chinese translations and productions of Shakespeare’s plays.