Appreciating Shakespeare with Doctor Rap

Series I, Chapter 15: The Nature of Art, Session 3Based on the teaching of Professor Mary HolmesTopics:Judgments of ArtTalking about ArtWhat Makes a Work of Art Great?Questions? Email DoctorRap@zohomail.com

Series I, Chapter 15: The Nature of Art, Session 2Based on the teaching of Professor Mary HolmesTopics:Paradox 2: Escape and ReturnParadox 3: I and WeParadox 4: Integrity and ChangeThe Power of ArtThe Goal of ArtQuestions? Email DoctorRap@zohomail.com

Series I, Chapter 15: The Nature of Art, Session 1Based on the teaching of Professor Mary HolmesSession 1 Topics: Why Art? What is Art? How Art Works Paradox 1: Empathy and Psychic DistanceThe Willing Suspension of DisbeliefQuestions? Email DoctorRap@zohomail.com

Series II, Podcast Z: Selected Sonnets 129-146129130135138144146Questions? Email DoctorRap@zohomail.com

Series II, Podcast Y: Selected Sonnets 73-116737494116Questions? Email DoctorRap@zohomail.com

Series II, Podcast X: Selected Sonnets 1-651-171820293042556065Questions? Email DoctorRap@zohomail.com

Series I, Chapter 14: Hypothetical, Spurious, and False ShakespeareHypothetical: Love's Labour's Won, CardenioSpurious: Hecate passages in MacbethFalse Attributions: "The Passionate Pilgrim," Arden of Feversham, "Shall I Die?" A Funeral ElegyNotes: References are to the following: F.E. Halliday, A Shakespeare Companion 1564–1964 (Baltimore:  Penguin Books, 1964), pp. 289, 83–84, 491–92;Jonathan Bate, “Is there a lost Shakespeare in your attic?” in The Telegraph, April 21, 2007, accessed 8/13/18 at https://www.telegraph.co.uk/culture/books/3664626/Is-there-a-lost-Shakespeare-in-your-attic.html; G. Blakemore Evans, Note on the Text of Macbeth, in The Riverside Shakespeare, Second Ed., (Boston: Houghton Mifflin, 1997), pp. 1387–88; Frank Kermode, Introduction to Macbeth in the same Riverside edition, pp. 1355–56; Hallett Smith, Introduction to The Passionate Pilgrim in The Riverside Shakespeare, p. 1881; MacDonald P. Jackson, Determining the Shakespeare Canon: Arden of Faversham and A Lover’s Complaint (Oxford:  Oxford University Press, 2014);MacDonald P. Jackson, “Shakespeare and the Quarrel Scene in “Arden of Faversham,” Shakespeare Quarterly, Vol. 57, No. 3 (Autumn, 2006), pp. 249–93; Arden of Feversham, ed. Ronald Bayne (London: J.M. Dent, 1897) reproduced on line and accessed (8/21/18) at http://www.gutenberg.org/files/43440/43440-0.txt; Gary Taylor, “Shakespeare’s New Poem:  A Scholar’s Clues and Conclusions,” New York Times, December 15, 1985, accessed 8/21/18 at https://www.nytimes.com/1985/12/15/books/shakespeare-s-new-poem-a-scholar-s-clues-and-conclusions.html; Donald Foster, Letter to the New York Times, January 19, 1986, accessed on 8/21/18 at https://www.nytimes.com/1986/01/19/books/l-a-new-shakespeare-poem-238486.html; G.D. Monsarrat, “A Funeral Elegy:  Ford, W.S., and Shakespeare” in The Review of English Studies New Series, Vol. 53, No. 210 (May, 2002), pp. 186-203, accessed 8/21/18 at https://www.jstor.org/stable/3070371?seq=1#page_scan_tab_contents; William S. Niederkorn, “A Scholar Recants on His ‘Shakespeare’ Discovery,” New York Times, August 21, 2002, accessed 8/21/18 at https://www.nytimes.com/2002/06/20/arts/a-scholar-recants-on-his-shakespeare-discovery.html.Questions? Email DoctorRap@zohomail.com

Series I, Chapter 13: Did Shakespeare Collaborate?Edward IIIPericlesHenry VIIIThe Two  Noble KinsmenSir Thomas MoreReferences are to the following:Melchiori, Giorgio, ed. The New Cambridge Shakespeare: King Edward III (Cambridge:  Cambridge University Press, 1998), pp. 12–13; Hallett Smith, Introduction to Pericles, Prince of Tyre in G. Blakemore Evans, ed., The Riverside Shakespeare, Second Ed. (Boston:  Houghton Mifflin, 1997), p. 1527; Jonathan Bate, “Is there a lost Shakespeare in your attic?” in The Telegraph, April 21, 2007, accessed 8/13/18 at https://www.telegraph.co.uk/culture/books/3664626/Is-there-a-lost-Shakespeare-in-your-attic.html; J. Spedding, “Who Wrote Shakespeare’s Henry VIII?” Gentleman’s Magazine, clxxviii (August–October 1850), pp. 115–24 and 381–82, quoted and ref. in R.A. Foakes, ed., King Henry VIII The Arden Edition, (Cambridge:  Methuen and Harvard University Press, Third Ed, 1957, Repr. 1966), pp. xvii; Cyrus Hoy, “The Shares of Fletcher and his Collaborators in the Beaumont and Fletcher Canon (vii),” Studies in Bibliography, xv (1962), p. 79, quoted and ref. in R.A. Foakes, ed. King Henry VIII, pp. xxvii–xxviii; Hallett Smith, Introduction to The Two Noble Kinsmen in The Riverside Shakespeare, p. 1689; G. Blakemore Evans, Introduction to Sir Thomas More: The Additions Ascribed to Shakespeare, in The  Riverside Shakespeare, pp. 1775–79.Questions? Email DoctorRap@zohomail.com

Series II, Podcast W: The TempestShakespeare's most mystical play.References are to the following:  C.S. Lewis, The Discarded Image (Cambridge: Cambridge University Press, 1964, repr. 1967), Chapter VI; C.S. Lewis, The Abolition of Man (New York: HarperCollins, 2001, orig. copyright 1944), pp. 77–78; Frank Kermode, ed., Arden edition of The Tempest (Cambridge, MA: Harvard University Press, 6th ed., 1958), Intro. pp. xxxv–xxxvii, pp. liii–liv, and Appendix B, p. 143.Questions? Email DoctorRap@zohomail.com

Series II, Podcast V: The Winter's TaleQuestions? Email DoctorRap@zohomail.com

Series II, Podcast U: Troilus and CressidaShakespeare's one satire, on the matter of Troy.Questions? Email DoctorRap@zohomail.com

Series I, Chapter 12: Shakespeare's Other PoemsVenus and AdonisThe Rape of LucreceThe Phoenix and the TurtleA Lover's ComplaintNotes:I have taken some facts and quotations from the following: On The Rape of Lucrece: Hallett Smith, Introduction to The Rape of Lucrece in G. Glakemore Evans, ed., The Riverside Shakespeare, Second Edition (Boston:  Houghton Mifflin, 1997), p. 1814, 1815; and F.E. Halliday, A Shakespeare Companion (Baltimore:  Penguin, 1964), p. 402. On A Lover’s Complaint: Robert Giroux, The Book Known as Q:  A Consideration of Shakepeare’s Sonnets (New York:  Atheneum, 1982), p. 210, 211; Brian Vickers, “Did Shakespeare write A Lover’s Complaint?” accessed 8/13/18 at https://journals.openedition.org/shakespeare/1026#ftn1; see the technical argument in MacDonald P. Jackson, “A Lover’s Complaint and the Claremont Shakespeare Clinic” in Early Modern Literary Studies accessed 8/19/18 at https://extra.shu.ac.uk/emls/journal/index.php/emls/article/viewFile/67/22; see the broader argument in MacDonald P. Jackson, Determining the Shakespeare Canon:  Arden of Faversham and A Lover’s Complaint (Oxford:  Oxford University Press, 2014).Questions? Email DoctorRap@zohomail.com

Series II, Podcast T: Henry VPageantShakespeare's Ideal KingBanishment of FalstaffNote: The Thompson quotation  is from Philip Thompson, Notes on Shakespeare in Gideon Rappaport, ed., Dusk and Dawn: Poetry and Prose of Philip Thompson (San Diego: One Mind Good Presss, 2005), p. 228. 

Series II, Podcast S: Henry IV, Part IIPromise Fulfilled: Prince Hal becomes King Henry VDefense of Prince JohnFalstaff's BanishmentNote: The Thompson quotation is from Notes on Shakespeare in Philip Thompson, Dusk and Dawn: Poems and Prose of Philip Thompson, ed. Gideon Rappaport (San Diego: One Mind Good Press, 2005), p. 221, 227. Questions? Email DoctorRap@zohomail.com

Series II, Podcast R: Henry IV, Part IThree metaphorical heirs to the throne: Hal, Hotspur, FalstaffTwo excessive humors and Plato's three soulsPrince Hal's CharacterQuestions? Email DoctorRap@zohomail.com

Series II, Podcast Q: Richard IIChiasmusRight vs. MeritThe Beginning of the Wars of the RosesQuestions? Email DoctorRap@zohomail.com

Series II, Podcast P: Richard IIIScourge of God"Despair and Die"End of the Wars of the RosesNotes: Two quotations come from Anthony Hammond, Introduction to King Richard III, The Arden Shakespeare (London: Methuen, 1981): The More description is on p. 78; the Spivack quotations (citing Bernard Spivack, Shakespeare and the Allegory of Evil [New York: Columbia Univ. Press, 1958], pp. 135, 151, 157, 161–62) are on p. 100. The Paradin quotation appears in the same Arden edition on p. 339 in Appendix II, note to III.iv.32.Questions? Email DoctorRap@zohomail.com

Series II, Podcast O: Introduction to Shakespeare's History PlaysNotes: The Thompson quotations are from “Notes on Shakespeare” in Philip Thompson, Dusk and Dawn: Poems and Prose of Philip Thompson, ed. Gideon Rappaport (San Diego: One Mind Good Press, 2005), p. 221, 227. The Robie Macauley quotation is from his introduction to Ford Madox Ford, Parade’s End  (New York: Knopf, 1961), p. ix.Questions? Email DoctorRap@zohomail.com.

Series I, Chapter 11: What Is a Sonnet For?What is a poem?What is a sonnet?Shakespeare's SonnetsDid Shakespeare really mean it?How long did it take him to write one?To whom did he write them?Was Shakespeare gay?Notes: The Robert Frost quotation is from Newsweek, January 30, 1956, p. 56, accessed 7/5/18 at http://www.writing.upenn.edu/~afilreis/88v/frost-tennis.html. The Hecht quotation is from Anthony Hecht, Introduction to G. Blakemore Evans, Ed., The Sonnets (Cambridge: Cambridge University Press, 1996, repr. 1998), p. 15. The Dickinson quotation is from The Letters of Emily Dickinson, ed. Thomas H. Johnson and Theodora Ward (Cambridge, Mass.: The Belknap Press of Harvard University Press, 1958), L342a, quoted at https://www.emilydickinsonmuseum.org/later_years.Questions? Email DoctorRap@zohomail.com

Series II, Podcast N: Antony and CleopatraRome and EgyptReason and PassionParticulars and the Universal5 Key Lines12 Specific NotesNotes: The Thompson quotation is from Reflections (Literary and Philosophical) in Philip Thompson, Dusk and Dawn: Poems and Prose of Philip Thompson, ed. Gideon Rappaport (San Diego: One Mind Good Press, 2005), p. 187. The quotation from Sir John Hawkins can be accessed at https://archive.org/details/playspoemsofwill12shak/page/364/mode/2up.Questions? Email DoctorRap@zohomail.com

Series II, Podcast M: MacbethA short discussion followed by 9 key lines and 13 specific notes to help in your reading.Note: Biblical quotations are from the Geneva BibleQuestions? Email DoctorRap@zohomail.com

Series II, Podcast L: King LearNote: Biblical quotations are from the Geneva BibleQuestions? Email DoctorRap@zoho.com

Series I, Chapter 10: What Kind of Thing Is It? Categories of PlaysSession 2: Histories, Romances, SatireHistoriesRomancesOne SatireFalse Category: Problem PlaysNotes: The Halliday quotation is from F.E. Halliday, A Shakespeare Companion 1564–1964 (Baltimore: Penguin, 1964), p. 350. The Boas reference is to F. S. Boas, Shakespeare and His Predecessors (London: John Murray, Third Impression 1910), pp. 384–408, accessed at https://archive.org/details/shakespearehispr00boasuoft/page/n5. The Thompson quotation is from “Notes on Shakespeare” in Gideon Rappaport, ed., Dusk and Dawn: Poems and Prose of Philip Thompson (San Diego: One Mind Good Press, 2005), p. 224.Questions? Email DoctorRap@zohomail.com

Series I, Chapter 10: What Kind of Thing Is It? Categories of PlaysSession1: Tragedies and ComediesRevenge TragediesDe Casibus TragediesDomestic TragediesComic ReliefNotes: The quotation from Morton Bloomfield is from a from a lecture series entitled “Medieval and Renaissance Tragedy and Notions of Tragedy” delivered at Brandeis University, Spring, 1978. The Doran quotation is from Madeleine Doran, Endeavors of Art: A Study of Form in Elizabethan Drama (Madison: University of Wisconsin Press, 1964), p. 148.Questions? Email DoctorRap@zohomail.com

Series II, Podcast K: OthelloPsychomachiaDemonic Iago, Angelic DesdemonaRepentance vs. Suicide3 Key Lines6 Specific NotesNotes:The quotation of Thomas Mann is from Thomas Mann, Joseph and His Brothers, tr. John E. Woods (New York: Alfred A. Knopf, Everyman’s Library, 2005), p. 669. For the Donald Duck psychomachia see “Donald’s Better Self” at https://en.wikipedia.org/wiki/Donald%27s_Better_Self and “Donald’s Decision” at https://en.wikipedia.org/wiki/Donald%27s_Decision. Both Thompson quotations are from “Notes on Shakespeare” in Philip Thompson, Dusk and Dawn: Poems and Prose of Philip Thompson, ed. Gideon Rappaport (San Diego: One Mind Good Press, 2005), p. 220.Questions? Email DoctorRap@zohomail.com

Series II, Podcast J: HamletWhat the play is not.Revenge PlayWho is and who isn't mad?Moral-Spiritual DramaTwo-Letter ClimaxReadinessQuestions? Email DoctorRap@zohomail.com

Series I, Chapter 9: Is This What Shakespeare Actually Wrote? Shakespeare's TextsManuscriptsEarly Printed Editions: Good and Bad Quartos, FolioLater EditionsModern EditionsNotes: Facsimile edition of the Quartos: Michael J.B. Allen and Kenneth Muir, Shakespeare’s Plays in Quarto (Berkeley: University of California Press, 1981). Facsimile edition of the Folio: Charlton Hinman, The Norton Facsimile: The First Folio of Shakespeare (New York: Paul Hamlyn, 1968).Questions? Email: DoctorRap@zohomail.com

Series II, Podcast I: Julius CaesarShakespeare inherits both pro- and anti-Caesar traditionsThe body of Caesar vs. the spirit of CaesarNotes: The Sayers quotation is from notes on the major images in Canto XXXIV in Dorothy Sayers, tr., The Comedy of Dante Alighieri the Florentine, Cantica I, Hell (London: Penguin, 1949), p. 289. On the anti-Caesar position, see William Blisset, “Caesar and Satan,” Journal of the History of Ideas Vol. 18, No. 2 (Apr., 1957), pp. 221-232, accessed 11/1/18 at https://www.jstor.org/stable/2707625?seq=1#page_scan_tab_contents.Questions? Email DoctorRap@zohomail.com

Series II, Podcast H: Romeo and JulietOxymoronLove and DeathQuestions? Email DoctorRap@zohomail.com

Series I, Chapter 8: Whose Interpretation Is Right? Principles of Interpreting ShakespeareText and SubtextContextCritic's AssumptionsDirectors' MirrorsQuestions? Email DoctorRap@zohomail.com

Series II, Podcast G: Measure for MeasureA discussion of one of Shakespeare's greatest comedies.The wedding of Justice and Mercy.The source of two of the Thompson quotations is Philip Thompson, Dusk and Dawn: Poems and Prose of Philip Thompson, ed. Gideon Rappaport (San Diego: One Mind Good Press, 2005), pp. 223–26; a third quotation was heard in private conversation with the poet. Questions? Email DoctorRap@zohomail.com

Series II, Podcast F: Twelfth NightDiscussion of the play: Twelfth Night or What You Will5 Key Lines20 Specific Line NotesQuestions? Email DoctorRap@zohomail.com

Series I, Chapter 7: Why All the Footnotes? Shakespeare's Mental FurnitureSession 5:DecorumRealism or Morality Play?"Foreground Is Background"References in the section on Decorum are to Madeleine Doran, Endeavors of Art: A Study of Form in Elizabethan Drama, (Madison: University of Wisconsin Press, 1964), p. 217–218, and to George Puttenham, Art of English Poesy, III.xxiv (quoted in Doran, Endeavors of Art, p. 217).Questions? Email DoctorRap@zohomail.com.

Series I, Chapter 7: Why All the Footnotes? Shakespeare's Mental FurnitureSession 4: Disintegrating Forces:The Protestant ReformationMachiavelliThe New ScienceQuestions? Email DoctorRap@zohomail.com

Series I, Chapter 7: Why all the Footnotes? Shakespeare's Mental FurnitureSession 3:The Doctrine of CorrespondenceAuthorityChristianityRenaissance Humanism and ClassicismQuestions? Email DoctorRap@zohomail.com

Series I, Chapter 7: Why All the Footnotes? Shakespeare's Mental FurnitureSession 2: The Human Order:Monarchy vs. DemocracyThe Two Bodies of the KingThe FamilyThe IndividualSoul and BodyThe HumorsThe Five WitsQuestions? Email DoctorRap@zohomail.com

Series I, Chapter 7: Why All the Footnotes? Shakespeare's Mental Furniture, Session 1:Words We KnowWords We Don't KnowShakespeare and ElectricityThe Medieval SynthesisThe Cosmic HierarchyNotes:The reference to Lewis is to C.S. Lewis, The Discarded Image: An Introduction to Medieval and Renaissance Literature (Cambridge: Cambridge University Press, 1964, rpt. 1988), pp. 10–13. For the source of the idea of hierarchy in Plato’s Timaeus and its extension in Aristotle’s De Anima and Metaphysics, see Arthur O. Lovejoy, The Great Chain of Being: A Study of the History of an Idea, William James Lectures at Harvard University, 1933 (Cambridge, MA: Harvard University Press, 1936, 1964), Ch. 2. The most valuable modern discussion of the Renaissance ideas of hierarchy and correspondence, and a source for some of the information in these podcasts, is E.M.W. Tillyard, The Elizabethan World Picture (New York: Vintage, 1959).The reference to St. Benedict is to St. Benedict’s Rule for Monasteries, tr. Leonard J. Doyle (Collegeville, MN: The Liturgical Press, St. John’s Abbey, 1948), p. 88. Questions? Email DoctorRap@zohomail.com.

Series II, Podcast D: As You Like ItNew prelude/postlude: Chopin, Piano Concerto No. 1, Op. 11, Third Movement, quartet version, in the public domain.Upcoming, Why All the Footnotes: Shakespeare's Mental Furniture with a better mic.Thanks for technical and other help to N. A., A. G., J. G., F. H., and A. R.Questions? Email DoctorRap@zohomail.com.

Series I, Chapter 6: Unity in Variety,  Session 3: Setting, Theme, AudienceThe third session in the chapter on Unity in Variety looks at settings, themes, and then brings in the audience as contributor to the unity of a play.Coming next, As You Like It, with a format upgrade: Prelude and postlude.Questions? Email DoctorRap@zohomail.com.

Series I, Chapter 6: Unity in Variety, Session 2: Unity in Variety seen inFigures of SpeechActionScenesCharactersPlotNext session: Setting, Theme, AudienceQuestions? Email DoctorRap@zohomail.com

Series I, Chapter 6: Why the play's the thing: Unity in Variety, Session 1Unity and meaningShakespeare and the hologramAll roads lead to meaningWordsImagesIn the next session we'll look at figures of speech, action, scene, character, and plot.In the third session, we'll look at setting and theme and then at the audience.

Series II, Podcast D: Much Ado about NothingDiscussion of the playThree key linesParticular notes to help you in your reading of the play: For these you may want to be sitting with your text and a pencil.Questions? email DoctorRap@zohomail.com.

Series I, Chapter 5, Foiled Again? Shakespeare's CharactersThe particular and the generalThe good, the evil, the mixedThe humorousCharacters can changeFoils and the Shakespearean complication

Series II, Podcast C: The Merchant of VeniceQuestions? Email DoctorRap@zohomail.com

Series I, Chapter 4: Shakespeare's Language, Session 4: Rhetorical Devices: Variation in SpeechDid Shakespeare's audience get it all?Coming next: The Merchant of VeniceShakespeare's CharactersQuestions? email DoctorRap@zohomail.com

Series I, Chapter 4: Shakespeare's Language, Session 3Rhetorical devices rooted in sound:RepetitionRhymeAlliterationAssonanceConsonanceRhetorical devices rooted in structure:AntithesisRepetition of SyntaxChiasmusEnd-stopped and Enjambed linesTo come next: Variation in SpeechQuestions: email DoctorRap@zohomail.com

Shakespeare's Language: Rhetorical Devices Rooted in SoundOnomatopoeiaPacing: Meter and RhythmWhat is iambic pentameter?What are masculine and feminine endings?What is blank verse?Questions? email DoctorRap@zohomail.com

Did People Really Talk Like That? Shakespeare's LanguageSession 1 of four on Shakespeare's Language: What is poetry for?Is it Verse or Prose?Rhetorical devices rooted in meaning: Metaphor and Simile. To come: Session 2: rhetorical devices rooted in sound: Onomatopoeia, Meter, and Rhythm.Session 3; repetition of sounds; rhetorical devices rooted in structure.Session 4: variation in speech; "Did Shakespeare's audience get it all?"Questions? email DoctorRap@zohomail.com

Series II, Podcast B: A Midsummer Night's DreamA discussion of one of Shakespeare's most lyrical plays. Rhetoric as the vehicle of emotion. The nature of love.Expect most uploads on Tuesdays and Thursdays. Coming up, Shakespeare's Language.Questions? email DoctorRap@zohomail.com

What was the state of the art in Shakespeare's theater? Hearing a play. The building and the Stage. Sets. Props. Costumes. Actors. Play direction. Prompt-book and book-keeper. Dance. Audience. Questions? Email DoctorRap@zohomail.com

Who Was Shakespeare the Man? (Series I, Chapter 2): Who wrote Shakespeare's Plays? What kind of person was he? Did he go to school? What religion was he? How could one person have written all those plays? How long did it take him to write a play? Where did he get his ideas? (Shakespeare's sources).Questions? email DoctorRap@zohomail.com