Thursday, January 31, 2013

Book Note: 30 Great Myths about Shakespeare

Maguire, Laurie, and Emma Smith. 30 Great Myths about Shakespeare. Oxford: Wiley-Blackwell, 2013.

This is really quite a delightful book. Its authors treat a wide range of myths about Shakespeare—some of which are less mythy and more debatable than others (i.e., "Shakespeare was a Catholic")—in a perfect marriage of popular expression and scholarship.

The book addresses the myths thoroughly, exploring how and why the myths came to be and providing good documentation to support its claims. Myth number 30 addresses the authorship issue. Even though the authors, in debunking that myth, perpetuate the separate but related myth that Orson Welles was an Oxfordian (he wasn't), I can forgive them because the rest of the chapter is compelling and well-written.

To intrigue you all the more, I'm provided an image of the table of contents—for the first fifteen myths.  Enjoy!


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Wednesday, January 30, 2013

Shakespeare . . . Lost . . . in . . . Space!

"The Space Creature." By Irwin Allen and William Welch. Perf. Guy Williams, June Lockhart, and Mark Goddard. Dir. Sobey Martin. Lost in Space. Season 3, episode 10. CBS. 15 November 1967. DVD. Twentieth-Century Fox, 2008.

This was the first—and it may be the last—episode of Lost in Space that I've ever watched. My attention was called to it by the same reader who had found allusions to Shakespeare in Buffy, the Vampire Slayer.

In this episode, upon the disappearance of Dr. Smith, Robot (who has his own Shakespearean connection, being designed by the designer of Robbie, the Robot, of the Tempest-related Forbidden Planet) holds the ice bag Dr. Smith had on his head earlier and gives us part of Hamlet's Yorick speech:


I don't have much to say beyond that—except to note that this is one more instance of the pervasiveness of Shakespeare in modern Western culture.

Links: The Episode at IMDB.

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Tuesday, January 29, 2013

Othello and Buffy, the Vampire Slayer

“Earshot.” By Joss Whedon and Jane Espenson. Dir. Regis Kimble. Perf. Sarah Michelle Gellar, Nicholas Brendon, and Emma Caulfield. Buffy, the Vampire Slayer. Season 3, episode 18. The WB Television Network. 28 September 1999. DVD. 20th Century Fox, 2010.

The same reader who pointed me toward the possibility of a Titus Andronicus reference in Buffy, the Vampire Slayer (for which, q.v.) gave me a tip about the show's use of Othello.

This one was much easier to find—though you can see by the subtitles that I chose to watch this at three times the speed (which is a reflection on my limited time rather than on the show's value). Buffy has developed the ability to hear what other people are thinking, and she uses it to (1) act like she knows the right answers in class and (2) reach an epiphany about her own jealousy.  I'll let the clip speak the rest for itself:


Links: The Episode at IMDB.

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Monday, January 28, 2013

Another Shakespearean FoxTrot

Amend, Bill. Wrapped-up FoxTrot: A Treasury with the Final Daily Strips. Kansas City: Andrews McMeel, 2009. 103.

Give me a B!

B!

Give me an I!

I!

Give me an L!

L!

Give me another L!

L!

Give me an Amend!

Amend!

Thanks.  That's filled up the space enough that this comic by Bill Amend will fit.

Click on the image below to enlarge it.  Enjoy!


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Friday, January 25, 2013

The Renaissance Feud in The Facts of Life

"E.G.O.C. (Edna Garrett on Campus)." By Janis Hirsch. Perf. Charlotte Rae, Lisa Whelchel, Kim Fields, Mindy Cohn, Nancy McKeon, and Clive Revill. Dir. John Bowab. The Facts of Life. Season 6, episode 8. NBC. 14 November 1984.

I'm trying to be much better about passing along the bits and bobs (and books and blocks) of Shakespeare that I find as I encounter them instead of several months or years after. That will mean that some posts will be much more informative than analytical, but I hope none of you will be offended by that. After all, this is a MicroBlog!

Today, I'm pointing you toward an episode of The Facts of Life I learned about from Shakespeare Geek's Twitter Feed. The housemother of a woman's boarding school returns to college to pursue an English major.  She ends up in a Shakespeare class, and the professor decides to play a game he calls "The Renaissance Feud."


The premise is all right, but I'm not convinced that its working out is the best it could be. Still—there it is! 

Links: The Episode at IMDB.

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Thursday, January 24, 2013

Shakespeare in The Twilight Zone: “Fear”

“Fear.” By Rod Serling. Perf. Peter Mark Richman and Hazel Court. Dir. Ted Post. The Twilight Zone. Season 5, episode 35. CBS. 29 May 1964. DVD. Image Entertainment, 2005.

The Shakespeare in this episode is bound to be a bit anti-climactic, especially after "The Bard." And it also is the second time the show has turned to this quote. The clip pretty much speaks for itself, needing no further plot summary. And the quote—well, the quote speaks directly to the philosophy of The Twilight Zone: "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy."


Links: The Episode at Wikipedia.

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Wednesday, January 23, 2013

Shakespeare in The Twilight Zone: “Queen of the Nile”

"Queen of the Nile." By Jerry Sohl. Perf. Ann Blyth, Lee Philips, Celia Lovsky, and Frank Ferguson. Dir. John Brahm. The Twilight Zone. Season 5, episode 23. CBS. 6 March 1964. DVD. Image Entertainment, 2005.

Here's another tiny Shakespearean element (or are there two?) in an episode of The Twilight Zone.

A journalist arrives at an actress's mansion to interview her—with special attention to her youth and vitality. When he skeptically asks her about one of her early films (Queen of the Nile, 1940, co-starring Charles Danforth), made when she was only fifteen, she replies, "Darling, Juliet was only twelve."


The second possible (and merely tangential) connection to Shakespeare involves a spoiler. If you don't mind discovering a secret of the episode, scroll down a little further and read on.

It's possible that the actress is Cleopatra—the very Cleopatra of Shakespeare's Antony and Cleopatra herself—also known for her youth and vitality. That point is open to debate, but it is within the realm of possibility.

Links: The Episode at Wikipedia.

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Shakespeare in The Twilight Zone: “The Bard”

“The Bard.” By Rod Serling. Perf. Jack Weston, John Williams, Henry Lascoe, Marge Redmond, and Burt Reynolds. Dir. David Butler. The Twilight Zone. Season 4, episode 18. CBS. 23 May 1963. DVD. Image Entertainment, 2004.

Note: This is a repost of a 2010 blog post entitled "Extending Shakespeare's Biography: Shakespeare in The Twilight Zone" (for which, q.v.).

Speculations about what Shakespeare would be doing if he were alive today are not uncommon. Would he be Twittering? Would he be composing Broadway musicals? Would he make it to Hollywood? Would he make it in Hollywood once he made to Hollywood?

In one such extended speculation, The Twilight Zone offers a Shakespeare brought back from the great beyond to help a failing tele-script writer. And Shakespeare doesn't look too happy to be in 1963 or to be in The Twilight Zone.

It's a outstandingly funny episode, and it's all the more remarkable for its characterization of Rocky Rhodes, the most devoted disciple of Stanislavsky that ever lived—played by a very young Burt Reynolds! He'll make an appearance in the clip below, criticizing Shakespeare for not liking Tennessee Williams.

The overall plot centers on Julius Moomer, a television scriptwriter who uses black magic to bring Shakespeare to Hollywood. He hopes Shakespeare will help him make it big.

And Shakespeare does help—but the studio executives can't quite figure out what to do with his scripts. And the sponsors keep objecting to certain lines and wanting to change things. In what appears to be a Romeo and Juliet-inspired script, for example, they alter the balcony scene. The male lead meets the female lead in a subway station rather than on a balcony. Later, a horrified Shakespeare learns that his ending has been changed. Esmeralda (the Juliet analogue) doesn’t kill herself. She runs away with a bass fiddler from Artie Shaw’s Gramercy Five.

As a result, the script seems to be a hodge-podge of Shakespeare and modern (modern to the 1960s, that is) lingo:
Actor One: “Oh, come, Olivia. Cast off those benighted colors and . . . and gaze as a friend on Greenwich Village. Let not forever with your veiled eyes seek your noble boyfriend in the dust. It is common, I know. But all that live must die.”

Actor Two: “Oh, it’s easy for you to say.”
The best parts are when Shakespeare works his own lines into the conversation—often citing their source. Here's the knock-down-drag-out fight that ends Shakespeare's career in television:

Shakespeare: “‘Blow, blow, thou winter wind, thou art not so unkind as man’s ingratitude.’ That’s from As You Like It, Act II, scene vii.”

Moomer: “Hey, Will! Will! Hey! Wait a minute, Will! Wait a minute. What are you doing? You're going to louse up the whole deal. What am I going to say to them in there? What am I going to tell them?”

Shakespeare: “Tell them simply that ‘Foolerly, sir, does walk about the orb like the sun; it shines everywhere.’ Act III, scene i, Twelfth Night. And you, Julius Moomer, foolish mortal who could have covered himself with a cloak of immortality, to you, Julius Moomer, who has succumbed to the rankest compound of villainous smell that ever offended nostril—to you, Julius Moomer . . . Lottsa Luck.”
Shakespeare, in that moment, seems to prove himself the master of both the language of his day and the language of ours, even as he disparages the modern television industry with lines spoken by Falstaff in The Merry Wives of Windsor:
By the Lord, a buck-basket! Rammed me in with foul shirts and smocks, socks, foul stockings, greasy napkins; that, Master Brook, there was the rankest compound of villanous smell that ever offended nostril. (III.v.89-93)
All in all, the episode provides a humorous and fascinating use of Shakespeare and his biography—extended, in this case, to 1963.

Links: The Episode at IMDB.

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Tuesday, January 22, 2013

Shakespeare in The Twilight Zone: “The Incredible World of Horace Ford”

“The Incredible World of Horace Ford.” By Reginald Rose. Perf. Pat Hingle, Nan Martin, Ruth White, Phillip Pine, Vaughn Taylor, Jerry Davis, and Jim E. Titus. Dir. Abner Biberman. The Twilight Zone. Season 4, episode 15. CBS. 18 April 1963. DVD. Image Entertainment, 2005.

Although it has only a small amount of Shakespeare, “The Incredible World of Horace Ford” has a great deal of interest.

Horace, the protagonist of this episode, is turning forty, and he is reflecting back with considerable nostalgia on his childhood in the 1930s on Randolph Street in New York City. He recalls all the kids he used to play with and all the games they used to play. And then he finds himself going back in time to Randolph Street, where he sees his former playmates, who are still around ten years old. Two points of interest arise out of this.

The first is one of the games the kids are playing. In the sequences set in the 1930s, we hear one of the children call "Ringolevio, caw, caw, caw!" I knew nothing about the game before watching this episode, but it is a well-documented game played (under that name) specifically in New York City. It sounds similar to the game called "Capture the Flag" that I played growing up. You can read a lengthy entry about it on Wikipedia. Or you can read a book titled Ringolevio: A Life Played for Keeps.

The second is a set of words associated with a set of actions that Horace says one kid of his acquaintance was known for. The kid would make a fist, say, "Shake" while shaking it, "Spear" while poking another kid in the side with it, and "Sock an ear" while bumping the kid on the ear. Together, it comes out quickly as "Shakespeare—sock an ear!" Horace demonstrates the actions in the clip below (and there's a bit more afterwards that has the cry of "Ringolevio"):


I had also never heard of "Shakespeare—sock an ear." And that's true even after a childhood filled with the songs of Allan Sherman. His "Turn Back the Clock" features tons of rhymes and sayings that kids of Sherman's generation used to say. And now I want to know how widespread or well-known "Shakespeare—sock an ear" was. I currently have a call into the amazing and knowledgeable people of the public radio show A Way With Words, and I hope they'll have some news for me.

In the meantime, enjoy this clip—and please comment below if you know anything about "Shakespeare—sock an ear."

Links: The Episode at Wikipedia.

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Bonus Material: The Lyrics to Allan Sherman's "Turn Back the Clock":

Turn back the clock and recall what you did
Back on the block where you lived as a kid.
And if you think every kid nowadays
Is a nut or a kook or a fool,
Just turn back the clock and recall what you said
When you were a kid in school.

Ah, your mother wears army shoes!

Nyah nyah nyah nyah nyah nyah.

Teacher, teacher, I declare,
I see your purple underwear.

Margarite, go wash your feet,
The board of health's across the street.

Ladies and gentlemen, take my advice,
Pull down your pants and slide on the ice.

Inka binka, bottle of ink,
The cork fell out and you stink.

Nyah nyah nyah nyah nyah nyah.

Mary had a little lamb,
The doctor was surprised!

Mary had a little lamb,
She also had a bear.
I've often seen her little lamb,
But I've never seen her bare.

Nyah nyah nyah nyah nyah nyah.

Roses are red, violets are blue,
I copied your paper and I flunked too.

Roses are red, violets are blue,
Whenever it rains, I think of you—drip, drip, drip!

Roses are red, violets are blue,
I still say your mother wears army shoes!

Nyah nyah nyah nyah nyah nyah.

Your mother is a burglar,
Your father is a spy,
And you're the dirty little rat
Who told the F.B.I.

Dirty Lil, Dirty Lil,
Lives on top of Garbage Hill,
Never took a bath and never will,
Yuck, pooey, Dirty Lil.

Oh what a face, oh what a figure,
Two more legs and you'd look like Trigger!

A B C D goldfish?
L M N O goldfish.
S A R 2 goldfish. C M?

Turn back the clock and recall what you did
Back on the block where you lived as a kid.
And if you think every kid nowadays
Is a nut or a kook or a fool,
Just turn back the clock and recall what you said
When you were a kid in school.

There goes your father wearing your mother's army shoes!

Monday, January 21, 2013

Shakespeare in The Twilight Zone: “Printer's Devil”

“Printer's Devil.” By Charles Beaumont. Perf. Burgess Meredith, Robert Sterling, Pat Crowley, and Ray Teal. Dir. Ralph Senensky. The Twilight Zone. Season 4, episode 9. CBS. 28 February 1963. DVD. Image Entertainment, 2005.

Although it's not much, it is Shakespeare.

In this episode, the character of Mr. Smith is played by Burgess Meredith, whom we last saw hoping to spend the rest of his days reading Shakespeare and other great authors (for which, q.v.). Mr. Smith is the devil; when his advances toward the Editor-in-Chief's friend are spurned, he dismisses her with a curt title of a Shakespeare play:  Love's Labour [sic] Lost:


Links: The Episode at Wikipedia.

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(and to support Bardfilm as you do so).

Shakespeare in The Twilight Zone: “Little Girl Lost”

“Little Girl Lost.” By Richard Matheson. Perf. Robert Sampson, Sarah Marshall, Tracy Stratford, Rhoda Williams, and Charles Aidman. Dir. Paul Stewart. The Twilight Zone. Season 3, episode 26. CBS. 16 March 1962. DVD. Image Entertainment, 2005.

At the end of this episode's opening sequence, there's a tiny, tiny bit of Shakespeare.

Somehow, Rod Serling can't resist saying “There’s the rub” (and citing his source) as he tells us what's peculiar about what's happening in the lives of this family:


Links: The Episode at Wikipedia.

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Friday, January 18, 2013

Shakespeare in The Twilight Zone: “A Quality of Mercy”

“A Quality of Mercy.” By Rod Serling. Perf. Dean Stockwell, Albert Salmi, Leonard Nimoy, Rayford Barnes, Ralph Votrian, Dale Ishimoto, Jerry Fujikawa, and Michael Pataki. Dir. Buzz Kulik. The Twilight Zone. Season 3, episode 15. CBS. 29 December 1961. DVD. Image Entertainment, 2005.

This episode's title—and the Shakespeare quotation at its close—come from Portia's speech to Shylock in Act IV:
The quality of mercy is not strain'd,
It droppeth as the gentle rain from heaven
Upon the place beneath . . . .
It blesseth him that gives and him that takes. (IV.i.184-87)
The episode's plot is a fairly-straightforward "put yourself in the other guy's shoes" narrative. An American soldier has been ordered to attack a group of Japanese soldiers in a cave; he inexplicably finds himself to be a Japanese solider preparing a similar attack on American soldiers in a cave. Through this, he learns, in essence, the Golden Rule.


At the episode's close, Rod Serling points toward the universality of the sentiment expressed by Portia:  it is "applicable to any moment in time, to any group of soldiery, to any nation on the face of the earth—or, as in this case, to the Twilight Zone."

Links: The Episode at Wikipedia.

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Thursday, January 17, 2013

Shakespeare in The Twilight Zone: “The Passersby”

“The Passersby.” By Rod Serling. Perf. James Gregory, Joanne Linville, Warren Kemmerling, and Austin Green. Dir. Elliot Silverstein. The Twilight Zone. Season 3, episode 4. CBS. 6 October 1961. DVD. Image Entertainment, 2005.

I haven't yet seen the new movie Lincoln, but, true to Lincoln's character, the film contains (as I gather) a fair bit of Shakespeare.

I told you that to tell you this: When Abe Lincoln shows up in The Twilight Zone, it's with Shakespeare on his lips.

This episode, which is on the dramatic side, features a road—a road that the dead of the Civil War walk as they leave this earth. I hope I'm not giving away a spoiler by saying that Lincoln has to walk this road as well.

As he does so, a line from Julius Caesar seems fitting to him:
Of all the wonders that I yet have heard,
It seems to me most strange that men should fear,
Seeing that death, a necessary end,
Will come when it will come. (II.ii.34-37)
Perhaps because they're too familiar, Lincoln leaves out the first two lines of Caesar's words—the more famous part of the speech:
Cowards die many times before their deaths,
The valiant never taste of death but once. (II.ii.32-33)
The result is that the speech seems more sensitive—less prone to accusations of bragging—and that, too, seems in keeping with Lincoln's character.


Links: The Episode at Wikipedia.

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Wednesday, January 16, 2013

Shakespeare in The Twilight Zone: “The Purple Testament”

“The Purple Testament.” By Rod Serling. Perf. William Reynolds, Dick York, Barney Phillips, and Warren Oates. Dir. Richard L. Bare. The Twilight Zone. Season 1, episode 19. CBS. 12 February 1960. DVD. Image Entertainment, 2004.

In this episode, a soldier has the ability to see who is going to die that day.  The gift terrifies him, and he starts to exhibit signs of a nervous breakdown.

At the end of the episode (which you should see for yourself—I'll try to avoid spoilers), Rod Serling's voice comes in and gives a quote from Richard II (which he mistakenly attributes to Richard III):  “. . . he is come to open / The purple testament of bleeding war” (Richard II, III.iii.93-94).


Links: The Episode at Wikipedia.

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Tuesday, January 15, 2013

Shakespeare in The Twilight Zone: “The Last Flight”

“The Last Flight.” By Richard Matheson. Perf. Kenneth Haigh, Simon Scott, Alexander Scourby, and Robert Warwick. Dir. William Claxton. The Twilight Zone. Season 1, episode 18. CBS. 5 February 1960. DVD. Image Entertainment, 2004.

The Shakespeare in this episode is carefully and thoughtfully integrated into the show's ending. The plot involves a pilot from World War I fleeing from a battle, leaving one of his comrades alone and in danger, by flying into a mysterious cloud. He lands in the 1950s, recognizes his cowardice, and flies back into a similar mysterious cloud to finish the battle.

In the clip below, the officers from the 1950s meet up with the pilot's comrade—who bore the nickname "Old Leadbottom" (but only among the few members of his squadron)—and say, in a very Shakespearean way, that they will recount to him the details of what's happened off stage.

At that point, the camera turns to the window to show us a mysterious cloud. The voice of Rod Serling closes the episode with the quotation that follows the clip—a quote that is very apropos of The Twilight Zone in general.


Dialogue from a play: Hamlet to Horatio: "There are more things in heaven and earth than are dreamt of in your philosophy." Dialogue from a play written long before men took to the sky. There are more things in heaven and earth and in the sky than perhaps can be dreamt of. And somewhere in between heaven, the sky, the earth lies the Twilight Zone.

Links: The Episode at Wikipedia.

Click below to purchase the complete season from amazon.com
(and to support Bardfilm as you do so).

Bardfilm is normally written as one word, though it can also be found under a search for "Bard Film Blog." Bardfilm is a Shakespeare blog (admittedly, one of many Shakespeare blogs), and it is dedicated to commentary on films (Shakespeare movies, The Shakespeare Movie, Shakespeare on television, Shakespeare at the cinema), plays, and other matter related to Shakespeare (allusions to Shakespeare in pop culture, quotes from Shakespeare in popular culture, quotations that come from Shakespeare, et cetera).

Unless otherwise indicated, quotations from Shakespeare's works are from the following edition:
Shakespeare, William. The Riverside Shakespeare. 2nd ed. Gen. ed. G. Blakemore Evans. Boston: Houghton Mifflin, 1997.
All material original to this blog is copyrighted: Copyright 2008-2039 (and into perpetuity thereafter) by Keith Jones.

The very instant that I saw you did / My heart fly to your service; there resides, / To make me slave to it; and, for your sake, / Am I this patient [b]log-man.

—The Tempest