More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)
29 October
I cannot claim to have read every word written by William Shakespeare, or even every play acknowledged to be his (or to have his hand in it), but I do not recollect the word definitely.
Easily enough remedied, as I have two nineteenth-century concordances upstairs, but my suspicion is that, although the word definite might just about have been Jacobean, the longer word came later...
But, with editions of Shakespeare that very often harmonize and modernize his spellings, since it is notorious that there is scarcely a pair of his signatures that are the same or where he even spells his name consistently, it is hard to know what - if he ever wrote the word - he would have written.
Would it stand as definate and definately? At the moment, I can definitively say that Shakespeare did / did not use the words...
Bartlett's The Shakespeare Phrase-Book does not list either word, but it - and the other one - is of a non-exhaustive kind, unlike more modern ones.
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Showing posts with label William Shakespeare. Show all posts
Showing posts with label William Shakespeare. Show all posts
Monday, 29 October 2012
Sunday, 18 September 2011
Sonnet 116
More views of - or at - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
19 September
A rather faltering reading of Shakespeare in class (which did not, as I recall, include the closing couplet) starts Above us Only Sky (Über uns das All). The poem was still unmistakeable, and highly relevant: 'Love is not love / Which alters when it alteration finds'. We end with shots, the last with the credits rolling, of the place where Sandra Hüller, as Martha, had expected to be, but on a different basis.
In-between, she finds plenty of alteration, together with confusion, mistrust and loss, and a mystery for which she seems (doomed) to find no answer (and we no answer as to how it could financially have been maintained so that she did not know). Her courage in all this is immense, her denial is evidence of great hope, and she carries and conducts herself with a real knowledge of her worth, and of not wanting inconsequential formalities and pleasantries that do no more than irritate her by their emptiness.
Yet, as we would, we do doubt her mental state, whether, if not actually dissociating and trying to project one person's identity onto another, then perhaps seeking solace where time should heal (as the sonnet again says, 'Love alters not with [time's] brief hours and weeks, / But bears it out even to the edge of doom'): such concern is at its closest in one scene, where she barks out orders, and forces what she insists should be done in a humiliating and damaging way. But not a way that reckons with love, not a way that remembers being told that it is actually easier to make an apology weeks afterwards, although it seems awkward, because it has already been accepted in that time.
The warmth of the joking, the bantering, links this to the most positive parts in the short film Philipp that was shown before: there is a shared life that cuts through trite sentiments such as 'it feels as though we've always known each other', and appears, even with seeming 'impediments', to be 'the marriage of true minds'. (Lovely, also, to see all this against the background of Köln (Cologne), which has a special resonance for me since a long time ago.)
Tweet away @TheAgentApsley
(Click here to go directly to the Festival web-site)
19 September
A rather faltering reading of Shakespeare in class (which did not, as I recall, include the closing couplet) starts Above us Only Sky (Über uns das All). The poem was still unmistakeable, and highly relevant: 'Love is not love / Which alters when it alteration finds'. We end with shots, the last with the credits rolling, of the place where Sandra Hüller, as Martha, had expected to be, but on a different basis.
In-between, she finds plenty of alteration, together with confusion, mistrust and loss, and a mystery for which she seems (doomed) to find no answer (and we no answer as to how it could financially have been maintained so that she did not know). Her courage in all this is immense, her denial is evidence of great hope, and she carries and conducts herself with a real knowledge of her worth, and of not wanting inconsequential formalities and pleasantries that do no more than irritate her by their emptiness.
Yet, as we would, we do doubt her mental state, whether, if not actually dissociating and trying to project one person's identity onto another, then perhaps seeking solace where time should heal (as the sonnet again says, 'Love alters not with [time's] brief hours and weeks, / But bears it out even to the edge of doom'): such concern is at its closest in one scene, where she barks out orders, and forces what she insists should be done in a humiliating and damaging way. But not a way that reckons with love, not a way that remembers being told that it is actually easier to make an apology weeks afterwards, although it seems awkward, because it has already been accepted in that time.
The warmth of the joking, the bantering, links this to the most positive parts in the short film Philipp that was shown before: there is a shared life that cuts through trite sentiments such as 'it feels as though we've always known each other', and appears, even with seeming 'impediments', to be 'the marriage of true minds'. (Lovely, also, to see all this against the background of Köln (Cologne), which has a special resonance for me since a long time ago.)
Tweet away @TheAgentApsley
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