tested the proof of concept!

Animating Bill — a proof of concept!

NEW FINAL CORRECTIONS:

Plays-within-the-plays & Disguises

We distinguish five types of play-within-the-play:

Inset-play (yellow) — which is the “by default” type

Scene-extempore (blue)

Maske or Maskers (red)

Gulling (green)

Dream or Vision (orange)

And two types of disguise:

Conscious (yellow) — which is the “by default” type

Un-conscious (blue)

THE COMEDIES

TEMPEST (1611)

DISGUISE:

ARIEL (1583,1616) as Harpy, Conscious

PLAY-IN-PLAY:

•(1707,1806)

Type: Maske (red)

Title: Maske of Juno

THE TWO GENTLEMEN OF VERONA (circa 1590–4)

DISGUISE:

JULIA (1649,2225) as Sebastian, Conscious

THE MERRY WIVES OF WINDSOR (1597–8)

DISGUISES are Conscious (yellow)

FALSTAFF as “Aunt of Brainford” (2064,2069), Conscious

EVANS as Satyr (2518,2588), Conscious

PISTOL as Goblin (2518,2588), Conscious

ANNE PAGE as Fairy (2518,2584), Conscious

MISTRESS QUICKLY as Queen of Fairies (2518,2588), Conscious

“Boyes” as Fairies (2518, 2588), Conscious

FORD as “Broome” (914,1064) (1730,1820) (2409,2429), Conscious

NOTE that Ford is DISGUISED (as Broome) until 2429 (not 2729)

PLAY-IN-PLAY

•(2518,2588)

Type: Gulling (green)

Title: Herne The Hunter

MEASURE FOR MEASURE (1603)

DISGUISE:

DUKE as “Friar Ludowick” (952,2270) (2656,2737), Conscious

THE COMEDY OF ERRORS (1594)

CORRECTION 1:

This is going to be somewhat complex, alas. My use of brackets [] to indicate characters speaking from off-stage in act 3 is problematic. May we then re-integrate the following Entrances & Exits, please?

S.DROMIO: is ON for (652,740)

same goes for ADRIANA (706,712)

and LUCIANA (679,712)

DISGUISES:

S.ANTIPHOLUS disguised (206,260) (504,615) (786,860) (1227,1263) (1476,1503), Un-conscious

S.DROMIO disguised (504,615) (679,712) (1073,1097) (1135,1182) (1227,1263) (1476,1503), Un-conscious

E.ANTIPHOLUS disguised (579,712) (1073,1097), Un-conscious

E. DROMIO disguised (206,260) (679,712), Un-conscious

MUCH ADOE ABOUT NOTHING (1598)

A Correction: Balthazar’s 3rd entry should read (868,924)

PLAYS-IN-PLAY:

•(489,780)

Type: Maske (Red)

Title: Maskers with a Drum

•(868,1043)

Type: Gulling (green)

Title: Gulling Benedick

•(1088,1197)

Type: Gulling (green)

Title: Gulling Beatrice

LOVES LABOURS LOST (1594–5)

DISGUISES

FERDINAND as Muscovite (2052,2182), Conscious

BEROWNE as Muscovite (2052,2182), Conscious

LONGAVILLE as Muscovite (2052,2182), Conscious

DUMAINE as Muscovite (2052,2182), Conscious

PRINCESS as Rosaline (2050,2182), Conscious

MARIA as Katherine (2050,2182), Conscious

KATHERINE as Maria (2050,2182), Conscious

ROSALINE as Princess (2050,2182), Conscious

COSTARD as Pompey (2490,2683), Conscious

Don ARMADO as Hector (2587,2683), Conscious

MOTH as Young Hercules (2540,2547), Conscious

HOLOFERNES as Judas Machabeus (2540,2683), Conscious

NATHANIEL as Alexander (2511,2538), Conscious

PLAYS-IN-PLAY

•(2051,2182)

Type: Maske (Red)

Title: Maske of the Muscovites.

• (2490,2683)

Type: Inset-play (yellow)

Title: Pageant of the Nine Worthies:

MIDSOMMER NIGHTS DREAME (1595)

PLAYS-IN-PLAY:

All scene’s involving the “Rude mechanicals” arein fact ONE inset-play four parts:

•(266,371)

Type: inset-play (palest yellow)

Title: Casting

•(813,920)

Type: inset-play (pale yellow)

Title: Rehearsal

•(1746,1790)

Type: inset-play (yellow)

Title: Preferment

•(1905,2131)

Type: inset-play (bright yellow)

Title: Pyramus & Thisby

DISGUISES:

BOTTOM as Asse head (927,1601), Un-conscious

QUINCE as ‘Prologue’ (1905,1951), Conscious

SNUG as ‘Lion’ (1925,2072), Conscious

BOTTOM as ‘Pyramus’ (1925,2131), Conscious

FLUTE as ‘Thisbe’ (1925,2131), Conscious

SNOUT as ‘Wall’ (1925,2009), Conscious

STARVELING as ‘Moonshine’ (1925,2098), Conscious

THE MERCHANT OF VENICE (1596–7)

PLAY-IN-PLAY:

•(895,971)

Type: Maske (red)

Title: Maskers

DISGUISES remain AS IS (by default)

JESSICA a boy (925,961)

PORTIA as Balthazar (2073,2402)

NERISSA as “Lawyer’s Clerk” (2026,2402)

AS YOU LIKE IT (1599–1600)

CORRECTION: The charcater of LEBEAU should be slipped in betweenTouchstone and Duke Frederick. And Oliver Martext should likewaise be slipped in between Phebe and Audrey.

PLAYS-IN-PLAY:

•(1945,2107)

Type: Scene extempore (blue)

Title: Your Rosalind

•(2681,2775)

Type: Maske (red)

Title: Maske of Hymen

DISGUISES are conscious and remain AS IS (by default)

ROSALIND as Ganimede: (781,2681), Conscious

CELIA as Aliena (781,2681), Conscious

THE TAMING OF THE SHREW (1590–1)

Looks fine AS IS. Except for SLY whose DISGUISE is Un-conscious

ALL’S WELL, THAT ENDS WELL (1604–5)

DISGUISES:

HELENA as “Pilgrim” (1640,1729)

LORD E as “Musko” (1978,2006), Conscious

LORD G as “Musko” (2224,2410), Conscious

1ST Soldier as “ Musko” (1978,2006) (2224,2410), Conscious

PLAY-IN-PLAY:

•(1911,2016)

Type: Gulling (green)

Title: Capturing Parolles

•(2224,2420)

Type: Gulling (green)

Title: Interrogating Parolles

TWELFE NIGHT (1601)

DISGUISES:

VIOLA as Cesario (250,2419), Conscious

FESTE as Sir Topaz (2003,2045), Conscious

SEBASTIAN as Cesario (1918,1983) (2136,2150), Un-conscious

PLAY-IN-PLAY:

•(1016,1182)

Type: Gulling (Green)

Title: Gulling Malvolio

•(1535,1647)

Type: Gulling (Green)

Title: Gulling Malvolio

•(2005,2112)

Type: Gulling (Green)

Title: Gulling Malvolio

THE WINTER’S TALE (1609–11)

CORRECTION: Please remove the two entries of PERDITA “As baby”: :(928,1124) (1437,1577)

DISGUISES:

POLIXENES as a Gentleman (1857,2260), Conscious

CAMILLO as a Gentleman (1857,2260), Conscious

FLORIZEL as Doricles (1796,2262), Conscious

HERMIONE as a Statue (3208,3312), Conscious

PERDITA is disguised (1796,2552) (2878,3008), Un-conscious

PLAY-IN-PLAY:

•(2164)

Type: Maske (red)

Title: A Dance of Twelve Satyres

•(3208,3312)

Type: Gulling (green)

Title: The Queenes Picture

THE HISTORIES

THE LIFE AND DEATH OF KING JOHN (1594–6)

OK

THE LIFE AND DEATH OF KING RICHARD THE SECOND (1595)

OK

THE FIRST PART OF KING HENRY THE FOURTH (1596–7)

Disguises are OK.

Play-in-play should be blue (scene extempore)

THE SECOND PART OF HENRY THE FOURTH (1597–8)

Disguises are fine as is.

THE LIFE OF KING HENRY THE FIFT (1598–9)

CORRECTIONS:

Scroop, Cambridge & Grey die after their exit at 810

BARDOLPH dies at 1550,

NYM 2449, BOY dies at 2530,

FRENCH SOLDIER dies at 2534,

Mistress QUICKLY dies at 2976

THE FIRST PART OF HENRY THE SIXT (1592)

OK

THE SECOND PART OF HENRY THE SIXT (1591)

CORRECTION: Placement of GLOSTER’s DEATH at 1849

THE THIRD PART OF HENRY THE SIXT (1591)

CORRECTION: WARWICK’s last entry and death should read

(2800,2854) RIP.

THE TRAGEDY OF RICHARD THE THIRD (1592–3)

PLAY-IN-PLAY:

•(2271–2469)

Type: Scene-extempore (blue)

Title: Play the Maids part

THE FAMOUS HISTORY OF THE LIFE OF KING HENRY THE EIGHT(1612–3)

PLAYS-IN-PLAY :

•(758,818)

Type : Maske (red)

Title : Shepheards Maske

•(2642,2657)

Type : Dream or Vision (orange)

Title : The Vision

THE TRAGEDIES

THE TRAGEDIE OF TROILUS AND CRESSIDA (1600–2)

PLAY-IN-PLAY:

•(2126,2164)

Type: Scene-extempore (blue)

Title: The Pageant of Ajax

ART IN THE TRAGEDY OF CORIOLANUS (1607–8)

PLAY-IN-PLAY:

•(1426,1524)

Type: default (it isn’t any of them: pick a colour)

Title: Gowne of Humility

THE LAMENTABLE TRAGEDIE OF TITUS ANDRONICUS (1592–4)

CORRECTION: We are missing an entry on graph, that of MARCUS in 3.1 (1195,1131).

DISGUISES:

TAMORA as Revenge (2282,2434), Conscious

CHIRON & DEMETRIUS as Rape & Murder (2282,2449), Conscious

THE TRAGEDIE OF ROMEO AND JULIET (1595–6)

PLAY-IN-PLAY:

•(454,731) — these are NEW numbers!

Type: Maske (red)

Title: The Maskers

THE LIFE OF TYMON OF ATHENS (1605–8)

PLAY-IN-PLAY:

•(465,506)

Type: Maske

Title: Maske of Cupid & the Amazons

THE TRAGEDIE OF JULIUS CAESAR (1599)

CORRECTION: The character of CINNA appears twice on graph (one too many).

THE TRAGEDIE OF MACBETH (1606)

CORRECTIONS:

•I believe that, in order to remove those strange artefacts, you merely have to remove the four following CHARACTERS (which are entirely misplaced, MEA CULPA):

1st apparition (1604,1611)

2nd apparition (1616,1622)

3rd apparition (1628,1637)

Show of eight kings (1657,1671)

•LADY MACBETH’s last entry should read (2111,2160) and her death is at 2337.

PLAY-IN-PLAY:

•(1604,1680) — these are NEW numbers for it!

Type: Dream or Vision (orange)

Title: A Shew of eight Kings

THE TRAGEDIE OF HAMLET (1600–1)

CORRECTION: OSRICKE first entry should read (3586,3647)

PLAYS-IN-PLAY

•(1494,1562)

Type: Inset-play (yellow)

Title: Rugged Pyrrhus

•(1990,2141)

Type: Inset-play

Title: The Mousetrap

THE TRAGEDIE OF KING LEAR (1605 rev. 1610)

DISGUISES :

KENT as Caius (530,2056)

EDGAR as Poor Tom et& (1818, 3130)

PLAY-IN-PLAY :

•(2430,2525)

Type : Gulling (green)

Title : Th’extreme Verge

THE TRAGEDIE OF OTHELLO (1603–4)

PLAY-IN-PLAY:

•(2420,2555)

Type: Gulling (green)

Title: Othello shall go mad

//

THE TRAGEDIE OF ANTHONIE, AND CLEOPATRA (1606–7)

OK

THE TRAGEDIE OF CYMBELINE (1609–10)

CORRECTION: JUPITER’s entry should read (3126,3149)

DISGUISES:

IMOGEN as Fidele (2081,3526), Conscious

POSTHUMUS as unknown knight (2893,3490), Conscious

CLOTTEN as Posthumus (2218,2378), Conscious

BELARIUS as Morgan (1554,3644), Conscious

GUIDERIUS as Polydore (1554,3671), Un-conscious

ARVIRAGUS as Cadwal (1554,3672), Un-conscious

PLAY-IN-PLAY:

•(3065,3159)

Type: Dream/Vision (orange)

Title: Jupiter descends

Thankyouthankyouthankyou

<<<<<<< ======= …. the others are done, but this one has no data for the gullings (what are the TLNs ?) sv >>>>>>>

ART IN THE TRAGEDIE OF TROILUS AND CRESSIDA (1600–2)

TLN 125 TLN 479 TLN 610 TLN 645 TLN 1041 TLN 1045 TLN 1229 TLN 1379 TLN 1646 TLN 1651 TLN 1679 TLN 2468 TLN 2877 TLN 3582

TLN 372 TLN 687 TLN 1325 TLN 1491 TLN 2862 TLN 3507 TLN 3595

ART IN THE LAMENTABLE TRAGEDIE OF TITUS ANDRONICUS (1592–4)

TLN 868 TLN 1245 TLN 1407 TLN 1534 TLN 1781 TLN 1791 TLN 2103 TLN 2157 TLN 2392

ART IN THE TRAGEDIE OF ROMEO AND JULIET (1595–6)

TLN 142 TLN 288 TLN 460 TLN 1149 TLN 1151 TLN 1191 TLN 2170 TLN 2229 TLN 2359 TLN 2733 TLN 3118

ART IN THE LIFE OF TYMON OF ATHENS (1605–8)

TLN 38 TLN 46 TLN 52 TLN 112 TLN 193 TLN 195 TLN 196 TLN 198 TLN 238 TLN 240 TLN 241 TLN 355 TLN 778 TLN 1586 TLN 1666 TLN 1726 TLN 1763 TLN 1822 TLN 1982 TLN 2235 TLN 2296 TLN 2298 TLN 2302

ART IN THE TRAGEDIE OF JULIUS CAESAR (1599)

TLN 72 TLN 76 TLN 390 TLN 1271 TLN 1893 TLN 2190

ART IN THE TRAGEDIE OF MACBETH (1606)

TLN 28 TLN 201 TLN 246 TLN 249 TLN 292 TLN 713 TLN 714 TLN 831 TLN 833 TLN 1330 TLN 1331 TLN 1383 TLN 1384 TLN 1439 TLN 1457 TLN 1458 TLN 1645 TLN 1656 TLN 1973 TLN 2345 TLN 2466

ART IN THE TRAGEDIE OF HAMLET (1600–1)

TLN 98 TLN 675 TLN 1123 TLN 1124 TLN 1127 TLN 1148 TLN 1304 TLN 1306 TLN 1308 TLN 1310 TLN 1521 TLN 1412 TLN 1703 TLN 1705 TLN 1781 TLN 1798 TLN 1871 TLN 1882 TLN 1934 TLN 2106 TLN 2437 TLN 2438 TLN 2764 TLN 2823 TLN 3044 TLN 3096 TLN 3106 TLN 3376 TLN 3381 TLN 3391 TLN 3581 TLN 3582

ART IN THE TRAGEDIE OF KING LEAR (1605 rev. 1610)

TLN 246 TLN 496 TLN 744 TLN 1020 TLN 1132 TLN 1365 TLN 1726 TLN 2020 TLN 2534 TLN 2573 TLN 2603 TLN 2670 TLN 2738 TLN 2921 TLN 3226

ART IN THE TRAGEDIE OF OTHELLO (1603–4)

TLN 297 TLN 879 TLN 1025 TLN 1999 TLN 2417 TLN 3133

ART IN THE TRAGEDIE OF ANTHONIE, AND CLEOPATRA (1606–7)

TLN 96 TLN 999 TLN 1170 TLN 2446 TLN 3318 TLN 3320

ART IN THE TRAGEDIE OF CYMBELINE (1609–10)

TLN 446 TLN 932 TLN 1343 TLN 1604 TLN 1676 TLN 1721 TLN 1803 TLN 1863 TLN 2629 TLN 2693 TLN 3133 TLN 3218 TLN 3455 TLN 3485 TLN 3650

ART IN THE TRAGEDY OF RICHARD THE THIRD (1592–3)

TLN 21 TLN 712 TLN 917 TLN 1251 TLN 1324 TLN 2089 TLN 2121 TLN 2854 TLN 3460 TLN 3462 TLN 3677

ART IN THE FAMOUS HISTORY OF THE LIFE OF KING HENRY THE EIGHT(1612–3)

TLN 70 TLN 313 TLN 1629 TLN 2356 TLN 2620 TLN 3120 TLN 3167

ART IN THE FIRST PART OF HENRY THE SIXT (1592)

TLN 275 TLN 693 TLN 875 TLN 876 TLN 886 TLN 891 TLN 894 TLN 895 TLN 905 TLN 979 TLN 991 TLN 996 TLN 1190 TLN 1939 TLN 2257 TLN 2317 TLN 2500 TLN 2636 TLN 2709 TLN 2775

ART IN THE SECOND PART OF HENRY THE SIXT (1591)

TLN 446 TLN 571 TLN 1781 TLN 1850 TLN 3139

ART IN THE THIRD PART OF HENRY THE SIXT (1591)

TLN 469 TLN 1088 TLN 1254 TLN 1348 TLN 1798 TLN 1708 TLN 2937

ART IN THE TRAGEDY OF RICHARD THE THIRD (1592–3)

TLN 21

same goes for ADRIANA (706,712

TEMPEST (1611)

THE TWO GENTLEMEN OF VERONA (circa 1590–4)

THE MERRY WIVES OF WINDSOR (1597–8)

FORD as “Broome” (914,1064) (1730,1820) (2409,2429)

MEASURE FOR MEASURE (1603)

THE COMEDY OF ERRORS (1594)

CORRECTION 1; This is going to be somewhat complex, alas. My use of brackets [] to indicate characters speaking from off-stage in act 3 is problematic. May we then re-integrate the following Entrances & Exits, please?

MUCH ADOE ABOUT NOTHING (1598)

PLAY-IN-PLAY:

LOVES LABOURS LOST (1594–5)

LONGAVILLE as Muscovite (2052,2182), Conscious ?

PLAY-IN-PLAY

MIDSOMMER NIGHTS DREAME (1595)

Play-in-play: All scene’s involving the “Rude mechanicals” arein fact ONE inset-play four parts:

Play-in-play: (1905,2131)

?SNUG as ‘Lion’ (1925,2072), Conscious

?BOTTOM as ‘Pyramus’ (1925,2131), Conscious

?SNOUT as ‘Wall’ (1925,2009), Conscious

?STARVELING as ‘Moonshine’ (1925,2098), Conscious

THE MERCHANT OF VENICE (1596–7)

AS YOU LIKE IT (1599–1600)

A correction: The charcater of LEBEAU should be slipped in betweenTouchstone and Duke Frederick. And Oliver Martext should likewaise be slipped in between Phebe and Audrey.

PLAY-IN-PLAY:

ROSALIND as Ganimede: (781,2681)

CELIA as Aliena (781,2681)

THE TAMING OF THE SHREW (1590–1)

Looks fine AS IS

======= >>>>>>>

ALL’S WELL, THAT ENDS WELL (1604–5)

TWELFE NIGHT (1601)

THE WINTER’S TALE (1609–11)

THE HISTORIES

Un-conscious (blue

Everything is fine except the two Gullings need to be Green.

TEMPEST (1611)

Disguise: ARIEL (1583,1616)

Type: conscious (yellow)

Title: Harpy

Play-Within-Play: (1707,1806)

NEW Type: Maske (red)

Title: Maske of Juno

THE TWO GENTLEMEN OF VERONA (circa 1590–4)

Disguise: Julia (1649,2225)

Type: conscious (yellow)

Title: Sebastian

THE MERRY WIVES OF WINDSOR (1597–8)

A Correction : Ford is diguised (as Broome) until 2429 (not 2729)

Play-within-play, « Herne The Hunter »

NEW Type : Gulling (green)

All Disguises are Conscious (remain yellow)

MEASURE FOR MEASURE (1603)

Duke’s disguise is conscious.

Everything, stays as is.

THE COMEDY OF ERRORS (1594)

Correction 1; This is going to be somewhat complex, alas. My use of brackets [] to indicate characters speaking from off-stage in act 3 is problematic. May we then re-integrate the following Entrances & Exits, please?

S.DROMIO: is ON for (652,740)

same goes for ADRIANA (706,712

and LUCIANA (679,712)

Correction 2 (the one from hell). The following disguises are all unconscious (blue):

S.ANTIPHOLUS is disguised for (206,260) (504,615) (786,860) (1227,1263) (1476,1503)

S.DROMIO is disguised for (504,615) (679,712) (1073,1097) (1135,1182) (1227,1263) (1476,1503)

E.ANTIPHOLUS is disguised for (579,712) (1073,1097)

E. DROMIO is disguised for (206,260) (679,712)

MUCH ADOE ABOUT NOTHING (1598)

A Correction: Balthazar’s 3rd entry should read (868,924)

Play-in-play: (489,780)

NEW Type: Maske (Red)

Title: Maskers with a Drum

NEW Play-in-play: (868,1043)

Type: Gulling (green)

Title: Gulling Benedick

NEW Play-in-play: (1088,1197)

Type: Gulling (green)

Title: Gulling Beatrice

LOVES LABOURS LOST (1594–5)

Play-in-play: (2051,2182) as before

NEW Type: Maske (Red)

Title: Maske of the Muscovites.

Play-in-play: (2490,2683) as before

Type: inset-play (yellow)

Title: Pageant of the Nine Worthies:

MIDSOMMER NIGHTS DREAME (1595)

NEW Play-in-play: (266,371)

Type: inset-play (palest yellow)

Title: Casting Pyramus

NEW Play-in-play: (813,920)

Type: inset-play (pale yellow)

Title: Rehearsing Pyramus

NEW Play-in-play: (1746,1790)

Type: inset-play (yellow)

Title: Prefering Pyramus

Play-in-play: (1905,2131)

Type: inset-play (bright yellow)

Title: Pyramus & Thisby

NEW A disguise: Bottom (927,1601)

Type: unconscious (blue)

Title: Asse head

THE MERCHANT OF VENICE (1596–7)

NEW! Play-in-play: (895,971)

Type: Maske (red)

Title: Maskers

All DISGUISES (Jessica, Portia, Nerissa) As IS.

AS YOU LIKE IT (1599–1600)

A correction: The charcater of LEBEAU should be slipped in betweenTouchstone and Duke Frederick. And Oliver Martext should likewaise be slipped in between Phebe and Audrey.

NEW! Play-in-play: (2681,2775)

Type: Maske (red)

Title: Maske of Hymen

Play-in-Play: (1945,2107)

NEW! Type: Scene extempore (blue)

Title: Your Rosalind

DISGUISES (Rosalind, Celia) as is.

THE TAMING OF THE SHREW (1590–1)

OK

TWELFE NIGHT (1601)

VIOLA/CESARIO remains as is. Same goes for FESTE/SIR TOPAZ.

NEW! Play-in-play: (1016,1182) (1535,1647) (2005,2112)

Type: Gulling (Green)

Title: Gulling Malvolio

NEW! Disguise: SEBASTIAN (1918,1983) (2136,2150)

Type: un-conscious (blue)

Title: Cesario

THE WINTER’S TALE (1609–11)

A CORRECTION: Please remove the two entries of PERDITA “As baby”: :(928,1124) (1437,1577)

All disguises remain as is. EXCEPT for PERDITA which should be BLUE (un-conscious)

The masque/dance of TWELVE SATYRS (2164) should be red.

And “The Queene’s Picture” should be Green

THE HISTORIES

THE LIFE AND DEATH OF KING JOHN (1594–6)

OK

THE LIFE AND DEATH OF KING RICHARD THE SECOND (1595)

OK

THE FIRST PART OF KING HENRY THE FOURTH (1596–7)

Disguises are OK.

Play-in-play should be blue (scene extempore)

THE SECOND PART OF HENRY THE FOURTH (1597–8)

Disguises are fine as is.

THE LIFE OF KING HENRY THE FIFT (1598–9)

CORRECTIONS:

Scroop, Cambridge & Grey die after their exit at 810

BARDOLPH dies at 1550,

NYM 2449, BOY dies at 2530,

FRENCH SOLDIER dies at 2534,

Mistress QUICKLY dies at 2976

ART IN THE FIRST PART OF HENRY THE SIXT (1592)

TLN 275 TLN 693 TLN 875 TLN 876 TLN 886 TLN 891 TLN 894 TLN 895 TLN 905 TLN 979 TLN 991 TLN 996 TLN 1190 TLN 1939 TLN 2257 TLN 2317 TLN 2500 TLN 2636 TLN 2709 TLN 2775

ART IN THE SECOND PART OF HENRY THE SIXT (1591)

TLN 21 TLN 446 TLN 571 TLN 1781 TLN 1850 TLN 3139

ART IN THE THIRD PART OF HENRY THE SIXT (1591)

TLN 469 TLN 1088 TLN 1254 TLN 1348 TLN 1798 TLN 1708 TLN 2937

ART IN THE TRAGEDY OF RICHARD THE THIRD (1592–3)

TLN 21 TLN 712 TLN 917 TLN 1251 TLN 1324 TLN 2089 TLN 2121 TLN 2854 TLN 3460 TLN 3462 TLN 3677

ART IN THE FAMOUS HISTORY OF THE LIFE OF KING HENRY THE EIGHT(1612–3)

TLN 70 TLN 313 TLN 1629 TLN 2356 TLN 2620 TLN 3120 TLN 3167

THE TRAGEDIES

ART IN THE TRAGEDIE OF TROILUS AND CRESSIDA (1600–2)

TLN 125 TLN 479 TLN 610 TLN 645 TLN 1041 TLN 1045 TLN 1229 TLN 1379 TLN 1646 TLN 1651 TLN 1679 TLN 2468 TLN 2877 TLN 3582

ART IN THE TRAGEDY OF CORIOLANUS (1607–8)

TLN 372 TLN 687 TLN 1325 TLN 1491 TLN 2862 TLN 3507 TLN 3595

ART IN THE LAMENTABLE TRAGEDIE OF TITUS ANDRONICUS (1592–4)

TLN 868 TLN 1245 TLN 1407 TLN 1534 TLN 1781 TLN 1791 TLN 2103 TLN 2157 TLN 2392

ART IN THE TRAGEDIE OF ROMEO AND JULIET (1595–6)

TLN 142 TLN 288 TLN 460 TLN 1149 TLN 1151 TLN 1191 TLN 2170 TLN 2229 TLN 2359 TLN 2733 TLN 3118

ART IN THE LIFE OF TYMON OF ATHENS (1605–8)

TLN 38 TLN 46 TLN 52 TLN 112 TLN 193 TLN 195 TLN 196 TLN 198 TLN 238 TLN 240 TLN 241 TLN 355 TLN 778 TLN 1586 TLN 1666 TLN 1726 TLN 1763 TLN 1822 TLN 1982 TLN 2235 TLN 2296 TLN 2298 TLN 2302

ART IN THE TRAGEDIE OF JULIUS CAESAR (1599)

TLN 72 TLN 76 TLN 390 TLN 1271 TLN 1893 TLN 2190

ART IN THE TRAGEDIE OF MACBETH (1606)

TLN 28 TLN 201 TLN 246 TLN 249 TLN 292 TLN 713 TLN 714 TLN 831 TLN 833 TLN 1330 TLN 1331 TLN 1383 TLN 1384 TLN 1439 TLN 1457 TLN 1458 TLN 1645 TLN 1656 TLN 1973 TLN 2345 TLN 2466

ART IN THE TRAGEDIE OF HAMLET (1600–1)

TLN 98 TLN 675 TLN 1123 TLN 1124 TLN 1127 TLN 1148 TLN 1304 TLN 1306 TLN 1308 TLN 1310 TLN 1521 TLN 1412 TLN 1703 TLN 1705 TLN 1781 TLN 1798 TLN 1871 TLN 1882 TLN 1934 TLN 2106 TLN 2437 TLN 2438 TLN 2764 TLN 2823 TLN 3044 TLN 3096 TLN 3106 TLN 3376 TLN 3381 TLN 3391 TLN 3581 TLN 3582

ART IN THE TRAGEDIE OF KING LEAR (1605 rev. 1610)

TLN 246 TLN 496 TLN 744 TLN 1020 TLN 1132 TLN 1365 TLN 1726 TLN 2020 TLN 2534 TLN 2573 TLN 2603 TLN 2670 TLN 2738 TLN 2921 TLN 3226

ART IN THE TRAGEDIE OF OTHELLO (1603–4)

TLN 297 TLN 879 TLN 1025 TLN 1999 TLN 2417 TLN 3133

ART IN THE TRAGEDIE OF ANTHONIE, AND CLEOPATRA (1606–7)

TLN 96 TLN 999 TLN 1170 TLN 2446 TLN 3318 TLN 3320

ART IN THE TRAGEDIE OF CYMBELINE (1609–10)

TLN 446 TLN 932 TLN 1343 TLN 1604 TLN 1676 TLN 1721 TLN 1803 TLN 1863 TLN 2629 TLN 2693 TLN 3133 TLN 3218 TLN 3455 TLN 3485 TLN 3650

Thankyouthankyouthankyou

Inset-play (yellow)

Conscious (yellow)

ART IN THE SECOND PART OF HENRY THE FOURTH (1597–8)

TLN 252 TLN 532 TLN 740 TLN 904 TLN 1669 TLN 2127 TLN 2283 TLN 2433 TLN 2437 TLN 2604 TLN 2959 TLN 2964 TLN 2974

ART IN THE LIFE OF KING HENRY THE FIFT (1598–9)

TLN 19 TLN 27 TLN 92 TLN 1045 TLN 1089 TLN 1428 TLN 1480 TLN 1481 TLN 1508 TLN 1669 TLN 2866 TLN 2965 TLN 3022 TLN 3310

Type: Maske (red)

As is. Play-within-play, « Herne The Hunter »/ Type : Gulling (green)

All Disguises are Conscious (yellow)

Correction : Ford is diguised (as Broome) until 2429 (not 2729)

ART in MEASURE FOR MEASURE (1603)

TLN 15 TLN 277 TLN 947 TLN 1049 TLN 1347 TLN 1480 TLN 1535 TLN 1568 TLN 1651 TLN 1889 TLN 1891 TLN 1893 TLN 2585 TLN 2789

ART in THE COMEDY OF ERRORS (1594)

TLN 563 TLN 1193 TLN 1197 TLN 1677

ART in MUCH ADOE ABOUT NOTHING (1598)

TLN 255 TLN 424 TLN 523 TLN 937 TLN 939 TLN 1085 TLN 1258 TLN 1305 TLN 1460 TLN 1889 TLN 2333

ART in LOVES LABOURS LOST (1594–5)

TLN 18 TLN 505 TLN 537 TLN 789 TLN 1064 TLN 1273 TLN 1588 TLN 1608 TLN 1612 TLN 1614 TLN 1675 TLN 1703 TLN 1815 TLN 1926 TLN 2529 TLN 2599

ART in MIDSOMMER NIGHTS DREAME (1595)

TLN 204 TLN 249 TLN 508 TLN 759 TLN 990 TLN 1230 TLN 1264 TLN 1322 TLN 1330 TLN 1388 TLN 1800 TLN 1806 TLN 1809 TLN 1812 TLN 1816 TLN 2015 TLN 2016 TLN 2017 TLN 2018 TLN 2207

ART in THE MERCHANT OF VENICE (1596–7)

TLN 262 TLN 984 TLN 1021 TLN 1166 TLN 1179 TLN 1180 TLN 1462 TLN 1468 TLN 1474 TLN 1475

ART in AS YOU LIKE IT (1599–1600)

TLN 609 TLN 1172 TLN 1228 TLN 1290 TLN 1466 TLN 1586 TLN 1788 TLN 2321 TLN 2322 TLN 2325 TLN 2327 TLN 2328 TLN 2337 TLN 2435 TLN 2470

ART in THE TAMING OF THE SHREW (1590–1)

TLN 39 TLN 51 TLN 201 TLN 202 TLN 208 TLN 212 TLN 301 TLN 368 TLN 1359 TLN 1855 TLN 1856 TLN 2161 TLN 2193 TLN 2278 TLN 2498

ART in ALL’S WELL, THAT ENDS WELL (1604–5)

TLN 86 TLN 727 TLN 742 TLN 767 TLN 810 TLN 902 TLN 1769 TLN 2140 TLN 2207 TLN 2754 TLN 2755 TLN 2756 TLN 2757 TLN 3044

ART in TWELFE NIGHT (1601)

TLN 208 TLN 235 TLN 524 TLN 716 TLN 903 TLN 1057 TLN 1168 TLN 1197 TLN 1277 TLN 1725 TLN 1747 TLN 1882 TLN 1896 TLN 1904 TLN 2004 TLN 2099 TLN 2381

ART in THE WINTER’S TALE (1609–11)

TLN 1598 TLN 1652 TLN 1897 TLN 1901 TLN 1902 TLN 1906 TLN 1908 TLN 1914 TLN 2474 TLN 2480 TLN 2816 TLN 2882 TLN 3103 TLN 3105 TLN 3181 TLN 3252 TLN 3256 TLN 3266 TLN 3285 TLN 3319

THE HISTORIES

ART IN THE LIFE AND DEATH OF KING JOHN (1594–6)

TLN 814 TLN 815 TLN 816 TLN 1024 TLN 1030 TLN 1168 TLN 1728 TLN 1789 TLN 1978 TLN 1990

ART IN THE LIFE AND DEATH OF KING RICHARD THE SECOND (1595)

TLN 187 TLN 561 TLN 585 TLN 664 TLN 966 TLN 970 TLN 975 TLN 979 TLN 1851 TLN 2215 TLN 2216 TLN 2218 TLN 2221 TLN 2383

ART IN THE FIRST PART OF KING HENRY THE FOURTH (1596–7)

TLN 298 TLN 523 TLN 1453 TLN 1573 TLN 1919 TLN 2331 TLN 2400 TLN 2987 TLN 2989 TLN 2994 TLN 3079 TLN 3080 TLN 3081 TLN 3082 TLN 3083 TLN 3084 TLN 3088 TLN 3089

ART IN THE SECOND PART OF HENRY THE FOURTH (1597–8)

TLN 252 TLN 532 TLN 740 TLN 904 TLN 1669 TLN 2127 TLN 2283 TLN 2433 TLN 2437 TLN 2604 TLN 2959 TLN 2964 TLN 2974

ART IN THE LIFE OF KING HENRY THE FIFT (1598–9)

TLN 19 TLN 27 TLN 92 TLN 1045 TLN 1089 TLN 1428 TLN 1480 TLN 1481 TLN 1508 TLN 1669 TLN 2866 TLN 2965 TLN 3022 TLN 3310

ART IN THE FIRST PART OF HENRY THE SIXT (1592)

TLN 275 TLN 693 TLN 875 TLN 876 TLN 886 TLN 891 TLN 894 TLN 895 TLN 905 TLN 979 TLN 991 TLN 996 TLN 1190 TLN 1939 TLN 2257 TLN 2317 TLN 2500 TLN 2636 TLN 2709 TLN 2775

ART IN THE SECOND PART OF HENRY THE SIXT (1591)

TLN 21 TLN 446 TLN 571 TLN 1781 TLN 1850 TLN 3139

ART IN THE THIRD PART OF HENRY THE SIXT (1591)

TLN 469 TLN 1088 TLN 1254 TLN 1348 TLN 1798 TLN 1708 TLN 2937

ART IN THE TRAGEDY OF RICHARD THE THIRD (1592–3)

TLN 21 TLN 712 TLN 917 TLN 1251 TLN 1324 TLN 2089 TLN 2121 TLN 2854 TLN 3460 TLN 3462 TLN 3677

ART IN THE FAMOUS HISTORY OF THE LIFE OF KING HENRY THE EIGHT(1612–3)

TLN 70 TLN 313 TLN 1629 TLN 2356 TLN 2620 TLN 3120 TLN 3167

THE TRAGEDIES

ART IN THE TRAGEDIE OF TROILUS AND CRESSIDA (1600–2)

TLN 125 TLN 479 TLN 610 TLN 645 TLN 1041

TLN 1229 TLN 1379 TLN 1646 TLN 1651 TLN 1679 TLN 2468 TLN 2877 TLN 3582

ART IN THE TRAGEDY OF CORIOLANUS (1607–8)

TLN 372 TLN 687 TLN 1325 TLN 1491 TLN 2862 TLN 3507 TLN 3595

ART IN THE LAMENTABLE TRAGEDIE OF TITUS ANDRONICUS (1592–4)

TLN 868 TLN 1245 TLN 1407 TLN 1534

DIGUISED as “Sebastian”

ART IN THE MERRY WIVES OF WINDSOR (1597–8)

TLN 855 TLN 992 TLN 1249 TLN 1542 TLN 2041 TLN 2226 TLN 2332 TLN 2361

NEW FINAL CORRECTIONS: Plays-within-the-plays & Disguises

We distinguish five types of play-within-the-play:

And two types of disguise:

ART IN THE TEMPEST (1611)

TLN 82 TLN 111 TLN 114 TLN 132 TLN 168 TLN 248 TLN 419 TLN 515 TLN 889 TLN 1000 TLN 1067 TLN 1301 TLN 1483 TLN 1695 TLN 1782 TLN 2001 TLN 2335

ART IN THE TWO GENTLEMEN OF VERONA (circa 1590–4)

TLN 452 TLN 453 TLN 454 TLN 666 TLN 856 TLN 864 TLN 1246 TLN 1443 TLN 1444 TLN 1447 TLN 1448 TLN 1906 TLN 1936 TLN 1939 TLN 2002 TLN 2005 TLN 2015 TLN 2019 TLN 2172

NEW FINAL CORRECTIONS: TLN DATA FOR SCATTERPLOT GRAPHS

<<<<<<<

=======

ART IN

THE TEMPEST (1611) >>>>>>>

ART IN THE TWO GENTLEMEN OF VERONA (circa 1590–4)

ART IN THE MERRY WIVES OF WINDSOR (1597–8)

ART in MEASURE FOR MEASURE (1603)

ART in THE COMEDY OF ERRORS (1594)

ART in MUCH ADOE ABOUT NOTHING (1598)

ART in LOVES LABOURS LOST (1594–5)

ART in MIDSOMMER NIGHTS DREAME (1595)

ART in THE MERCHANT OF VENICE (1596–7)

ART in AS YOU LIKE IT (1599–1600)

ART in THE TAMING OF THE SHREW (1590–1)

ART in ALL’S WELL, THAT ENDS WELL (1604–5)

ART in TWELFE NIGHT (1601)

ART in THE WINTER’S TALE (1609–11)

ART IN THE LIFE AND DEATH OF KING JOHN (1594–6)

ART IN THE LIFE AND DEATH OF KING RICHARD THE SECOND (1595)

ART IN THE FIRST PART OF KING HENRY THE FOURTH (1596–7)

ART IN THE SECOND PART OF HENRY THE FOURTH (1597–8)

ART IN THE LIFE OF KING HENRY THE FIFT (1598–9)

ART IN THE FIRST PART OF HENRY THE SIXT (1592)

ART IN THE SECOND PART OF HENRY THE SIXT (1591)

ART IN THE THIRD PART OF HENRY THE SIXT (1591)

ART IN THE TRAGEDY OF RICHARD THE THIRD (1592–3)

ART IN THE FAMOUS HISTORY OF THE LIFE OF KING HENRY THE EIGHT [ALL IS TRUE] (1612–3)

NEW FINAL CORRECTIONS:

TLN DATA FOR SCATTERPLOT GRAPHS

ART IN

TLN DATA FOR SCATTERPLOT GRAPHS

THE COMEDIES

NEW FINAL CORRECTIONS:

THE COMEDIES

TEMPEST:

Play-within-the-play (1707,1806) is entitled:

MASQUEOF JUNO

http://zboing.ca/shakespeare/svg/Comedies/TheTempest

TWO GENTLEMEN OF VERONA:

Perfect.

http://zboing.ca/shakespeare/svg/Comedies/TheTwoGentlemenOfVerona

MERRY WIVES OF WINDSOR

Play-within-the-play (2518,2588) is entitled:

HERNE THE HUNTER.

http://zboing.ca/shakespeare/svg/Comedies/TheMerryWivesOfWindsor

MEASURE FOR MEASURE

Perfect.

http://zboing.ca/shakespeare/svg/Comedies/MeasureForMeasure

COMEDY OF ERRORS

Perfect

http://zboing.ca/shakespeare/svg/Comedies/TheComedyOfErrors

MUCH ADO ABOUT NOTHING

The MASQUE (489,780) is simply a

MASQUED REVEL

http://zboing.ca/shakespeare/svg/Comedies/MuchAdooAboutNothing

LOVE’S LABOURS LOST

The MASQUE (2051,2182) is usually referred to as

MASQUE OF THE RUSSIANS.

•We should ADD that in the course of this Masque, the LADIES are also DIGUISED:

•PRINCESS is disguised as ROSALINE (2050,2233)

•ROSALINE is disguised as the PRINCESS (2050,2233)

•MARIA is disguised as KATHERINE (2050,2233)

•KATHERINE is disguised as MARIA (2050,2233)

The point of this exercise being to get the disguised men to declare their undying absolute love to the WRONG girl.

•As for the Play-within-the-play (2490,2683) it is entitled:

THE PAGEANT OF NINE WORTHIES

http://zboing.ca/shakespeare/svg/Comedies/LovesLabourLost

MIDSOMMER NIGHTS DREAME

Play-within-the-play (1905,2131) is entitled:

PYRAMUS & THISBY

http://zboing.ca/shakespeare/svg/Comedies/MidsommerNightsDreame

MERCHANT OF VENICE

Perfect

http://zboing.ca/shakespeare/svg/Comedies/TheMerchantOfVenice

AS YOU LIKE IT

The Play-within-the-play (1945,2107) we will entitle:

«AM I NOT YOUR ROSALIND?»

http://zboing.ca/shakespeare/svg/Comedies/AsYouLikeIt

TAMING OF THE SHREW

•Just for the sake of better differentiating the INDUCTION’s characters from those of the “play” SHREW itself: could the horizontal character rule for SLY, LORD, 3 SERVS, & PAGE be thinner (as you had done for the very first version of 1HEN IV, wherein certain characters “accompanied” others)

http://zboing.ca/shakespeare/svg/Comedies/TheTamingOfTheShrew

ALL’S WELL THAT ENDS WELL

Three things

1) Sorry about this but…

•I must admit to still being torn about the two GULLINGS OF PAROLLES (1900,2016) & (2224,2420) respectively, since both instances ARE occurences of “play-acting” (the second one even occurs before an “audience” composed of BERTRAM and the two LORDS/ CAPTAIN).

So… lets put them back in please (sorrysorrysorry) and entitle them:

GULLING OF PAROLLES #1 (1900,2016)

GULLING OF PAROLLES #2 (2224,2420)

2) HELENA is disguised as

A PILGRIM (1640,1729)

3) Also could we add the Characters of

•LORD G. (a.k.a. Captain G)

&

•LORD E. (a.k.a. Captain E)

http://zboing.ca/shakespeare/svg/Comedies/AllIsWellThatEndsWell

TWELFE NIGHT

I AM AN IDIOT!!

FESTE is lacking TWO ENTRIES

(2153,2199)

(2352,2579)

This is profoundly stupid of me since it is FESTE that concludes the ENTIRE play

http://zboing.ca/shakespeare/svg/Comedies/TwelfeNightOrWhatYouWill

WINTER’S TALE

Well, there IS the ridiculously small DANCE OF TWELVE SATYRS (at 2164).

As for the final metatheatrical event it should probably be entitled

THE QUEENES PICTURE

http://zboing.ca/shakespeare/svg/Comedies/TheWintersTale

THE HISTORIES

KING JOHN

Since F DOES provide the appropriate breaks (even if they are mis-numbered), I would pass over the bad compositing, and stick simply to Dyce’s ACT 2.

F Act 1: line 1

(Dyce) Act 2: line 291

F Act 3: line 997

F Act 4: line 1569

F Act 5: line 2165

http://zboing.ca/shakespeare/svg/Histories/TheLifeAndDeathOfKingJohn

RICHARD II

Perfect.

http://zboing.ca/shakespeare/svg/Histories/TheLifeAndDeathOfRichardTheSecond

1 HENRY IV

•Let us entitle the brief play-within-the-play (1332,1439):

IN KING CAMBYSES VEIN

http://zboing.ca/shakespeare/svg/Histories/TheFirstPartOfKingHenryTheFourth

2 HENRY IV

•PRINCE & POINS are disguised (1256,1308) simply in order to be:

INCOGNITO

http://zboing.ca/shakespeare/svg/Histories/TheSecondPartOfKingHenryTheFourth

HENRY V

Un oubli.

•HENRY is disguised — once again INCOGNITO — from (1881,2073)

http://zboing.ca/shakespeare/svg/Histories/TheLifeOfKingHenryTheFift

1HENRY VI

Perfect

http://zboing.ca/shakespeare/svg/Histories/TheFirstPartOfKingHenryTheSixt

2 HENRY VI

Perfect

http://zboing.ca/shakespeare/svg/Histories/TheSecondPartOfKingHenryTheSixt

3 HENRY VI

Another lacunae of mine …

•In 3.1, HENRY is briefly disguised (presumably —given his prayerbook — as a MONK):

(1410,1467)

http://zboing.ca/shakespeare/svg/Histories/TheThirdPartOfKingHenryTheSixt

RICHARD III

•We could entitle the Play-within-the-play (2271–2469) either THE WOOING OF RICHARD or rather (lifting a line from the text):

PLAY THE MAIDS PART

•A CORRECTION: Could we remove the colouring of all the GHOSTS without, however altering the tag “ghost”. After all, these characters aren’t “disguised” but dead. The Ghost-characters in question are:

CLARENCE (Ghost 3578,[3638])

HASTINGS (Ghost 3596,[3638])

ANNE (Ghost 3614,[3638])

RIVERS (Ghost 3587,[3638])

GREY (Ghost 3587,[3638])

BUCKINGHAM (Ghost 3625,[3638])

Young DUKE OF YORK (Ghost 3603,[3638])

Young PRINCE EDWARD (Ghost 3603,[3638])

http://zboing.ca/shakespeare/svg/Histories/TheLifeAndDeathOfRichardTheThird

HENRY VIII

•The MASQUED DANCE (758,818) is entitled:

SHEPHERDS MASQUE

•While Queen Katherine’s vision is entitled :

KATHERINES VISION

http://zboing.ca/shakespeare/svg/Histories/TheLifeOfKingHenryTheEight

THE TRAGEDIES

TROILUS & CRESSIDA

Perfect.

http://zboing.ca/shakespeare/svg/Tragedies/TheTragedieOfTroylusAndCressida

CORIOLANUS

Perfect.

http://zboing.ca/shakespeare/svg/Tragedies/TheTragedyOfCoriolanus

TITUS ANDRONICUS

Perfect

http://zboing.ca/shakespeare/svg/Tragedies/TitusAndronicus

ROMEO & JULIET

Let us entitle the Revells at the Capulets (454,712):

REVEL AT CAPULETS

I also realized that not everyone involved is masqued. In fact, ROMEO, BENVOLIO & MERCUTIO introduce themselves into the Capulet’s party along with a bunch of Maskers (i.e. something akin to christmas carrolers, who ring your doorbell and sing you a song). Maskers — as in TYMON & HENRY VIII — basically barge-in, but since they bring life to a party they are, more often than not, welcomed.

In other words … this means that ROMEO, BENVOLIO, & MERCUTIO are “disguised” as MASKERS.

ROMEO from (454,717)

BENVOLIO from (454,710)

& MERCUTIO from (454,712)

http://zboing.ca/shakespeare/svg/Tragedies/RomeoAndJuliet

TIMON OF ATHENS

The masque (465,513) is entitled

\\

MASQUE OF CUPID & THE AMAZONS

http://zboing.ca/shakespeare/svg/Tragedies/TimonOfAthens

JULIUS CAESAR

•As in RICHARD III, could you remove the colouring around CAESAR’s final entrance as a GHOST (2287,2300) while retaining the tag “ghost”. Once again, he isn’t disguised. he’s a ghost

http://zboing.ca/shakespeare/svg/Tragedies/TheLifeAndDeathOfJuliusCaesar

MACBETH

The metatheatrical event (1604,1671) is entitled:

SHOW OF EIGHT KINGS

•As in JULIUS CAESAR & RICHARD III, could you remove the colouring around BANQUO’s two entrances as a GHOST — (1299,1343) (1363,1384) — as well as his his final entrance as an APPARITION (1657,1671). But please retain the tags “ghost” & “apparition”.

http://zboing.ca/shakespeare/svg/Tragedies/TheTragedyOfMacbeth

HAMLET

The first play-within-the-play (1494,1562) is entitled

RUGGED PYRRHUS

while the second (1990,2141) is entitled

THE MURDER OF GONZAGO

http://zboing.ca/shakespeare/svg/Tragedies/TheTragedyOfHamlet

KING LEAR

Let us entitle the metatheatrical event at (2430,2525)

GLOSTERS LEAPE

http://zboing.ca/shakespeare/svg/Tragedies/KingLear

OTHELLO

Perfect.

http://zboing.ca/shakespeare/svg/Tragedies/OthelloTheMooreOfVenice

ANTHONY & CLEOPATRA

Perfect

http://zboing.ca/shakespeare/svg/Tragedies/AnthonyAndCleopater

CYMBELINE

The play-within-the-play cum vision at (3065,3159) is entitled:

POSTHUMUS DREAME

http://zboing.ca/shakespeare/svg/Tragedies/CymbelineKingOfBritaine

FINAL CORRECTIONS:

MASQUED REVELL

\\

//

\\

\\

\\

REVELL AT CAPULETS

\\

THE COMEDIES

TEMPEST:

MASQUEOF JUNO

TWO GENTLEMEN OF VERONA:

MERRY WIVES OF WINDSOR

HERNE THE HUNTER.

MEASURE FOR MEASURE

COMEDY OF ERRORS

MUCH ADO ABOUT NOTHING

\\

MASQUED REVELL

LOVE’S LABOURS LOST

MASQUE OF THE RUSSIANS.

THE PAGEANT OF NINE WORTHIES

MIDSOMMER NIGHTS DREAME

PYRAMUS & THISBY

MERCHANT OF VENICE

AS YOU LIKE IT

«AM I NOT YOUR ROSALIND?»

TAMING OF THE SHREW

ALL’S WELL THAT ENDS WELL

Sorry about this but…

•GULLING OF PAROLLES #1 (1900,2016)

•GULLING OF PAROLLES #2 (2224,2420)

Also could we add the Characters of

TWELFE NIGHT

WINTER’S TALE

THE QUEENES PICTURE

THE HISTORIES

KING JOHN

RICHARD II

1 HENRY IV

IN KING CAMBYSES VEIN

INCOGNITO

HENRY V

1HENRY VI

2 HENRY VI

3 HENRY VI

RICHARD III

PLAY THE MAIDS PART

HENRY VIII

SHEPHERDS MASQUE

KATHERINES VISION

THE TRAGEDIES

TROILUS & CRESSIDA

CORIOLANUS

TITUS ANDRONICUS

ROMEO & JULIET

REVELL AT CAPULETS

TIMON OF ATHENS

MASQUE OF CUPID & THE AMAZONS

\\

JULIUS CAESAR

MACBETH

SHOW OF EIGHT KINGS

HAMLET

RUGGED PYRRHUS

THE MURDER OF GONZAGO

KING LEAR

GLOSTERS LEAPE

OTHELLO

ANTHONY & CLEOPATRA

CYMBELINE

POSTHUMUS DREAME

THE COMEDIES

TEMPEST:

SHOW OF EIGHT KINGS

MASQUEOF JUNO

Play-within-the-play (1707,1806) is entitled: MASQUEOF JUNO

Play-within-the-play (2518,2588) is entitled: HERNE THE HUNTER.

The MASQUE (489,780) is simply a MASQUED REVELL (wherein presumably all are “masked”)

The MASQUE (2051,2182) is usually referred to as MASQUE OF THE RUSSIANS.

We should ADD that in the course of this Masque, the LADIES are also DIGUISED:

As for the Play-within-the-play (2490,2683) it is entitled:

THE PAGEANT OF NINE WORTHIES

PYRAMUS & THISBY

AM I NOT YOUR ROSALIND?

Just for the sake of better differentiating the INDUCTION’s characters from those of the “play” SHREW itself: could the horizontal character rule for SLY, LORD, 3 SERVS, & PAGE be thinner (as you had done for the very first version of 1HEN IV, wherein certain characters “accompanied” others)

I must admit to still being torn about the two GULLINGS OF PAROLLES (1900,2016) & (2224,2420) respectively, since both instances ARE occurences of “play-acting” (the second one even occurs before an “audience” composed of BERTRAM and the two LORDS/ CAPTAIN).

THE QUEENES PICTURE

IN KING CAMBYSES VEIN

INCOGNITO

PLAY THE MAIDS PART

SHEPHERDS MASQUE

KATHERINES VISION

Perfect

http://zboing.ca/shakespeare/svg/Tragedies/RomeoAndJuliet

\\

TIMON OF ATHENS

F Act 1: line 1

(Rowe) Act 2: line 615

(Rowe) Act 3: line 916

(Rowe) Act 4: line 1503

(Capell) Act 5: line 2192

http://zboing.ca/shakespeare/svg/Tragedies/TimonOfAthens

\\

JULIUS CAESAR

F Act 1: line 1

\\

F Act 2: line 614

F Act 3: line 1199

F Act 4: line 1852

F Act 5: line 2327

F Act 1: line 1

F Act 2: line 568

F Act 3: line 980

F Act 4: line 1526

F Act 5: line 2092

F Act 1: line 1

F Act 2: line 889

(Players’ Q, 1676) Act 3: line 1646

(Players’ Q, 1676) Act 4: line 2586

(Players’ Q, 1676) Act 5: line 3189

F Act 1: line 1

F Act 2: line 926

F Act 3: line 1614

F Act 4: line 2177

F Act 5: line 2844

CORRECTION: Mea culpa! BIANCA’s actual ENTRANCES & EXITS are as follows (2326,2368) (2531,2546) (3174,3237)

F Act 1: line 1

F Act 2: line 751

F Act 3: line 1517

F Act 4: line 2369

F Act 5: line 3080

F Act 1: line 1

(Rowe) Act 2: line 614

(Rowe) Act 3: line 1494

(Rowe) Act 4: line 2389

(Pope) Act 5: line 3107

F Act 1: line 1

F Act 2: line 838

F Act 3: line 1373

F Act 4: line 2217

F Act 5: line 2856

The point of this exercise is to get the disguised men to declare their undying absolute love to the WRONG girl.

As for the Play-within-the-play (2490,2683) it is entitled: THE PAGEANT OF NINE WORTHIES

Play-within-the-play (1905,2131) is entitled: PYRAMUS & THISBY

The Play-within-the-play (1945,2107) we will entitle: MY FAIRE ROSALIND

FESTE is lacking TWO ENTRIES (2153,2199) (2352,2579) !!

Well, the IS the ridiculously small DANCE OF TWELVE SATYRS (at 2164).

Though I DO understand the dilemna regarding F’s problematic ACTS 2 & 3, these stem almost certainly from compositorial mistakes (due to the two compositor system employed here: one compositor working forward and the other backward through the play; in this case their joint left something to be desired).

In this case, then, I would pass over the bad compositing, and stick simply to Dyce’s ACT 2. After all, F DOES provide the appropriate breaks (even if they are mis-numbered)

Perfect

My mistake. There IS indeed an EPILOGUE to this play @ TLN 3324.

\\

Perfect.

A CORRECTION: ACT 1 is in F (otherwise, graph is perfect)

F Act 1: line 1

\\

(Pope) Act 2: line 583

(Pope) Act 3: line 1144

(Pope) Act 4: line 1578

\\

(Pope) Act 5: line 2724

http://zboing.ca/shakespeare/svg/Histories/TheSecondPartOfKingHenryTheSixt

3 HENRY VI

A CORRECTION: Once again, ACT 1 is in F (otherwise, graph is perfect)

F Act 1: line 1

(Rowe) Act 2: line 651

(Rowe) Act 3: line 1396

(Rowe) Act 4: line 2016

(Pope) Act 5: line 2672

http://zboing.ca/shakespeare/svg/Histories/TheThirdPartOfKingHenryTheSixt

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RICHARD III

CORRECTION: RIVERS & GREY die following their exit @ 1962.

http://zboing.ca/shakespeare/svg/Histories/TheLifeAndDeathOfRichardTheThird

HENRY VIII

Since their IS a line for the PROLOGUE (@ line 1), shouldn’t their be another for the EPILOGUE (@ line 3549)?

F Act 1: line 34

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F Act 2: line 819

F Act 3: line 1614

F Act 4: line 2376

F Act 5: line 2768

F Epilogue: line 3549

Perfect

Perfect

New things:

Edits done… on to printing, now! — sv

Perfect

Perfect.

Perfect

Perfect

Perfect

Perfect

Perfect.

Perfect

Ok… basics covered … all the stuff except perhaps the Acts are now updated —sv

WOW. —sz

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F Act 1: line 1

(Rowe) Act 2: line 732

(Rowe) Act 3: line 1431

(Rowe) Act 4: line 2293

(Rowe) Act 5: line 2721

F Act 1: line 1

F Act 2: line 640

F Act 3: line 1309

F Act 4: line 1920

F Act 5: line 2259

F Act 1: line 1

F Act 2: line 633

F Act 3: line 1519

F Act 4: line 2218

F Act 5: line 2631

F Act 1: line 1

F Act 2: line 672

F Act 3: line 1234

F Act 4: line 1650

F Act 5: line 1945

F Epilogue: line 2320

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F Act 1: line 1

F Act 2: line 395

F Act 3: line 1067

F Act 4: line 1543

F Act 5: line 2024

F Act 1: line 1

F Act 2: line 551

F Act 3: line 1157

F Act 4: line 1821

F Act 5: line 2400

F Act 1: line 1

F Act 2: line 449

F Act 3: line 1202

F Act 4: line 1768

F Act 5: line 2345

F Act 1: line 1

F Act 2: line 272

F Act 3: line 616

F Act 4: line 980

F Act 5: line 1462

F Act 1: line 1

F Act 2: line 414

F Act 3: line 1086

F Act 4: line 1656

F Act 5: line 2077

F Act 1: line 1

F Act 2: line 489

F Act 3: line 769

F Act 4: line 972

F Act 5: line 1738

F Act 1: line 1

F Act 2: line 372

F Act 3: line 812

F Act 4: line 1508

F Act 5: line 1791

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F Act 1: line 1

F Act 2: line 513

F Act 3: line 1217

F Act 4: line 1901

F Act 5: line 2402

F Act 1: line 1

F Act 2: line 604

F Act 3: line 1179

F Act 4: line 1915

F Act 5: line 2339

F Epilogue: Line 2774

F Act 1: line 1

(Steevens) ACT 2: line 855

F Act 3: line 1294

F Act 4: line 1977

F Act 5: line 2533

A CORRECTION: Please remove The two GULLING OF PAROLLES framed events: (1900,2016) & (2224,2420).

F Act 1: line 1

F Act 2: line 593

F Act 3: line 1371

F Act 4: line 1910

F Act 5: line 2592

F Act 1: line 1

F Act 2: line 610

F Act 3: line 1212

F Act 4: line 1917

F Act 5: line 2152

F Act 1: line 1

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F Act 2: line 583

F Act 3: line 1144

F Act 4: line 1578

F Act 5: line 2724

http://zboing.ca/shakespeare/svg/Comedies/TheWintersTale

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THE HISTORIES

KING JOHN

F Act 1: line 1

F Act 2: line 614

F Act 3: line 1420

F Act 4: line 1860

F Act 5: line 2785

F Prologue: line 1

F Act 1: line 36

(Johnson) Act 2: line 462

F Act 3: line 1044

F Act 4: line 1788

F Act 5: line 2849

F Act 1: line 1

F Act 2: line 674

F Act 3: line 1201

F Act 4: line 1743

(Capell) Act 5: line 2333

http://zboing.ca/shakespeare/svg/Histories/TheFirstPartOfKingHenryTheSixt

2 HENRY VI

CORRECTION: RIVERS & GREY die following their exit @ 1962

F Act 1: line 1

F Act 2: line 1119

F Act 3: line 1568

F Act 4: line 2470

F Act 5: line 3370

F Prologue: line 1

F Prologue: line 1

F Act 1: line 33

(Rowe) Act 2: line 859

(Rowe) Act 3: line 1471

(Rowe) Act 4: line 2168

(Rowe) Act 5: line 2870

CORRECTION: Please remove the”character” of the ROMAN ARMY (Lartius’ soldiers).

F Act 1: line 1

F Act 2: line 895

F Act 3: line 1671

F Act 4: line 2434

F Act 5: line 3149

F Act 1: line 1

F Act 2: line 553

F Act 3: line 1131

F Act 4: line 1540

F Act 5: line 2109

ADDITIONS: This play by “Will Shakespeare & Thom. Middleton”.

Please add the character of the FOOLE, as well as the NEW character entry of

CREDITORS (615,655) (666,792).

CORRECTIONS:

CAESAR’s entrance as “corpse” (@ 1570,1812) should probably appear as a paler shade of silver on the graph. And his ultimate entrance as “Ghost” (2287,2300) probably be indicated as such (i.e. “Ghost”).

CORRECTIONS & ADDITIONS:

1) King DUNCAN is assassinated @ TLN 646.

2) Please add characters of PORTER (742,906) as well as that of the 1st MURDERER.

3) Like in JULIUS CAESAR, could BANQUO’s last three appearances (the first two as “Ghost” and the last as an “apparition”) be indicated as such ?

CORRECTIONS & ADDITIONS:

1) OPHELIA dies at TLN 3156

2) Rosencrantz & Guildenstern die at TLN 3559

3) Obviously (my mistake), the PLAYERS are present for “The Murder of Gonzago (aka The Mousetrap)” : (1990,2141)

4) There might be the smallest visible sign for an entry of the PLAYERS @ TLN 2215 (it is not clear when he/they exit, so the key word here is VISIBLE)

CORRECTIONS:

1) KENT is disguised as Caius from TLN 530 to 2056!!, NOT to 3302 (my mistake).

2) At TLN 3277, Lear says that his “Poore Foole is hang’d”. Is he talking about Cordelia, or should we be LITTERALISTS and cross-out the FOOLE @ 3277?

ADDITIONS:

Please add characters of BRABANTIO, DUKE, CLOWN, & LODOVICO.

ADDITIONS:

Please add characters of CHARMIAN, IRAS, AGRIPPA, EROS, VENTIDIUS, & CLOWN

PERFECT.

PERFECT.

CORRECTIONS & ADDITIONS:

1) Please remove the”characters” of the ROMAN & VOLSCIAN ARMIES, but…

2) add the ROMAN PLEBEANS, ROMAN SENATORS & VOLSCIAN SENATORS

ADDITIONS:

To reinforce the Death-Fest motif, please add the characters of MUTIUS, MARTIUS / QUINTUS, YOUNG LUCIUS, & the CLOWN.

MUTIUS, MARTIUS & QUINTUS, & CLOWN all bite it.

CORRECTION:

MERCUTIO dies following his final exit @ 1542.

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A CORRECTION:

Please remove The two GULLING OF PAROLLES framed events: (1900,2016) & (2224,2420).

CORRECTION:

RIVERS & GREY die following their exit @ 1962

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PERFECT.

PERFECT.

PERFECT.

PERFECT.

A CORRECTION:

The FINAL EXIT of E. ANTIPHOLUS & ANGELO should read 1898 (and not 1998) . My mistake.

AN ADDITION:

Please add characters of BORACHIO, CONRAD, & FRIAR to graph, SVP.

A CORRECTION:

We are missing the play within the play, PAGEANT OF NINE WORTHIES (2490,2683). Also, like in DREAME, the parts that the characters of Costard, Armado, Moth, Holofernes and Nathaniel play in said pageant end with it (i.e. 2683 and not 2900).

A CORRECTION:

At the end of 3.1, BOTTOM exits with TITANIA at 1020 (not 920)

PERFECT.

AN ADDITION:

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We should add the character of SILVIUS (betrothed to PHEBE).

AN ADDITION:

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We MUST add the character of BIANCA (because she’s kind of the structural foil of Katherina)

A CORRECTION:

The GULLING OF PAROLLES seems to me occurences of “play-acting” (and thereby FRAMED events):

(1900,2016) & (2224,2420).

TWELFE NIGHT

PERFECT.

http://zboing.ca/shakespeare/svg/Comedies/TwelfeNightOrWhatYouWill

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WINTER’S TALE

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FIVE CORRECTIONS:

1) We are missing the DISGUISES of

POLIXENES & CAMILLO as two “Gentlemen” (1857,2260)

2) Also, IF in CYMBELINE Guiderius and Arviragus are — though unbeknownst to themselves — two disguised characters , THEN in WINTER’S TALE the same should apply to PERDITA who’s true identity is also hidden (1796,3009)

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3) Even though it IS ridiculously short (textually), the MASQUE of TWELVE SATYRS should somehow be indicated aux environs de (2164)

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4) As far as the audience is concerned, HERMIONE is really and truly dead at TLN 1388. It is the whim of the author that she is “resurrected” later on. Therefore, HERMIONE (RIP @ 1388)

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Finally,

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5) I would very much like to add the (very minor) Character of MAMILIUS — young son of Leontes & Hermione — because his death is the first major TILT in the play. His entries are the following:

(49,294) (584,660) RIP@1329

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PERFECT

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PERFECT

ADDITIONS:

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1) Please add characters of POINS, PETO, MORTIMER, & Archb. SCROOP to graph.

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2) PRINCE & POINS are DISGUISED as highwaymen (826,840)

TWO ADDITIONS:

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1) Please add characters of POINS to graph.

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2) Here again, PRINCE & POINS are DISGUISED (1256,1308)

A CORRECTION:

Please remove Gov. of HARFLEUR.

PERFECT

PERFECT.

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PERFECT.

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ADDITIONS & CORRECTIONS:

1) Please add characters of RIVERS, GREY, Yng DUKE OF YORK, Yng PRINCE EDWARD, CITIZENS, & TYRELL.

2) DEATHS:

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HASTINGS dies following his exit @ 2081.

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LADY ANNE dies @ appx. 2747

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RIVERS & GREY die following their exit @ 1962

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The two young princes, Yng DUKE OF YORK & Yng PRINCE EDWARD, die @ appx. 2703

This play “by Will Shakespeare & John Fletcher”.

ADDITIONS & CORRECTIONS:

1) Please add characters of LOVELL, and the TWO GENTLEMEN to the graph.

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2) O.K, O.K … maybe I went a little over the top. SO… Please remove ALL metatheatrical frames except for

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A) the MASQUE (758,818)

B) QUEEN KATHERINE’s VISION (2642, 2657) … and that is 2657!! NOT 3255 (my mistake)

The Comedies (only them for the moment) now have the basic frames for the play within the play !

TLN rulers should be forthcoming.

Thankyouthankyouthankyou

3) Obviously (my mistake), the PLAYERS are present for “The Murder of Gonzago (aka The Mousetrap)” : (1990,2141) of an entry.

Please add characters of POINS, PETO, MORTIMER, & Archb. SCROOP to graph.

A CORRECTION (?):

PRINCE & POINS are DISGUISED as highwaymen (826,840)

ADDITIONS:

Please add characters of RIVERS, GREY, Yng DUKE OF YORK, Yng PRINCE EDWARD, CITIZENS, & TYRELL.

CORRECTIONS:

ADDITIONS:

Please add characters of LOVELL, and the TWO GENTLEMEN to the graph

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CORRECTIONS:

O.K, O.K … maybe I went a little over the top.

SO… Please remove ALL metatheatrical frames except for

the MASQUE (758,818)

& QUEEN KATHERINE’s VISION (2642, 2657) … and that is 2657!! NOT 3255 (my mistake)

Please remove the”characters” of the ROMAN & VOLSCIAN ARMIES,

but add the ROMAN PLEBEANS, ROMAN SENATORS & VOLSCIAN SENATORS

KENT is disguised as Caius from TLN 530 to 2056!!, NOT to 3302 (my mistake).

At TLN 3277, Lear says that his “Poore Foole is hang’d”. Is he talking about Cordelia, or should we be LITTERALISTS and cross-out the FOOLE @ 3277?

METATHEATRE IN TROILUS & CRESSIDA

NONE.

METATHEATRE IN CORIOLANUS

NONE.

METATHEATRE IN TITUS ANDRONICUS

• DISGUISES:

TAMORA as Revenge (2282,2434)

CHIRON & DEMETRIUS as Rape & Murder (2282,2449)

METATHEATRE IN ROMEO & JULIET

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• PLAY WITHIN THE PLAY:

MASKED DANCE whereby the eponymous characters can meet: (454,712).

METATHEATRE IN TIMON

• PLAY WITHIN THE PLAY:

The masque of CUPID & THE AMAZONS: (465,513)

METATHEATRE IN JULIUS CAESAR

NONE.

METATHEATRE IN MACBETH

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• PLAY WITHIN THE PLAY (or Visions):

APPARITIONS & SHOW OF EIGHT KINGS: (1604,1671)

http://zboing.ca/shakespeare/svg/Tragedies/TheTragedyOfMacbeth

METATHEATRE IN HAMLET

• PLAYS WITHIN THE PLAY:

Rugged Pyrrhus: (1494,1562)

The Murder of Gonzago (aka The Mousetrap): (1990,2141)

http://zboing.ca/shakespeare/svg/Tragedies/TheTragedyOfHamlet

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METATHEATRE IN KING LEAR

• DISGUISES:

KENT as Caius (530,3302)

EDGAR as Poor Tom (1818,2481) then a Friend (2486,2686) (2704,2742) (2920,2936) then a West country Yokel (2687,2703) then as “man so poore” (2880,2894) then as a Champion (3067,3130). So basically…:

(1818,3130)

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• PLAY WITHIN THE PLAY (sort of…):

GLOUSTER’S imagined LEAP over the Cliffs of Dover (4.5) is certainly worth framing as some form of play-within-the-play: (2430,2525).

http://zboing.ca/shakespeare/svg/Tragedies/KingLear

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METATHEATRE IN OTHELLO

NONE.

Although the gulling of Othello at 4.1.93–170 (TLN 2476–2553) might be perceived as some form of play-within-the-play, it is (to my mind, at least) not quite as theatrically overt as, for instance, Gloster’s imagined leap over the cliffs of Dover in LEAR. The first is perhaps meta-dramatic in that it subverts (i.e. “frames” and directs) Othello’s understanding of Iago’s actual conversation with Cassio. Whereas the second is meta-theatrical in that it uses the exact rhetorical means of Elizabethan stage-practice (i.e. description) to create a scenic world that isn’t really there (and Gloster “falls” for it because, unlike most of the audience, he cannot see). Furthermore, Othello’s “gulling” is part and parcel of that most meta-theatrical element of the play: IAGO’s “performance” (a performance he, himself, falls in and out of for the benefit of the audience).

http://zboing.ca/shakespeare/svg/Tragedies/OthelloTheMooreOfVenice

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METATHEATRE IN ANTHONY & CLEOPATRA

NONE.

http://zboing.ca/shakespeare/svg/Tragedies/AnthonyAndCleopater

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METATHEATRE IN CYMBELINE

• DISGUISES:

IMOGEN as Fidele (2081,3526)

POSTHUMUS as unknown knight (2893,3490)

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CLOTTEN as Posthumus (2218,2378)

BELARIUS as Morgan (1554,3644)

GUIDERIUS as Polydore (1554,3671)

ARVIRAGUS as Cadwal (1554,3672)

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• PLAY WITHIN THE PLAY:

POSTHUMUS’ DREAM: (3065,3159).

NOTE: waiting for the official call by the (future) Doctor (as in : «Time of death: 33BC.»’‘ —sv

AT 2739, THE QUEEN IS SAID TO BE ILL WITH FEVER. HER DEATH IS ANNOUNCED BY CORNELIUS AT 3283. SO… CONSERVATIVELY, WE COULD SAY THAT HER DEATH OCCURS SOMEWHERE AT THE END OF 5.4 (SAY 3245). BUT, THEN AGAIN, FOR THE AUDIENCE SHE IS DEAD AT 3283.

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CORRECTIONS:

Please remove ALL metatheatrical frames except for

• PLAYS WITHIN THE PLAY (or PAGEANTS, MASQUES & PROCESSIONS within the play):

KING IN STATE, trial “in absentia” of Buckingham : (317,568)

MASQUED DANCE (meeting of Henry & Anne Bullen): (758,818)

Buckingham’s EXECUTION PROCESSION: (889,983)

LEGATINE COURT, divorce court or “show trial”: (1331,1613)

Anne Bullen’s CORONATION PROCESSION: (2420,2444)

Queen Katherine’s VISION: (2642,3255)

COUNCIL MEETING, trial of Cranmer: (3035,3255)

BAPTISM OF QUEEN ELIZABETH: (3353,3448)

MUCH ADO

LABOURS LOST

METATHEATRE IN KING JOHN

NONE.

METATHEATRE IN RICHARD II

NONE.

METATHEATRE IN 1 HENRY IV

• DISGUISES:

PRINCE & POINS are briefly disguised as highway men in 2.2: (826,840)

• PLAY WITHIN THE PLAY :

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(or, rather, a Scene within the scene involving FALSTAFF & HAL ) in 2.4: (1332,1439)

METATHEATRE IN 2 HENRY IV

NONE.

METATHEATRE IN HENRY V

NONE.

METATHEATRE IN 1HENRY VI

NONE.

METATHEATRE IN 2 HENRY VI

NONE.

METATHEATRE IN 3 HENRY VI

NONE.

METATHEATRE IN RICHARD III

The character of RICHARD himself (who does nothing but “act” & dissemble his way to the top of the play world) is perhaps one of the most overt occurrences of metatheatre in the whole canon. But the play also contains other tantalizing hints of a rather wilful theatricality. The Folio’s 3.4 (the standard 3.4–7), for instance, appears to be constructed as a series of progressively more manifest plays-within-the-play: beginning with the rather blunt dismissal & execution of Hastings, to Richard & Buckingham “appearing” as the innocent protectors & guardians of a realm under attack (F even requiring them, at TLN 2082, to appear in “armour, marvellous ill-favoured”), we end with Buckingham’s grandiose wooing of Richard before the citizens of London. This last occurrence — TLN 2271–2469 — being as close to a genuine play-within-the-play as we get in RICHARD III.

Indeed, I sometimes wonder if — with this play’s strange mixture of medieval morality and renaissance irony — Shakespeare’s goal isn’t essentially didactic: since he almost appears to be teaching his audience how to interpret and read into, not only the very play they are witnessing, but theatre as a whole.

• PLAY WITHIN THE PLAY:

Buckingham’s wooing of Richard: (2271,2469)

METATHEATRE IN HENRY VIII

More than any other play of Shakespeare, HENRY VIII relies on “spectacle”. It is almost a “pièce à machine”, excepting that there ARE no machines per se, just very elaborate (and minutely described) processions. Indeed, HENRY VIII seems to represent the goings-on of politics and power as a series of splendid ceremonies (almost as if power were “all show”). Of the eight “framed” events of the play, six are protocolic.

Though these are not really plays-within-the-play, they are nonetheless spectacles-within-the-spectacle and so, to my mind at least, deserve some form of framing. So…

• PLAY WITHIN THE PLAY:

A CORRECTION:

METATHEATRE IN TEMPEST:

METATHEATRE IN VERONA:

METATHEATRE IN WINDSOR

METATHEATRE IN MEASURE FOR MEASURE

AN ADDITION: Please add characters of BORACHIO, CONRAD, & FRIAR to graph, SVP.

AN ADDITION: We should add the character of SILVIUS (betrothed to PHEBE).

AN ADDITION: We MUST add the character of BIANCA (because she’s kind of the structural foil of Katherina)

ALL’S WELL

The GULLING OF PAROLLES seems to me occurenceof “play-acting”:

• DISGUISE:

ARIEL as Harpy (1583,1616)

• PLAY WITHIN THE PLAY: (1707,1806)

The metacharacters of JUNO, CERES, NIMPHES , & REAPERS will probably have to be slipped-in somehow.

DISGUISE: JULIA as Sebastian (1649,2225)

• DISGUISES:

FORD as Broome (914,1064) (1730,1820) (2409,2729)

FALSTAFF as “Aunt of Brainford” (2064,2069)

• PLAY WITHIN THE PLAY:

usually entitled HERNE, THE HUNTER (3065,3159).

METATHEATRE IN MEASUREFOR MEASURE

• DISGUISE:

DUKE VINCENTIO as “Friar Ludowick” (952,2270) & (2656,2737)

METATHEATRE IN ERRORS

NONE.

METATHEATRE IN MUCH ADO

• PLAY WITHIN THE PLAY:

Masque (489,780)

METATHEATRE IN LABOURS LOST

• PLAYS WITHIN THE PLAY:

Masque of the Russians: (2051,2182)

Pageant of the Nine Worthies: (2490,2683)

METATHEATRE IN DREAME

• PLAY WITHIN THE PLAY:

A TEDIOUS BRIEF SCENE OF YOUNG PYRAMUS

AND HIS LOVE THISBY; VERY TRAGICAL MIRTH

Is

planned and cast (266,371)

rehearsed (813,920)

&

performed (1905,2131)

METATHEATRE IN MERCHANT OF VENICE

• DISGUISES:

JESSICA as a boy (925,961)

PORTIA as Balthazar, a Lawyer, (2073,2402)

NERISSA as “Lawyer’s Clerk” (2026,2402)

METATHEATRE IN AS YOU LIKE IT

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• DISGUISES:

ROSALIND as Ganimede: (781,2681)

CELIA as Aliena: (781,2681)

• PLAY WITHIN THE PLAY (or SCENE WITHIN THE SCENE):

There is also a rather strange bit of “play-acting” in 4.1 where ROSALIND disguised as Ganimede “acts” the part of ROSALIND for the benefit of ORLANDO. Hence, as not a few commentators have noted, a boy actor plays a girl (Rosalind) who plays a boy (Ganimede) who plays a girl (Rosalind). This event certainly warants some form of framing: (1945,2107)

METATHEATRE IN SHREW

• DISGUISES:

CHRISTOPHER SLY (even if unbeknownst to himself) is DISGUISED as Lord (151,2750)

The PAGE as Lady (252,2750)

LUCENTIO as Cambio (703,2383)

TRANIO as his master Lucentio (786,2462)

HORTENSIO as Litio (898,1891)

The PEDANT as Lucentio’s father Vincentio (2180,2490)

• PLAY WITHIN THE PLAY:

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Given the INDUCTION, it is the whole of SHREW that should indeed be framed as a play-within-the-play (even if the framing device itself is incomplete): (299,2750).

METATHEATRE IN ALL’S WELL

The gulling of Parolles occurs through two occurences of “play-acting”.

Act 4.1 (Folio pp. 245–6), Parolles’ own soldiers — masquerading as “enemies” — “capture” him (1900,2016)

Act 4.3 (Folio pp. 247–51), Parolles is “interrogated” and thereby proven a coward (2224,2420).

http://zboing.ca/shakespeare/svg/Comedies/AllIsWellThatEndsWell

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METATHEATRE IN TWELFE NIGHT

• DISGUISES:

VIOLA as Caesario (250,2419)

FESTE as Sir Topaz (2003,2045)

http://zboing.ca/shakespeare/svg/Comedies/TwelfeNightOrWhatYouWill

METATHEATRE IN WINTER’S TALE

• DISGUISES:

POLIXENES as a Gentleman (1857,2260)

CAMILLO as a Gentleman (1857,2260)

FLORIZEL as Doricles (1796,2262)

HERMIONE as a Statue (3208,3312)

• PLAY WITHIN THE PLAY:

The masque/dance of TWELVE SATYRS is an instance of play-within-the-play, even if it is a rather brief one (at least “textually”): (2164)

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Furthermore, that HERMIONE makes her final appearance as a painted STATUE standing behind a “curtain” upon a “stage” (since the first must be “drawn” and she must “descend” from the second) is a moment of meta-“something-or-other” that certainly deserves FRAMING: (3208,3312).

All plays now have the date in the titles. The Histories titles have also been slightly edited (I cut the extended titles down)

Otherwise, The Comedies now have the acts in the background. Optionally, the scenes could also be worked in the same manner (the information is in the original xml files). The other plays will follow.

I think I’ve found a way to represent disguised characters, I’ll be working that in pretty soon!… The idea goes as follows : the character’s disguised presence is represented by a slightly offset rectangle (or bar) where the disguise’s name is written.. I’ll see if I can put a drop shadow in there somewhere (to make it cute)….

EDGAR as Poor Tom (1818,2481) then a Friend (2486,2686) (2704,2742) (2920,2936) then a West country Yokel (2687,2703) then as “man so poore” (2880,2894) then as a Champion (3067,3130). So basically…: !!!!!(1818,3130)

EDGAR as Poor Tom (1818,2481) then a Friend (2486,2686) (2704,2742) (2920,2936) then a West country Yokel (2687,2703) then as “man so poore” (2880,2894) then as a Champion (3067,3130). So basically…: (1818,3130)

Graphs are up!

I’ve put up some kind of system:

http://zboing.ca/shakespeare/svg/Comedies/TheComedyOfErrors

The pattern goes as follows : the first part of the URL is fixed: zboing.ca/shakespeare/svg/

Then you put the category … ( one of : Tragedies, Comedies or Histories ) case sensitive!!

Then the Wiki Name? of the play ( ex: As You Like It, or Romeo and Juliet or Cymbeline King of Britaine)

And boom it will yield a 1000 pixel wide SVG of entries and exits.

.. yes, I know, black and white, no line numbers, no extras… but they’ll be coming!

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http://zboing.ca/shakespeare/svg/Tragedies/CymbelineKingOfBritaine

NOTE: waiting for the official call by the (future) Doctor (as in : «Time of death: 33BC.»’‘ —sv

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http://zboing.ca/shakespeare/svg/Tragedies/RomeoAndJuliet

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• PLAYS WITHIN THE PLAY (or PAGEANTS, MASKS & PROCESSIONS within the play):

MASKED DANCE (meeting of Henry & Anne Bullen): (758,818)

METATHEATRE IN

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PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheLifeAndDeathOfKingJohn

NOTE: Funny colours though.

Can remove them easily, it’s just an example of what is feasible —sv

PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheLifeAndDeathOfRichardTheSecond

PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheFirstPartOfKingHenryTheFourth

PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheSecondPartOfKingHenryTheFourth

PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheLifeOfKingHenryTheFift

NOTE: So this is what the full twenty-five characters look like?

yep, no problema! —sv

PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheFirstPartOfKingHenryTheSixt

NOTE: But, as above, I think the characters of WARWICK, WINCHESTER, BURGUNDY, REGNIER, YOUNG TALBOT, MARGARET (!!!) and perhaps the anomalous “Sir John Falstaff “ should probably be added.

done —sv

PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheSecondPartOfKingHenryTheSixt

PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheThirdPartOfKingHenryTheSixt

PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheLifeAndDeathOfRichardTheThird

NOTE: We’ll have to add some other characters to do full justice to this play (but I am not sure which ones yet).

PERFECT: http://zboing.ca/shakespeare/svg/Histories/TheLifeOfKingHenryTheEight

PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/TheTragedieOfTroylusAndCressida

NEARLY PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/TheTragedyOfCoriolanus

NOTE: The graph is lacking an entry for the Roman PLEBEANS (and I’m wondering if the Roman SENATORS shouldn’t be included here). Also, in the present graph, both ROMAN ARMIES are listed as LARTIUS soldiers when in fact one of these should be COMINIUS’ soldiers, whose appearances are somewhat different than the former lot (lets see, but perhaps we’ll cut these armies entirely from the final graph).

done —sv

PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/TitusAndronicus

NOTE: But, in order to make the bloodbath perfectly clear, lets add entries for MUTIUS, MARTIUS & QUINTUS (all are sons of Titus that bite it early on in the play). We should also include Young LUCIUS.

done —sv

NEARLY PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/RomeoAndJuliet

NOTE: MERCUTIO bites it.

done…. mercutio gets iced —sv

PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/TimonOfAthens

NOTE: But we’ll definitely have to thicken it up a little (we should, at the very least, add the POET & PAINTER).

Poetry and Painting added… —sv

VERY NEARLY PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/TheLifeAndDeathOfJuliusCaesar

NOTE: CAESAR’s fifth entance is really only his corpse being brought on for Marc Antony’s Eulogy (it should therefore be of a lighter shade).

Will do soon, when I’ll get around to disguises and things of the sort —sv

PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/TheTragedyOfMacbeth

NOTE: KING DUNCAN is probably assassinated in the vicinity of line 646 (“Scena Secunda” on FOLIO page 138).

updated —sv

WEIRD: http://zboing.ca/shakespeare/svg/Tragedies/TheTragedyOfHamlet

NOTE: Only the first half of the play is graphed.

aHA!… it’s because you have 2530 lines for the X axis in The Tragedy of Hamlet —sv

PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/KingLear

PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/OthelloTheMooreOfVenice

NOTE: It may be worthwhile to see if adding BRABANTIO, the DUKE, LODOVICO and the CLOWN does anything of note to the graph (if it clarifies anything ).

done — sv

PERFECT: http://zboing.ca/shakespeare/svg/Tragedies/AnthonyAndCleopater

WEIRD: http://zboing.ca/shakespeare/svg/Tragedies/CymbelineKingOfBritaine

NOTE: BELARIUS’ and POSTHUMUS’ disguises are causing problems. Also, theQUEEN dies much later (at the very end ). But since she dies “off”, I’ll have to figure out where exactly.

corrected, waiting for the official call by the (future) Doctor (as in : «Time of death: 33BC.» —sv

DISGUISE: JULIA as “Sebastian” (1649,2225)

FORD as “Broome” (914,1064) (1730,1820) (2409,2729)

FALSTAFF as “Aunt of Brainford” (2064,2069)

The PAGE as LADY (252,2750)

LUCENTIO as CAMBIO (703,2383)