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Montrer les modifications mineures - Affichage du code

18 février 2009 à 13h06 par SZ -
18 février 2009 à 13h04 par SZ -
27 janvier 2009 à 07h05 par Stéphane Volet - Pour télécharger.. petit rappel
Lignes 1-9 modifiées:

tested the proof of concept!

en:

Bon… pour télécharger un document… la docu l’explique mais voici la chose à retenir…

Il faut ajouter à l’URL de la page où on veut annexer un document,

?action=upload

Et là on obtiendra la liste des documents accessibles ainsi qu’un formulaire pour en ajouter…

Veuillez noter que les annexes sont limitées à ~900K et qu’il faut éviter les espaces et accents dans les noms de fichiers (sans oublier de mettre une particule genre .pdf, .doc, .jpg, .etc .etc .etc ;-)

29 octobre 2008 à 12h51 par SZ -
Lignes 2-16 ajoutées:


Here are some useful default pages installed along with the PmWiki software:


More information about PmWiki can be found at http://www.pmichaud.com/pmwiki.

03 avril 2007 à 07h36 par 69.157.189.229 -
Lignes 1-18 modifiées:

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)

en:
Lignes 5-746 modifiées:

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 >>>>>>>

en:

Animating Bill — a proof of concept!

27 août 2006 à 14h02 par 65.92.23.57 -
Ligne 604 supprimée:
Lignes 607-617 modifiées:
en:

PLAY-IN-PLAY:

•(465,506)

Type: Maske

Title: Maske of Cupid & the Amazons


Lignes 620-624 modifiées:
en:

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


Lignes 654-658 modifiées:
en:


Lignes 658-679 modifiées:
en:

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


Lignes 682-702 modifiées:
en:

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


Lignes 705-715 modifiées:
en:

PLAY-IN-PLAY:

•(2420,2555)

Type: Gulling (green)

Title: Othello shall go mad

//

Lignes 718-722 modifiées:
en:

OK


27 août 2006 à 13h13 par 65.92.23.57 -
Lignes 568-569 modifiées:
en:

PLAY-IN-PLAY:

•(1426,1524)

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

Title: Gowne of Humility


Lignes 595-605 modifiées:
en:

PLAY-IN-PLAY:

•(454,731) — these are NEW numbers!

Type: Maske (red)

Title: The Maskers


27 août 2006 à 12h52 par 65.92.23.57 -
Lignes 581-582 modifiées:
en:


Lignes 595-626 modifiées:
en:

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

27 août 2006 à 12h34 par 65.92.23.57 -
Lignes 552-553 modifiées:

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

en:

THE TRAGEDIE OF TROILUS AND CRESSIDA (1600–2)

PLAY-IN-PLAY:

•(2126,2164)

Type: Scene-extempore (blue)

Title: The Pageant of Ajax


27 août 2006 à 12h25 par 65.92.23.57 -
Lignes 597-598 modifiées:
en:

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

27 août 2006 à 12h14 par 65.92.23.57 -
Lignes 553-567 supprimées:

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

Lignes 556-739 modifiées:

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

en:

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)

THE LIFE OF TYMON OF ATHENS (1605–8)

THE TRAGEDIE OF JULIUS CAESAR (1599)

THE TRAGEDIE OF MACBETH (1606)

THE TRAGEDIE OF HAMLET (1600–1)

THE TRAGEDIE OF KING LEAR (1605 rev. 1610)

THE TRAGEDIE OF OTHELLO (1603–4)

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

THE TRAGEDIE OF CYMBELINE (1609–10)

27 août 2006 à 11h49 par 65.92.23.57 -
Lignes 530-545 modifiées:
en:

PLAYS-IN-PLAY :

•(758,818)

Type : Maske (red)

Title : Shepheards Maske

•(2642,2657)

Type : Dream or Vision (orange)

Title : The Vision

27 août 2006 à 11h35 par 65.92.23.57 -
Lignes 513-537 modifiées:

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

en:

THE TRAGEDY OF RICHARD THE THIRD (1592–3)

PLAY-IN-PLAY:

•(2271–2469)

Type: Scene-extempore (blue)

Title: Play the Maids part

Lignes 527-532 ajoutées:

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


27 août 2006 à 11h19 par 65.92.23.57 -
Lignes 493-518 modifiées:

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)

en:

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.


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

Lignes 515-534 supprimées:

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

27 août 2006 à 10h25 par 65.92.23.57 -
Lignes 117-118 modifiées:

same goes for ADRIANA (706,712

en:

same goes for ADRIANA (706,712)

27 août 2006 à 10h24 par 65.92.23.57 -
Lignes 53-54 modifiées:
en:


Lignes 63-64 modifiées:
en:


Lignes 96-98 modifiées:
en:


Lignes 106-108 modifiées:
en:


Lignes 133-135 modifiées:
en:


Lignes 165-167 modifiées:
en:


Lignes 216-217 modifiées:
en:


Lignes 273-275 modifiées:
en:


Lignes 296-300 ajoutées:


Lignes 331-334 ajoutées:


Lignes 340-343 modifiées:
en:


Lignes 373-377 ajoutées:


Lignes 413-417 ajoutées:


27 août 2006 à 10h21 par 65.92.23.57 -
Lignes 35-36 modifiées:

TEMPEST (1611)

en:

TEMPEST (1611)

Lignes 55-56 modifiées:

THE TWO GENTLEMEN OF VERONA (circa 1590–4)

en:

THE TWO GENTLEMEN OF VERONA (circa 1590–4)

Lignes 62-63 modifiées:

THE MERRY WIVES OF WINDSOR (1597–8)

en:

THE MERRY WIVES OF WINDSOR (1597–8)

Lignes 80-81 modifiées:

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

en:

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

Lignes 94-96 modifiées:

MEASURE FOR MEASURE (1603)

en:

MEASURE FOR MEASURE (1603)

Lignes 101-104 modifiées:

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?

en:

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?

Lignes 132-133 modifiées:

MUCH ADOE ABOUT NOTHING (1598)

en:

MUCH ADOE ABOUT NOTHING (1598)

Lignes 138-139 modifiées:

PLAY-IN-PLAY:

en:

PLAYS-IN-PLAY:

Lignes 163-165 modifiées:

LOVES LABOURS LOST (1594–5)

en:

LOVES LABOURS LOST (1594–5)

Lignes 172-173 modifiées:

LONGAVILLE as Muscovite (2052,2182), Conscious ?

en:

LONGAVILLE as Muscovite (2052,2182), Conscious

Lignes 196-197 modifiées:

PLAY-IN-PLAY

en:

PLAYS-IN-PLAY

Lignes 212-215 modifiées:

MIDSOMMER NIGHTS DREAME (1595)

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

en:

MIDSOMMER NIGHTS DREAME (1595)

PLAYS-IN-PLAY:

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

Lignes 227-228 modifiées:


en:
Lignes 234-235 modifiées:


en:
Lignes 241-244 modifiées:


Play-in-play: (1905,2131)

en:

•(1905,2131)

Lignes 248-249 modifiées:


en:
Lignes 256-260 modifiées:

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

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

en:

SNUG as ‘Lion’ (1925,2072), Conscious

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

Lignes 263-270 modifiées:

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

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

THE MERCHANT OF VENICE (1596–7)

en:

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

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

THE MERCHANT OF VENICE (1596–7)

Lignes 289-297 modifiées:

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:

en:

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:

Lignes 314-330 modifiées:

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)

en:

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)

Lignes 354-355 modifiées:

TWELFE NIGHT (1601)

en:

TWELFE NIGHT (1601)

Lignes 365-366 modifiées:


en:
Lignes 389-391 modifiées:

THE WINTER’S TALE (1609–11)

en:

THE WINTER’S TALE (1609–11)

Lignes 407-408 modifiées:


en:
Lignes 416-417 modifiées:


en:
Lignes 423-426 ajoutées:

THE HISTORIES

Lignes 428-432 supprimées:

THE HISTORIES


27 août 2006 à 10h11 par 65.92.23.57 -
Lignes 25-27 modifiées:

Un-conscious (blue

en:

Un-conscious (blue)

Lignes 32-319 ajoutées:


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)

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)


PLAY-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

PLAY-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)

Play-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


Play-in-play: (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)

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:

•(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)

CELIA as Aliena (781,2681)

THE TAMING OF THE SHREW (1590–1)

Looks fine AS IS


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

Lignes 322-323 modifiées:

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

en:

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

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

<<<<<<< =======

Lignes 748-749 modifiées:
en:

>>>>>>>

27 août 2006 à 08h28 par StephaneVolet -
Lignes 31-239 supprimées:


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

Lignes 36-394 modifiées:

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

en:

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

27 août 2006 à 08h03 par 65.92.16.174 -
Lignes 9-10 modifiées:

Inset-play (yellow)

en:

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

Lignes 23-24 modifiées:

Conscious (yellow)

en:

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

27 août 2006 à 00h56 par 69.157.176.142 -
Lignes 300-334 modifiées:

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

en:

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

27 août 2006 à 00h08 par 69.157.176.142 -
Lignes 46-47 modifiées:

Type: Maske (red)

en:

NEW Type: Maske (red)

Lignes 65-77 modifiées:

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)

en:

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)

Lignes 79-269 modifiées:

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

en:

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)

Lignes 118-120 modifiées:

THE HISTORIES

en:

Play-in-play: (489,780)

NEW Type: Maske (Red)

Title: Maskers with a Drum

Lignes 126-281 modifiées:

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

en:

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

Type: Gulling (green)

Title: Gulling Benedick

Lignes 134-135 modifiées:

THE TRAGEDIES

en:

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.

Lignes 153-159 modifiées:

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

TLN 125 TLN 479 TLN 610 TLN 645 TLN 1041

en:

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

ALL’S WELL, THAT ENDS WELL (1604–5)

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

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)

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

Lignes 324-348 modifiées:

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

en:

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

Lignes 365-443 ajoutées:

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

26 août 2006 à 19h42 par 69.157.189.19 -
Lignes 51-52 ajoutées:
Lignes 61-72 modifiées:

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

en:

THE MERRY WIVES OF WINDSOR (1597–8)

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)

26 août 2006 à 19h20 par 69.157.189.19 -
Lignes 3-6 modifiées:

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

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

en:

NEW FINAL CORRECTIONS:

Plays-within-the-plays & Disguises

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

Lignes 21-22 modifiées:

And two types of disguise:

en:

And two types of disguise:

26 août 2006 à 19h19 par 69.157.189.19 -
Lignes 33-74 modifiées:

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

en:

TEMPEST (1611)

Disguise: ARIEL (1583,1616)

Type: conscious (yellow)

Title: Harpy


Play-Within-Play: (1707,1806)

Type: Maske (red)

Title: Maske of Juno

THE TWO GENTLEMEN OF VERONA (circa 1590–4)

Disguise: Julia (1649,2225)

Type: conscious (yellow)

Title: Sebastian

DIGUISED as “Sebastian”

26 août 2006 à 18h19 par 69.157.189.19 -
Ligne 9 ajoutée:
Ligne 11 ajoutée:
Ligne 13 ajoutée:
Ligne 15 ajoutée:
Lignes 18-19 modifiées:
en:


Ligne 23 ajoutée:
26 août 2006 à 18h18 par 69.157.189.19 -
Ligne 8 supprimée:
Ligne 9 supprimée:
Ligne 10 supprimée:
Ligne 11 supprimée:
Ligne 17 supprimée:
26 août 2006 à 18h17 par 69.157.189.19 -
Lignes 3-5 modifiées:

NEW FINAL CORRECTIONS: TLN DATA FOR SCATTERPLOT GRAPHS

en:

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

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

Inset-play (yellow)

Scene-extempore (blue)

Maske or Maskers (red)

Gulling (green)

Dream or Vision (orange)

And two types of disguise:

Conscious (yellow)

Un-conscious (blue


10 juillet 2006 à 12h23 par 69.157.190.19 -
Lignes 419-625 modifiées:
en:

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

10 juillet 2006 à 11h11 par 69.157.188.28 -
Ligne 9 supprimée:

<<<<<<<

Lignes 11-15 modifiées:

=======

ART IN

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

en:
10 juillet 2006 à 11h10 par 69.157.188.28 -
Lignes 10-12 ajoutées:

<<<<<<<

ART IN THE TEMPEST (1611)

=======

Lignes 15-16 modifiées:
en:

>>>>>>>

Lignes 35-37 modifiées:

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

en:

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

Lignes 57-59 modifiées:

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

en:

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

Lignes 68-70 modifiées:

ART in MEASURE FOR MEASURE (1603)

en:

ART in MEASURE FOR MEASURE (1603)

Lignes 85-87 modifiées:

ART in THE COMEDY OF ERRORS (1594)

en:

ART in THE COMEDY OF ERRORS (1594)

Lignes 92-94 modifiées:

ART in MUCH ADOE ABOUT NOTHING (1598)

en:

ART in MUCH ADOE ABOUT NOTHING (1598)

Lignes 107-109 modifiées:

ART in LOVES LABOURS LOST (1594–5)

en:

ART in LOVES LABOURS LOST (1594–5)

Lignes 126-128 modifiées:

ART in MIDSOMMER NIGHTS DREAME (1595)

en:

ART in MIDSOMMER NIGHTS DREAME (1595)

Lignes 149-151 modifiées:

ART in THE MERCHANT OF VENICE (1596–7)

en:

ART in THE MERCHANT OF VENICE (1596–7)

Lignes 162-164 modifiées:

ART in AS YOU LIKE IT (1599–1600)

en:

ART in AS YOU LIKE IT (1599–1600)

Lignes 180-182 modifiées:

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

en:

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

Lignes 198-200 modifiées:

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

en:

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

Lignes 215-217 modifiées:

ART in TWELFE NIGHT (1601)

en:

ART in TWELFE NIGHT (1601)

Lignes 235-237 modifiées:

ART in THE WINTER’S TALE (1609–11)

en:

ART in THE WINTER’S TALE (1609–11)

Lignes 266-268 modifiées:

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

en:

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

Lignes 279-281 modifiées:

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

en:

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

Lignes 296-298 modifiées:

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

en:

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

Lignes 318-320 modifiées:

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

en:

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

Lignes 336-338 modifiées:

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

en:

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

Lignes 353-355 modifiées:

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

en:

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

Lignes 377-379 modifiées:

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

en:

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

Lignes 387-389 modifiées:

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

en:

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

Lignes 397-399 modifiées:

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

en:

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

Lignes 412-415 modifiées:

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

en:

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

Lignes 422-424 ajoutées:


10 juillet 2006 à 11h05 par 69.157.188.28 -
Lignes 3-6 modifiées:

NEW FINAL CORRECTIONS:

TLN DATA FOR SCATTERPLOT GRAPHS

en:

NEW FINAL CORRECTIONS: TLN DATA FOR SCATTERPLOT GRAPHS

Ligne 10 modifiée:

ART IN

en:

ART IN

10 juillet 2006 à 11h04 par 69.157.188.28 -
Lignes 4-10 modifiées:

TLN DATA FOR SCATTERPLOT GRAPHS

THE COMEDIES

en:

TLN DATA FOR SCATTERPLOT GRAPHS

THE COMEDIES

Lignes 269-270 modifiées:
en:


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 [ALL IS TRUE] (1612–3)

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

10 juillet 2006 à 09h10 par 69.157.180.80 -
Lignes 3-5 modifiées:

NEW FINAL CORRECTIONS:

en:

NEW FINAL CORRECTIONS:

Lignes 9-10 modifiées:

THE COMEDIES

en:

THE COMEDIES

Lignes 272-939 modifiées:


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

en:
10 juillet 2006 à 09h06 par 69.157.180.80 -
Lignes 3-8 modifiées:

FINAL CORRECTIONS:

en:

NEW FINAL CORRECTIONS:

TLN DATA FOR SCATTERPLOT GRAPHS

Lignes 13-273 ajoutées:

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

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

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


22 avril 2005 à 13h14 par StephaneVolet -
Lignes 1-2 ajoutées:

Animating Bill — a proof of concept!

24 janvier 2005 à 09h05 par 65.92.22.105 -
Ligne 79 modifiée:

MASQUED REVELL

en:

MASQUED REVEL

Ligne 331 modifiée:

\\

en:

\\

Ligne 337 modifiée:

//

en:

\\

Ligne 346 modifiée:

\\

en:

\\

Ligne 385 modifiée:

\\

en:

\\

Ligne 501 modifiée:

\\

en:

\\

Ligne 539 modifiée:

REVELL AT CAPULETS

en:

REVEL AT CAPULETS

Ligne 664 modifiée:

\\

en:

\\

24 janvier 2005 à 07h34 par 65.92.21.169 -
Ligne 7 modifiée:

THE COMEDIES

en:

THE COMEDIES

Ligne 11 modifiée:

TEMPEST:

en:

TEMPEST:

Ligne 17 modifiée:
MASQUEOF JUNO
en:

MASQUEOF JUNO

Ligne 27 modifiée:

TWO GENTLEMEN OF VERONA:

en:

TWO GENTLEMEN OF VERONA:

Ligne 38 modifiée:

MERRY WIVES OF WINDSOR

en:

MERRY WIVES OF WINDSOR

Ligne 44 modifiée:
HERNE THE HUNTER.
en:

HERNE THE HUNTER.

Ligne 52 modifiée:

MEASURE FOR MEASURE

en:

MEASURE FOR MEASURE

Ligne 63 modifiée:

COMEDY OF ERRORS

en:

COMEDY OF ERRORS

Ligne 73 modifiée:

MUCH ADO ABOUT NOTHING

en:

MUCH ADO ABOUT NOTHING

Ligne 77 modifiée:

\\

en:

\\

Ligne 79 modifiée:
MASQUED REVELL
en:

MASQUED REVELL

Ligne 87 modifiée:

LOVE’S LABOURS LOST

en:

LOVE’S LABOURS LOST

Ligne 93 modifiée:
MASQUE OF THE RUSSIANS.
en:

MASQUE OF THE RUSSIANS.

Ligne 127 modifiée:
THE PAGEANT OF NINE WORTHIES
en:

THE PAGEANT OF NINE WORTHIES

Ligne 137 modifiée:

MIDSOMMER NIGHTS DREAME

en:

MIDSOMMER NIGHTS DREAME

Ligne 143 modifiée:
PYRAMUS & THISBY
en:

PYRAMUS & THISBY

Ligne 151 modifiée:

MERCHANT OF VENICE

en:

MERCHANT OF VENICE

Ligne 161 modifiée:

AS YOU LIKE IT

en:

AS YOU LIKE IT

Ligne 167 modifiée:
«AM I NOT YOUR ROSALIND?»
en:

«AM I NOT YOUR ROSALIND?»

Ligne 175 modifiée:

TAMING OF THE SHREW

en:

TAMING OF THE SHREW

Lignes 186-190 modifiées:

ALL’S WELL THAT ENDS WELL

en:

ALL’S WELL THAT ENDS WELL

Three things

\\

Ligne 192 modifiée:

Sorry about this but…

en:

1) Sorry about this but…

Ligne 204 modifiée:

•GULLING OF PAROLLES #1 (1900,2016)

en:

GULLING OF PAROLLES #1 (1900,2016)

Lignes 208-209 modifiées:

•GULLING OF PAROLLES #2 (2224,2420)

en:

GULLING OF PAROLLES #2 (2224,2420)

Ligne 211 ajoutée:

\\

Lignes 215-216 ajoutées:

2) HELENA is disguised as

Lignes 219-225 modifiées:

Also could we add the Characters of

en:

A PILGRIM (1640,1729)



3) Also could we add the Characters of

Ligne 244 modifiée:

TWELFE NIGHT

en:

TWELFE NIGHT

Ligne 270 modifiée:

WINTER’S TALE

en:

WINTER’S TALE

Ligne 280 modifiée:
THE QUEENES PICTURE
en:

THE QUEENES PICTURE

Ligne 290 modifiée:

THE HISTORIES

en:

THE HISTORIES

Ligne 294 modifiée:

KING JOHN

en:

KING JOHN

Ligne 323 modifiée:

RICHARD II

en:

RICHARD II

Ligne 333 modifiée:

1 HENRY IV

en:

1 HENRY IV

Ligne 339 modifiée:
IN KING CAMBYSES VEIN
en:

IN KING CAMBYSES VEIN

Ligne 354 modifiée:
INCOGNITO
en:

INCOGNITO

Ligne 362 modifiée:

HENRY V

en:

HENRY V

Ligne 377 modifiée:

1HENRY VI

en:

1HENRY VI

Ligne 387 modifiée:

2 HENRY VI

en:

2 HENRY VI

Ligne 397 modifiée:

3 HENRY VI

en:

3 HENRY VI

Ligne 417 modifiée:

RICHARD III

en:

RICHARD III

Ligne 423 modifiée:
PLAY THE MAIDS PART
en:

PLAY THE MAIDS PART

Ligne 469 modifiée:

HENRY VIII

en:

HENRY VIII

Ligne 475 modifiée:
SHEPHERDS MASQUE
en:

SHEPHERDS MASQUE

Ligne 485 modifiée:
KATHERINES VISION
en:

KATHERINES VISION

Ligne 497 modifiée:

THE TRAGEDIES

en:

THE TRAGEDIES

Ligne 503 modifiée:

TROILUS & CRESSIDA

en:

TROILUS & CRESSIDA

Ligne 513 modifiée:

CORIOLANUS

en:

CORIOLANUS

Ligne 523 modifiée:

TITUS ANDRONICUS

en:

TITUS ANDRONICUS

Ligne 533 modifiée:

ROMEO & JULIET

en:

ROMEO & JULIET

Ligne 539 modifiée:
REVELL AT CAPULETS
en:

REVELL AT CAPULETS

Ligne 567 modifiée:

TIMON OF ATHENS

en:

TIMON OF ATHENS

Ligne 573 modifiée:
MASQUE OF CUPID & THE AMAZONS
en:

MASQUE OF CUPID & THE AMAZONS

Ligne 579 modifiée:

\\

en:

\\

Ligne 581 modifiée:

JULIUS CAESAR

en:

JULIUS CAESAR

Ligne 591 modifiée:

MACBETH

en:

MACBETH

Ligne 597 modifiée:
SHOW OF EIGHT KINGS
en:

SHOW OF EIGHT KINGS

Ligne 609 modifiée:

HAMLET

en:

HAMLET

Ligne 615 modifiée:
RUGGED PYRRHUS
en:

RUGGED PYRRHUS

Ligne 623 modifiée:
THE MURDER OF GONZAGO
en:

THE MURDER OF GONZAGO

Ligne 632 modifiée:

KING LEAR

en:

KING LEAR

Ligne 638 modifiée:
GLOSTERS LEAPE
en:

GLOSTERS LEAPE

Ligne 646 modifiée:

OTHELLO

en:

OTHELLO

Ligne 656 modifiée:

ANTHONY & CLEOPATRA

en:

ANTHONY & CLEOPATRA

Ligne 666 modifiée:

CYMBELINE

en:

CYMBELINE

Ligne 672 modifiée:
POSTHUMUS DREAME
en:

POSTHUMUS DREAME

24 janvier 2005 à 07h23 par 65.92.21.169 -
Ligne 7 modifiée:

THE COMEDIES

en:

THE COMEDIES

Ligne 11 modifiée:

TEMPEST:

en:

TEMPEST:

23 janvier 2005 à 13h37 par 65.92.21.197 -
Ligne 583 modifiée:

SHOW OF EIGHT KINGS

en:
SHOW OF EIGHT KINGS
23 janvier 2005 à 13h36 par 65.92.21.197 -
Ligne 17 modifiée:
MASQUEOF JUNO
en:
MASQUEOF JUNO
23 janvier 2005 à 13h34 par 65.92.21.197 -
Lignes 13-17 modifiées:

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

en:

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


MASQUEOF JUNO
Lignes 40-44 modifiées:

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

en:

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


HERNE THE HUNTER.
Lignes 75-79 modifiées:

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

en:

The MASQUE (489,780) is simply a

\\

MASQUED REVELL
Lignes 89-93 modifiées:

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

en:

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


MASQUE OF THE RUSSIANS.
Ligne 97 modifiée:

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

en:

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

Ligne 123 modifiée:

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

en:

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

Ligne 127 modifiée:

THE PAGEANT OF NINE WORTHIES

en:
THE PAGEANT OF NINE WORTHIES
Ligne 143 modifiée:

PYRAMUS & THISBY

en:
PYRAMUS & THISBY
Ligne 167 modifiée:

AM I NOT YOUR ROSALIND?

en:
«AM I NOT YOUR ROSALIND?»
Ligne 177 modifiée:

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)

en:

•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)

Ligne 192 modifiée:

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).

en:

•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).

Lignes 263-266 modifiées:

THE QUEENES PICTURE

en:


THE QUEENES PICTURE
Ligne 325 modifiée:

IN KING CAMBYSES VEIN

en:
IN KING CAMBYSES VEIN
Ligne 340 modifiée:

INCOGNITO

en:
INCOGNITO
Ligne 409 modifiée:

PLAY THE MAIDS PART

en:
PLAY THE MAIDS PART
Ligne 461 modifiée:

SHEPHERDS MASQUE

en:
SHEPHERDS MASQUE
Ligne 471 modifiée:

KATHERINES VISION

en:
KATHERINES VISION
Ligne 521 modifiée:

Perfect

en:

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

Ligne 523 modifiée:

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

en:

\\

Ligne 525 modifiée:

\\

en:
REVELL AT CAPULETS
Lignes 529-531 modifiées:

TIMON OF ATHENS

F Act 1: line 1

en:

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.

Ligne 533 modifiée:

(Rowe) Act 2: line 615

en:

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

Ligne 537 modifiée:

(Rowe) Act 3: line 916

en:

ROMEO from (454,717)

Ligne 541 modifiée:

(Rowe) Act 4: line 1503

en:

BENVOLIO from (454,710)

Ligne 545 modifiée:

(Capell) Act 5: line 2192

en:

& MERCUTIO from (454,712)

Ligne 547 ajoutée:

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

Ligne 549 modifiée:

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

en:

\\

Ligne 553 modifiée:

\\

en:

TIMON OF ATHENS

Ligne 555 modifiée:

JULIUS CAESAR

en:

The masque (465,513) is entitled

Ligne 557 modifiée:

F Act 1: line 1

en:

\\

Ligne 559 modifiée:

\\

en:
MASQUE OF CUPID & THE AMAZONS
Ligne 561 modifiée:

F Act 2: line 614

en:

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

Ligne 565 modifiée:

F Act 3: line 1199

en:

\\

Lignes 567-573 modifiées:


F Act 4: line 1852


F Act 5: line 2327

en:

JULIUS CAESAR

Ligne 569 ajoutée:

•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

Lignes 579-583 modifiées:

F Act 1: line 1


F Act 2: line 568

en:

The metatheatrical event (1604,1671) is entitled:

Ligne 583 modifiée:

F Act 3: line 980

en:

SHOW OF EIGHT KINGS

Lignes 587-592 modifiées:

F Act 4: line 1526


F Act 5: line 2092

en:

•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”.

Ligne 597 modifiée:

F Act 1: line 1

en:

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

Ligne 601 modifiée:

F Act 2: line 889

en:
RUGGED PYRRHUS
Ligne 605 modifiée:

(Players’ Q, 1676) Act 3: line 1646

en:

while the second (1990,2141) is entitled

Lignes 609-613 modifiées:

(Players’ Q, 1676) Act 4: line 2586


(Players’ Q, 1676) Act 5: line 3189

en:
THE MURDER OF GONZAGO
Lignes 620-632 modifiées:

F Act 1: line 1


F Act 2: line 926


F Act 3: line 1614


F Act 4: line 2177

en:

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

Ligne 624 modifiée:

F Act 5: line 2844

en:
GLOSTERS LEAPE
Lignes 634-656 modifiées:
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

en:

Perfect.

Lignes 644-660 modifiées:

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

en:

Perfect

Lignes 654-668 modifiées:


F Act 1: line 1


F Act 2: line 838


F Act 3: line 1373


F Act 4: line 2217

en:

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

Ligne 658 modifiée:

F Act 5: line 2856

en:
POSTHUMUS DREAME
23 janvier 2005 à 12h46 par 69.157.172.158 -
Ligne 101 modifiée:

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

en:

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

Lignes 107-111 modifiées:

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

en:

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


THE PAGEANT OF NINE WORTHIES

Lignes 123-127 modifiées:

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

en:

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


PYRAMUS & THISBY

Lignes 147-151 modifiées:

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

en:

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


AM I NOT YOUR ROSALIND?

Lignes 220-228 modifiées:

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

en:

FESTE is lacking TWO ENTRIES


(2153,2199)


(2352,2579)

Ligne 242 modifiée:

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

en:

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

Lignes 263-267 modifiées:
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)
en:

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.

Lignes 302-306 modifiées:

Perfect

en:

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

//

IN KING CAMBYSES VEIN

Lignes 317-321 modifiées:
My mistake. There IS indeed an EPILOGUE to this play @ TLN 3324.
en:

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


INCOGNITO

Ligne 327 modifiée:

\\

en:

\\

Lignes 331-335 modifiées:

Perfect.

en:

Un oubli.


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

Lignes 356-358 modifiées:
A CORRECTION: ACT 1 is in F (otherwise, graph is perfect)
en:

Perfect

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

Ligne 362 modifiée:

F Act 1: line 1

en:

\\

Ligne 364 modifiée:

\\

en:

3 HENRY VI

Ligne 366 modifiée:

(Pope) Act 2: line 583

en:

Another lacunae of mine …

Ligne 370 modifiée:

(Pope) Act 3: line 1144

en:

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

Ligne 374 modifiée:

(Pope) Act 4: line 1578

en:

(1410,1467)

Ligne 375 supprimée:

\\

Ligne 376 supprimée:

(Pope) Act 5: line 2724

Ligne 378 modifiée:

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

en:

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

Ligne 384 modifiée:

3 HENRY VI

en:

RICHARD III

Ligne 386 modifiée:
A CORRECTION: Once again, ACT 1 is in F (otherwise, graph is perfect)
en:

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

Lignes 390-392 modifiées:

F Act 1: line 1

en:

PLAY THE MAIDS PART

\\

Ligne 396 modifiée:

(Rowe) Act 2: line 651

en:

•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:

Ligne 400 modifiée:

(Rowe) Act 3: line 1396

en:

CLARENCE (Ghost 3578,[3638])

Ligne 404 modifiée:

(Rowe) Act 4: line 2016

en:

HASTINGS (Ghost 3596,[3638])

Ligne 408 modifiée:

(Pope) Act 5: line 2672

en:

ANNE (Ghost 3614,[3638])

Ligne 410 modifiée:

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

en:

\\

Ligne 412 modifiée:

\\

en:

RIVERS (Ghost 3587,[3638])

Ligne 416 modifiée:

RICHARD III

en:

GREY (Ghost 3587,[3638])

Ligne 418 modifiée:
CORRECTION: RIVERS & GREY die following their exit @ 1962.
en:

\\

Ligne 420 modifiée:

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

en:

BUCKINGHAM (Ghost 3625,[3638])

Lignes 424-425 ajoutées:

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

Ligne 428 modifiée:

HENRY VIII

en:

Young PRINCE EDWARD (Ghost 3603,[3638])

Ligne 430 modifiée:
Since their IS a line for the PROLOGUE (@ line 1), shouldn’t their be another for the EPILOGUE (@ line 3549)?
en:

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

Ligne 434 modifiée:

F Act 1: line 34

en:

\\

Ligne 436 modifiée:

\\

en:

HENRY VIII

Ligne 438 modifiée:

F Act 2: line 819

en:

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

Ligne 442 modifiée:

F Act 3: line 1614

en:

SHEPHERDS MASQUE

Lignes 445-446 supprimées:

F Act 4: line 2376

Ligne 448 modifiée:

F Act 5: line 2768

en:

•While Queen Katherine’s vision is entitled :

Lignes 452-453 modifiées:

F Epilogue: line 3549

en:

KATHERINES VISION

23 janvier 2005 à 09h13 par 69.157.183.168 -
Ligne 84 ajoutée:
Lignes 204-212 modifiées:

Perfect

en:

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

Lignes 222-227 modifiées:

Perfect

en:

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


As for the final metatheatrical event it should probably be entitled THE QUEENES PICTURE

23 janvier 2005 à 09h07 par 69.157.183.168 -
Lignes 1-2 modifiées:

New things:

en:

FINAL CORRECTIONS:

Ligne 3 supprimée:

Edits done… on to printing, now! — sv

Ligne 13 modifiée:

Perfect

en:

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

Ligne 36 modifiée:

Perfect.

en:

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

Ligne 67 modifiée:

Perfect

en:

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

Lignes 77-108 modifiées:

Perfect

en:

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 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

Ligne 118 modifiée:

Perfect

en:

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

Ligne 138 modifiée:

Perfect

en:

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

Ligne 148 modifiée:

Perfect.

en:

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)

Lignes 159-195 modifiées:

Perfect

en:

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)



Also could we add the Characters of


•LORD G. (a.k.a. Captain G)


&


•LORD E. (a.k.a. Captain E)

23 décembre 2004 à 12h54 par StephaneVolet -
Lignes 3-7 modifiées:

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


WOW. —sz

en:

Edits done… on to printing, now! — sv

23 décembre 2004 à 10h03 par 65.92.16.93 -
Ligne 542 modifiée:

\\

en:

\\

23 décembre 2004 à 10h01 par 65.92.16.93 -
Lignes 131-134 supprimées:



23 décembre 2004 à 10h01 par 65.92.16.93 -
Lignes 398-414 modifiées:

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

en:

Perfect

23 décembre 2004 à 09h59 par 65.92.16.93 -
Lignes 203-219 modifiées:

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

en:

Perfect.

Lignes 213-229 modifiées:

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

en:

Perfect

23 décembre 2004 à 09h52 par 65.92.16.93 -
Ligne 17 modifiée:

F Act 1: line 1

en:

Perfect

Lignes 18-38 supprimées:


F Act 2: line 672


F Act 3: line 1234


F Act 4: line 1650


F Act 5: line 1945


F Epilogue: line 2320

\\

Lignes 29-45 modifiées:

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

en:

Perfect.

Lignes 40-56 modifiées:

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

en:

Perfect.

Lignes 50-66 modifiées:

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

en:

Perfect.

Lignes 61-77 modifiées:

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

en:

Perfect

Lignes 71-87 modifiées:

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

en:

Perfect

Lignes 81-98 modifiées:

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

en:

Perfect

Lignes 91-109 modifiées:

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

\\

en:

Perfect

Lignes 101-117 modifiées:

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

en:

Perfect

Lignes 111-131 modifiées:

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

en:

Perfect

Lignes 121-138 modifiées:

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

en:

Perfect.

Lignes 131-132 supprimées:
A CORRECTION: Please remove The two GULLING OF PAROLLES framed events: (1900,2016) & (2224,2420).
Lignes 136-152 modifiées:

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

en:

Perfect

Lignes 144-160 modifiées:

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

en:

Perfect

Lignes 154-156 modifiées:

F Act 1: line 1

\\

en:

Perfect

Ligne 156 modifiée:

F Act 2: line 583

en:

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

Lignes 159-160 supprimées:

F Act 3: line 1144

Lignes 161-162 supprimées:

F Act 4: line 1578

Lignes 164-167 modifiées:

F Act 5: line 2724

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

en:

THE HISTORIES

Lignes 168-170 modifiées:


\\

en:

KING JOHN

Ligne 170 modifiée:

THE HISTORIES

en:
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).
Ligne 174 modifiée:

KING JOHN

en:
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)
Lignes 256-272 modifiées:

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

en:
My mistake. There IS indeed an EPILOGUE to this play @ TLN 3324.
Lignes 266-286 modifiées:

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

en:

Perfect.

Ligne 277 modifiée:

F Act 1: line 1

en:

Perfect

Lignes 279-281 modifiées:


F Act 2: line 674

en:

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

Ligne 283 modifiée:

F Act 3: line 1201

en:

\\

Lignes 285-287 modifiées:


F Act 4: line 1743

en:

2 HENRY VI

Lignes 287-291 modifiées:


(Capell) Act 5: line 2333

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

en:
A CORRECTION: ACT 1 is in F (otherwise, graph is perfect)
Lignes 290-293 supprimées:


2 HENRY VI

Lignes 317-320 ajoutées:
A CORRECTION: Once again, ACT 1 is in F (otherwise, graph is perfect)


Lignes 347-369 modifiées:
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

en:
CORRECTION: RIVERS & GREY die following their exit @ 1962.
Ligne 357 modifiée:

F Prologue: line 1

en:
Since their IS a line for the PROLOGUE (@ line 1), shouldn’t their be another for the EPILOGUE (@ line 3549)?
Lignes 400-420 modifiées:

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

en:

Perfect.

Lignes 410-432 modifiées:
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

en:

Perfect.

Lignes 420-437 modifiées:

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

en:

Perfect

23 décembre 2004 à 08h26 par 69.157.191.164 -
Ligne 815 modifiée:

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

en:

F Act 1: line 1

Ligne 819 modifiée:

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

en:

(Rowe) Act 2: line 615

Lignes 823-832 modifiées:

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

en:

(Rowe) Act 3: line 916


(Rowe) Act 4: line 1503


(Capell) Act 5: line 2192

Lignes 842-854 modifiées:

CORRECTIONS:

en:

F Act 1: line 1


F Act 2: line 614


F Act 3: line 1199


F Act 4: line 1852

Lignes 858-859 modifiées:

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”).

en:

F Act 5: line 2327

Lignes 869-873 modifiées:

CORRECTIONS & ADDITIONS:

en:

F Act 1: line 1


F Act 2: line 568

Ligne 877 modifiée:

1) King DUNCAN is assassinated @ TLN 646.

en:

F Act 3: line 980

Ligne 881 modifiée:

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

en:

F Act 4: line 1526

Lignes 885-886 modifiées:

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 ?

en:

F Act 5: line 2092

Ligne 896 modifiée:

CORRECTIONS & ADDITIONS:

en:

F Act 1: line 1

Ligne 900 modifiée:

1) OPHELIA dies at TLN 3156

en:

F Act 2: line 889

Ligne 904 modifiée:

2) Rosencrantz & Guildenstern die at TLN 3559

en:

(Players’ Q, 1676) Act 3: line 1646

Ligne 908 modifiée:

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

en:

(Players’ Q, 1676) Act 4: line 2586

Lignes 912-913 modifiées:

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)

en:

(Players’ Q, 1676) Act 5: line 3189

Ligne 923 modifiée:

CORRECTIONS:

en:

F Act 1: line 1

Ligne 927 modifiée:

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

en:

F Act 2: line 926

Lignes 931-939 modifiées:

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?

en:

F Act 3: line 1614


F Act 4: line 2177


F Act 5: line 2844

Lignes 949-967 modifiées:

ADDITIONS:

en:
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

Ligne 971 modifiée:

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

en:

F Act 5: line 3080

Lignes 981-989 modifiées:

ADDITIONS:

en:

F Act 1: line 1


(Rowe) Act 2: line 614


(Rowe) Act 3: line 1494

Lignes 993-997 modifiées:

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

en:

(Rowe) Act 4: line 2389


(Pope) Act 5: line 3107

Lignes 1009-1025 modifiées:

PERFECT.

en:

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

22 décembre 2004 à 12h27 par 65.92.27.87 -
Lignes 700-713 ajoutées:

F Prologue: line 1


F Act 1: line 33


(Rowe) Act 2: line 859


(Rowe) Act 3: line 1471

Lignes 716-720 modifiées:

PERFECT.

en:

(Rowe) Act 4: line 2168


(Rowe) Act 5: line 2870

Lignes 730-737 ajoutées:
CORRECTION: Please remove the”character” of the ROMAN ARMY (Lartius’ soldiers).



F Act 1: line 1

Lignes 740-744 modifiées:

CORRECTIONS & ADDITIONS:

en:

F Act 2: line 895


F Act 3: line 1671

Ligne 748 modifiée:

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

en:

F Act 4: line 2434

Ligne 752 modifiée:

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

en:

F Act 5: line 3149

Lignes 762-770 modifiées:

ADDITIONS:

en:

F Act 1: line 1


F Act 2: line 553


F Act 3: line 1131

Ligne 774 modifiée:

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

en:

F Act 4: line 1540

Ligne 778 modifiée:

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

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F Act 5: line 2109

Lignes 789-801 modifiées:

CORRECTION:

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F Act 1: line 1


(Rowe) Act 2: line 732


(Rowe) Act 3: line 1431


(Rowe) Act 4: line 2293

Ligne 805 modifiée:

MERCUTIO dies following his final exit @ 1542.

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(Rowe) Act 5: line 2721

22 décembre 2004 à 11h43 par 69.157.182.2 -
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22 décembre 2004 à 11h42 par 69.157.182.2 -
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A CORRECTION:


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

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A CORRECTION: Please remove The two GULLING OF PAROLLES framed events: (1900,2016) & (2224,2420).
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CORRECTION:
en:
CORRECTION: RIVERS & GREY die following their exit @ 1962
Lignes 628-629 supprimées:

RIVERS & GREY die following their exit @ 1962

Lignes 656-659 supprimées:



22 décembre 2004 à 11h37 par 69.157.182.2 -
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22 décembre 2004 à 10h13 par 65.92.21.32 -
Lignes 16-36 modifiées:

PERFECT.

en:

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

Lignes 49-66 modifiées:

PERFECT.

en:

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

Lignes 76-92 modifiées:

PERFECT.

en:

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

Lignes 102-115 ajoutées:

F Act 1: line 1

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F Act 2: line 449


F Act 3: line 1202


F Act 4: line 1768

Ligne 118 modifiée:

PERFECT.

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F Act 5: line 2345

Lignes 129-141 modifiées:

A CORRECTION:

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F Act 1: line 1


F Act 2: line 272


F Act 3: line 616


F Act 4: line 980

Ligne 145 modifiée:

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

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F Act 5: line 1462

Lignes 155-159 modifiées:

AN ADDITION:

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F Act 1: line 1


F Act 2: line 414

Lignes 163-171 modifiées:

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

en:

F Act 3: line 1086


F Act 4: line 1656


F Act 5: line 2077

Ligne 183 modifiée:

A CORRECTION:

en:

F Act 1: line 1

Lignes 187-199 modifiées:

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).

en:

F Act 2: line 489


F Act 3: line 769


F Act 4: line 972


F Act 5: line 1738

Lignes 210-211 ajoutées:

F Act 1: line 1

Ligne 214 modifiée:

A CORRECTION:

en:

F Act 2: line 372

Lignes 218-226 modifiées:

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

en:

F Act 3: line 812


F Act 4: line 1508


F Act 5: line 1791

Lignes 238-254 modifiées:

PERFECT.

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F Act 1: line 1

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F Act 2: line 513

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F Act 3: line 1217

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F Act 4: line 1901

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F Act 5: line 2402

Lignes 264-274 modifiées:

AN ADDITION:

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F Act 1: line 1

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F Act 2: line 604

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F Act 3: line 1179

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F Act 4: line 1915

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F Act 5: line 2339

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Ligne 284 modifiée:

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

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F Epilogue: Line 2774

Lignes 294-300 modifiées:

AN ADDITION:

en:

F Act 1: line 1

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(Steevens) ACT 2: line 855

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F Act 3: line 1294

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F Act 4: line 1977

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F Act 5: line 2533

Ligne 312 modifiée:

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

en:
Ligne 324 modifiée:

A CORRECTION:

en:
A CORRECTION:
Ligne 327 ajoutée:

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

Ligne 329 modifiée:

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

en:

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Lignes 333-349 modifiées:

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

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F Act 1: line 1

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F Act 2: line 593

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F Act 3: line 1371

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F Act 4: line 1910

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F Act 5: line 2592

Lignes 355-357 ajoutées:

TWELFE NIGHT

F Act 1: line 1

Ligne 359 ajoutée:

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Ligne 361 modifiée:

TWELFE NIGHT

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F Act 2: line 610

Ligne 363 modifiée:

PERFECT.

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Ligne 365 modifiée:

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

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F Act 3: line 1212

Ligne 367 modifiée:

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F Act 4: line 1917

Ligne 371 modifiée:

WINTER’S TALE

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F Act 5: line 2152

Ligne 375 modifiée:

FIVE CORRECTIONS:

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

Lignes 378-379 supprimées:

1) We are missing the DISGUISES of

Ligne 381 modifiée:

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

en:

WINTER’S TALE

Lignes 385-387 modifiées:

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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F Act 1: line 1

Ligne 387 modifiée:

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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F Act 2: line 583

Ligne 391 modifiée:

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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F Act 3: line 1144

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Finally,

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F Act 4: line 1578

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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:

en:

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Ligne 401 modifiée:

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

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F Act 5: line 2724

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PERFECT

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(Dyce) Act 2: line 291

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ADDITIONS:

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F Act 1: line 1

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F Act 2: line 633

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F Act 3: line 1519

Ligne 488 modifiée:

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

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F Act 4: line 2218

Ligne 492 modifiée:

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

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F Act 5: line 2631

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TWO ADDITIONS:

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F Act 1: line 1

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F Act 2: line 614

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F Act 3: line 1420

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Ligne 519 modifiée:

1) Please add characters of POINS to graph.

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F Act 4: line 1860

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Ligne 523 modifiée:

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

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F Act 5: line 2785

Ligne 535 modifiée:

A CORRECTION:

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F Prologue: line 1

Lignes 539-556 modifiées:

Please remove Gov. of HARFLEUR.

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F Act 1: line 36

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(Johnson) Act 2: line 462

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F Act 5: line 2849

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(Pope) Act 2: line 583

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(Pope) Act 4: line 1578

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Lignes 626-642 modifiées:

PERFECT.

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(Rowe) Act 2: line 651

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(Rowe) Act 3: line 1396

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(Rowe) Act 4: line 2016

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(Pope) Act 5: line 2672

Ligne 648 modifiée:

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Lignes 654-655 modifiées:

ADDITIONS & CORRECTIONS:

en:
CORRECTION:
Ligne 657 modifiée:

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

en:

RIVERS & GREY die following their exit @ 1962

Ligne 661 modifiée:

2) DEATHS:

en:

F Act 1: line 1

Ligne 663 modifiée:

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Ligne 665 modifiée:

HASTINGS dies following his exit @ 2081.

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F Act 2: line 1119

Ligne 667 modifiée:

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Ligne 669 modifiée:

LADY ANNE dies @ appx. 2747

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F Act 3: line 1568

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RIVERS & GREY die following their exit @ 1962

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F Act 4: line 2470

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Ligne 677 modifiée:

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

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F Act 5: line 3370

Ligne 687 modifiée:

This play “by Will Shakespeare & John Fletcher”.

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Ligne 691 modifiée:

ADDITIONS & CORRECTIONS:

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F Prologue: line 1

Lignes 695-701 modifiées:

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

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F Act 1: line 34

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F Act 2: line 819

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F Act 3: line 1614

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Ligne 707 modifiée:

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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F Act 4: line 2376

Ligne 709 modifiée:

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Ligne 711 modifiée:

A) the MASQUE (758,818)

en:

F Act 5: line 2768

Ligne 715 modifiée:

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

en:

F Epilogue: line 3549

22 décembre 2004 à 07h41 par 69.157.185.120 -
Lignes 5-7 ajoutées:


WOW. —sz

21 décembre 2004 à 11h23 par StephaneVolet -
Ligne 3 modifiée:

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

en:

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

Ligne 4 supprimée:

TLN rulers should be forthcoming.

20 décembre 2004 à 10h39 par 65.92.18.94 -
Lignes 226-228 supprimées:

Thankyouthankyouthankyou

Ligne 564 modifiée:

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

en:

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

Lignes 631-633 ajoutées:

Thankyouthankyouthankyou

20 décembre 2004 à 10h35 par 65.92.18.94 -
Ligne 273 modifiée:

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

en:

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

Lignes 277-281 modifiées:

A CORRECTION (?):


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

en:

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

Ligne 363 modifiée:

ADDITIONS:

en:

ADDITIONS & CORRECTIONS:

Ligne 367 modifiée:

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

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

Ligne 371 modifiée:

CORRECTIONS:

en:

2) DEATHS:

Lignes 397-405 modifiées:


ADDITIONS:


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

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en:

This play “by Will Shakespeare & John Fletcher”.

Ligne 401 modifiée:
CORRECTIONS:
en:

ADDITIONS & CORRECTIONS:

Ligne 405 modifiée:

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

en:

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

Ligne 409 modifiée:

SO… Please remove ALL metatheatrical frames except for

en:

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

Ligne 413 modifiée:

the MASQUE (758,818)

en:

A) the MASQUE (758,818)

Ligne 417 modifiée:

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

en:

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

Ligne 454 modifiée:

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

en:

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

Ligne 458 modifiée:

but add the ROMAN PLEBEANS, ROMAN SENATORS & VOLSCIAN SENATORS

en:

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

Ligne 585 modifiée:

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

en:

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

Ligne 589 modifiée:

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?

en:

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?

20 décembre 2004 à 10h27 par 65.92.18.94 -
Ligne 446 modifiée:

METATHEATRE IN TROILUS & CRESSIDA

en:

TROILUS & CRESSIDA

Ligne 450 modifiée:

NONE.

en:

PERFECT.

Ligne 458 modifiée:

METATHEATRE IN CORIOLANUS

en:

CORIOLANUS

Lignes 462-470 modifiées:

NONE.

en:

CORRECTIONS & ADDITIONS:


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


but add the ROMAN PLEBEANS, ROMAN SENATORS & VOLSCIAN SENATORS

Lignes 478-480 modifiées:

METATHEATRE IN TITUS ANDRONICUS

en:

TITUS ANDRONICUS

ADDITIONS:

Ligne 484 modifiée:

• DISGUISES:

en:

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

Ligne 488 modifiée:

TAMORA as Revenge (2282,2434)

en:

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

Lignes 489-491 supprimées:


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

Lignes 497-499 modifiées:

METATHEATRE IN ROMEO & JULIET

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en:

ROMEO & JULIET

Ligne 499 modifiée:

• PLAY WITHIN THE PLAY:

en:

CORRECTION:

Ligne 503 modifiée:

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

en:

MERCUTIO dies following his final exit @ 1542.

Lignes 511-513 modifiées:

METATHEATRE IN TIMON

en:

TIMON OF ATHENS

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

Ligne 517 modifiée:

• PLAY WITHIN THE PLAY:

en:

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

Ligne 521 modifiée:

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

en:

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

Lignes 529-531 modifiées:

METATHEATRE IN JULIUS CAESAR

en:

JULIUS CAESAR

CORRECTIONS:

Ligne 535 modifiée:

NONE.

en:

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”).

Lignes 543-545 modifiées:

METATHEATRE IN MACBETH

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en:

MACBETH

Ligne 545 modifiée:

• PLAY WITHIN THE PLAY (or Visions):

en:

CORRECTIONS & ADDITIONS:

Lignes 549-551 modifiées:

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

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

en:

1) King DUNCAN is assassinated @ TLN 646.

Lignes 553-555 modifiées:


METATHEATRE IN HAMLET

en:

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

Ligne 557 modifiée:

• PLAYS WITHIN THE PLAY:

en:

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 ?

Lignes 559-561 modifiées:


Rugged Pyrrhus: (1494,1562)

en:

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

Lignes 562-565 supprimées:

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

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

Ligne 565 modifiée:

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en:

HAMLET

Ligne 567 modifiée:

METATHEATRE IN KING LEAR

en:

CORRECTIONS & ADDITIONS:

Ligne 571 modifiée:

• DISGUISES:

en:

1) OPHELIA dies at TLN 3156

Ligne 575 modifiée:

KENT as Caius (530,3302)

en:

2) Rosencrantz & Guildenstern die at TLN 3559

Lignes 577-578 supprimées:

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…:

Ligne 579 modifiée:
(1818,3130)
en:

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

Ligne 583 modifiée:

\\

en:

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)

Ligne 585 modifiée:

• PLAY WITHIN THE PLAY (sort of…):

en:

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

Lignes 588-591 supprimées:

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

Ligne 591 modifiée:

\\

en:

KING LEAR

Ligne 593 modifiée:

METATHEATRE IN OTHELLO

en:

CORRECTIONS:

Ligne 597 modifiée:

NONE.

en:

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

Ligne 601 modifiée:

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).

en:

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?

Lignes 603-605 modifiées:

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

\\

en:

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

Lignes 606-607 supprimées:

METATHEATRE IN ANTHONY & CLEOPATRA

Ligne 609 modifiée:

NONE.

en:

OTHELLO

Ligne 611 modifiée:

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

en:

ADDITIONS:

Ligne 615 modifiée:

\\

en:

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

Lignes 617-621 modifiées:

METATHEATRE IN CYMBELINE


• DISGUISES:

en:

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

Lignes 620-621 supprimées:

IMOGEN as Fidele (2081,3526)

Lignes 623-625 modifiées:

POSTHUMUS as unknown knight (2893,3490)

\\

en:

ANTHONY & CLEOPATRA

Ligne 625 modifiée:

CLOTTEN as Posthumus (2218,2378)

en:

ADDITIONS:

Ligne 629 modifiée:

BELARIUS as Morgan (1554,3644)

en:

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

Lignes 631-633 modifiées:


GUIDERIUS as Polydore (1554,3671)

en:

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

Ligne 635 modifiée:

ARVIRAGUS as Cadwal (1554,3672)

en:

\\

Ligne 637 modifiée:

\\

en:

CYMBELINE

Lignes 641-645 modifiées:

• PLAY WITHIN THE PLAY:


POSTHUMUS’ DREAM: (3065,3159).

en:

PERFECT.

Lignes 645-648 supprimées:

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.

20 décembre 2004 à 07h01 par 65.92.18.94 -
Ligne 275 modifiée:

\\

en:

\\

Lignes 411-413 modifiées:

CORRECTIONS:

en:


CORRECTIONS:
Ligne 421 modifiée:

Please remove ALL metatheatrical frames except for

en:

SO… Please remove ALL metatheatrical frames except for

Lignes 430-468 supprimées:



• 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)

20 décembre 2004 à 06h57 par 65.92.18.94 -
Ligne 72 modifiée:

MUCH ADO

en:

MUCH ADO ABOUT NOTHING

Ligne 86 modifiée:

LABOURS LOST

en:

LOVE’S LABOURS LOST

Ligne 241 modifiée:

METATHEATRE IN KING JOHN

en:

KING JOHN

Ligne 245 modifiée:

NONE.

en:

PERFECT

Ligne 253 modifiée:

METATHEATRE IN RICHARD II

en:

RICHARD II

Ligne 257 modifiée:

NONE.

en:

PERFECT

Ligne 265 modifiée:

METATHEATRE IN 1 HENRY IV

en:

1 HENRY IV

Lignes 269-275 modifiées:

• DISGUISES:

en:

ADDITIONS:


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

\\

Ligne 277 modifiée:

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

en:

A CORRECTION (?):

Lignes 279-280 supprimées:

• PLAY WITHIN THE PLAY :

Lignes 281-282 modifiées:

\\

en:

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

Ligne 283 supprimée:

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

Lignes 291-295 modifiées:

METATHEATRE IN 2 HENRY IV

en:

2 HENRY IV


TWO ADDITIONS:

Lignes 299-303 modifiées:

NONE.

en:

1) Please add characters of POINS to graph.


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

Ligne 311 modifiée:

METATHEATRE IN HENRY V

en:

HENRY V

Lignes 315-319 modifiées:

NONE.

en:

A CORRECTION:


Please remove Gov. of HARFLEUR.

Ligne 327 modifiée:

METATHEATRE IN 1HENRY VI

en:

1HENRY VI

Ligne 331 modifiée:

NONE.

en:

PERFECT

Ligne 339 modifiée:

METATHEATRE IN 2 HENRY VI

en:

2 HENRY VI

Ligne 343 modifiée:

NONE.

en:

PERFECT.

Ligne 351 modifiée:

METATHEATRE IN 3 HENRY VI

en:

3 HENRY VI

Ligne 355 modifiée:

NONE.

en:

PERFECT.

Lignes 363-371 modifiées:

METATHEATRE IN RICHARD III

en:

RICHARD III


ADDITIONS:


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

Ligne 375 modifiée:

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.

en:

CORRECTIONS:

Ligne 379 modifiée:

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.

en:

HASTINGS dies following his exit @ 2081.

Lignes 383-387 modifiées:

• PLAY WITHIN THE PLAY:

en:

LADY ANNE dies @ appx. 2747


RIVERS & GREY die following their exit @ 1962

Ligne 391 modifiée:

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

en:

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

Lignes 399-419 modifiées:

METATHEATRE IN HENRY VIII

en:

HENRY VIII


ADDITIONS:


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


CORRECTIONS:


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


Please remove ALL metatheatrical frames except for

Ligne 423 modifiée:

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.

en:

the MASQUE (758,818)

Ligne 427 modifiée:

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…

en:

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

19 décembre 2004 à 09h14 par 65.92.20.144 -
Ligne 163 modifiée:

• PLAY WITHIN THE PLAY:

en:

A CORRECTION:

19 décembre 2004 à 09h13 par 65.92.20.144 -
Lignes 107-110 modifiées:

A CORRECTION:

en:

A CORRECTION:


19 décembre 2004 à 09h11 par 65.92.20.144 -
Ligne 12 modifiée:

METATHEATRE IN TEMPEST:

en:

TEMPEST:

Ligne 25 modifiée:

METATHEATRE IN VERONA:

en:

TWO GENTLEMEN OF VERONA:

Ligne 35 modifiée:

METATHEATRE IN WINDSOR

en:

MERRY WIVES OF WINDSOR

Ligne 45 modifiée:

METATHEATRE IN MEASURE FOR MEASURE

en:

MEASURE FOR MEASURE

Lignes 61-63 ajoutées:


Lignes 74-78 modifiées:

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

en:

AN ADDITION:


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

Lignes 91-93 ajoutées:


Lignes 130-134 modifiées:

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

en:

AN ADDITION:


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

Lignes 144-148 modifiées:

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

en:

AN ADDITION:


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

Ligne 156 modifiée:

ALL’S WELL

en:

ALL’S WELL THAT ENDS WELL

Lignes 164-167 modifiées:

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

en:

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


19 décembre 2004 à 09h05 par 65.92.20.144 -
Lignes 14-20 modifiées:

• DISGUISE:

ARIEL as Harpy (1583,1616)


• PLAY WITHIN THE PLAY: (1707,1806)

en:

PERFECT.

Lignes 17-18 supprimées:

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

Ligne 27 modifiée:

DISGUISE: JULIA as Sebastian (1649,2225)

en:

PERFECT.

Lignes 37-51 modifiées:

• 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).

en:

PERFECT.

Ligne 45 modifiée:

METATHEATRE IN MEASUREFOR MEASURE

en:

METATHEATRE IN MEASURE FOR MEASURE

Lignes 49-51 modifiées:

• DISGUISE:

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

en:

PERFECT.

Ligne 58 modifiée:

METATHEATRE IN ERRORS

en:

COMEDY OF ERRORS

Lignes 60-61 modifiées:

NONE.

en:

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

Lignes 69-71 modifiées:

METATHEATRE IN MUCH ADO

• PLAY WITHIN THE PLAY:

en:

MUCH ADO

Ligne 71 modifiée:

Masque (489,780)

en:

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

Lignes 79-85 modifiées:

METATHEATRE IN LABOURS LOST


• PLAYS WITHIN THE PLAY:

Masque of the Russians: (2051,2182)

en:

LABOURS LOST

Lignes 83-84 modifiées:

Pageant of the Nine Worthies: (2490,2683)

en:

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).

Ligne 93 modifiée:

METATHEATRE IN DREAME

en:

MIDSOMMER NIGHTS DREAME

Lignes 97-103 modifiées:

• PLAY WITHIN THE PLAY:


A TEDIOUS BRIEF SCENE OF YOUNG PYRAMUS

AND HIS LOVE THISBY; VERY TRAGICAL MIRTH

en:

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

Lignes 101-118 supprimées:

Is


planned and cast (266,371)


rehearsed (813,920)


&


performed (1905,2131)

Lignes 108-118 modifiées:

METATHEATRE IN MERCHANT OF VENICE


• DISGUISES:

JESSICA as a boy (925,961)


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

en:

MERCHANT OF VENICE

Lignes 110-112 modifiées:


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

en:

PERFECT.

Lignes 118-120 modifiées:

METATHEATRE IN AS YOU LIKE IT

\\

en:

AS YOU LIKE IT

Lignes 120-136 modifiées:

• 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)

en:

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

Lignes 128-162 modifiées:

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:

\\

en:

TAMING OF THE SHREW

Ligne 130 modifiée:

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).

en:

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

Ligne 138 modifiée:

METATHEATRE IN ALL’S WELL

en:

ALL’S WELL

Lignes 146-147 modifiées:

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

en:

The GULLING OF PAROLLES seems to me occurenceof “play-acting”: (1900,2016) & (2224,2420).

Lignes 149-151 modifiées:


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

en:

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

Lignes 152-153 supprimées:

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

Ligne 153 supprimée:

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

Ligne 155 modifiée:

\\

en:

TWELFE NIGHT

Ligne 157 modifiée:

\\

en:

PERFECT.

Ligne 159 modifiée:

METATHEATRE IN TWELFE NIGHT

en:

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

Lignes 162-163 supprimées:

• DISGUISES:

Ligne 165 modifiée:

VIOLA as Caesario (250,2419)

en:

WINTER’S TALE

Lignes 169-171 modifiées:

FESTE as Sir Topaz (2003,2045)

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

en:

FIVE CORRECTIONS:

Lignes 173-174 ajoutées:

1) We are missing the DISGUISES of

Ligne 177 modifiée:

METATHEATRE IN WINTER’S TALE

en:

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

Ligne 181 modifiée:

• DISGUISES:

en:

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)

Ligne 185 modifiée:

POLIXENES as a Gentleman (1857,2260)

en:

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

Ligne 189 modifiée:

CAMILLO as a Gentleman (1857,2260)

en:

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)

Ligne 193 modifiée:

FLORIZEL as Doricles (1796,2262)

en:

Finally,

Ligne 197 modifiée:

HERMIONE as a Statue (3208,3312)

en:

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:

Lignes 199-201 modifiées:


• PLAY WITHIN THE PLAY:

en:

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

Lignes 203-205 modifiées:

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)

\\

en:

Thankyouthankyouthankyou

Ligne 204 supprimée:

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).

09 décembre 2004 à 16h50 par StephaneVolet -
Ligne 3 modifiée:

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

en:

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

Ligne 5 modifiée:

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.

en:

TLN rulers should be forthcoming.

Ligne 6 supprimée:

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)….

08 décembre 2004 à 08h09 par 65.92.21.56 -
Lignes 676-678 modifiées:

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)

en:

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)
08 décembre 2004 à 08h08 par 65.92.21.56 -
Ligne 676 modifiée:

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)

en:

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)

06 décembre 2004 à 15h55 par StephaneVolet -
Ligne 1 modifiée:

Graphs are up!

en:

New things:

Ligne 3 modifiée:

I’ve put up some kind of system:

en:

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

Ligne 5 modifiée:

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

en:

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.

Lignes 7-17 modifiées:

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!

\\

en:

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)….

Ligne 771 supprimée:
28 novembre 2004 à 08h06 par 69.157.189.3 -
Lignes 690-691 ajoutées:


Ligne 764 modifiée:

\\

en:

\\

Ligne 768 modifiée:

\\

en:

\\

Ligne 772 ajoutée:

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

Ligne 775 ajoutée:

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

Lignes 777-779 modifiées:

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

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

en:

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.

28 novembre 2004 à 07h43 par 69.157.189.3 -
Lignes 554-555 ajoutées:

NONE.

Ligne 560 modifiée:

\\

en:

\\

Lignes 566-567 ajoutées:

NONE.

Ligne 572 modifiée:

\\

en:

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Lignes 578-587 ajoutées:

• DISGUISES:


TAMORA as Revenge (2282,2434)


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

Ligne 592 modifiée:

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en:

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Ligne 598 modifiée:

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

en:

• PLAY WITHIN THE PLAY:

Lignes 602-608 modifiées:

\\

en:

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

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


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Lignes 614-619 ajoutées:

• PLAY WITHIN THE PLAY:


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

Lignes 630-631 ajoutées:

NONE.

Ligne 636 modifiée:

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en:

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Lignes 642-647 ajoutées:

• PLAY WITHIN THE PLAY (or Visions):


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

Ligne 652 modifiée:

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en:

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Lignes 658-667 ajoutées:

• PLAYS WITHIN THE PLAY:


Rugged Pyrrhus: (1494,1562)


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

Ligne 672 modifiée:

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en:

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Lignes 678-695 ajoutées:

• 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)


• 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).

Ligne 700 modifiée:

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Lignes 706-711 ajoutées:

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).

Ligne 716 modifiée:

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en:

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Lignes 722-723 ajoutées:

NONE.

Lignes 734-772 ajoutées:

• DISGUISES:


IMOGEN as Fidele (2081,3526)


POSTHUMUS as unknown knight (2893,3490)


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:

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POSTHUMUS’ DREAM: (3065,3159).

28 novembre 2004 à 07h13 par 69.157.189.3 -
Ligne 388 ajoutée:

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Lignes 498-499 ajoutées:


Ligne 501 modifiée:

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

en:

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

Ligne 510 modifiée:

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

en:

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

28 novembre 2004 à 07h10 par 69.157.189.3 -
Ligne 356 modifiée:

METATHEATRE IN

en:

METATHEATRE IN KING JOHN

Lignes 360-361 ajoutées:

NONE.

Lignes 372-373 ajoutées:

NONE.

Lignes 384-394 ajoutées:

• DISGUISES:

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

• PLAY WITHIN THE PLAY :


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

Lignes 405-406 ajoutées:

NONE.

Lignes 417-418 ajoutées:

NONE.

Lignes 429-430 ajoutées:

NONE.

Lignes 441-442 ajoutées:

NONE.

Lignes 453-454 ajoutées:

NONE.

Lignes 465-478 ajoutées:

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)

Ligne 483 modifiée:

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en:

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Lignes 489-532 ajoutées:

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…


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


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


MASKED 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)

Ligne 547 modifiée:

METATHEATRE IN

en:

METATHEATRE IN TROILUS & CRESSIDA

Ligne 557 modifiée:

METATHEATRE IN

en:

METATHEATRE IN CORIOLANUS

Ligne 567 modifiée:

METATHEATRE IN

en:

METATHEATRE IN TITUS ANDRONICUS

Ligne 577 modifiée:

METATHEATRE IN

en:

METATHEATRE IN ROMEO & JULIET

Ligne 587 modifiée:

METATHEATRE IN

en:

METATHEATRE IN TIMON

Ligne 597 modifiée:

METATHEATRE IN

en:

METATHEATRE IN JULIUS CAESAR

Ligne 607 modifiée:

METATHEATRE IN

en:

METATHEATRE IN MACBETH

Ligne 617 modifiée:

METATHEATRE IN

en:

METATHEATRE IN HAMLET

Ligne 627 modifiée:

METATHEATRE IN

en:

METATHEATRE IN KING LEAR

Ligne 637 modifiée:

METATHEATRE IN

en:

METATHEATRE IN OTHELLO

Ligne 647 modifiée:

METATHEATRE IN

en:

METATHEATRE IN ANTHONY & CLEOPATRA

Ligne 657 modifiée:

METATHEATRE IN

en:

METATHEATRE IN CYMBELINE

27 novembre 2004 à 15h48 par 65.92.29.40 -
Ligne 354 modifiée:

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

en:

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Ligne 356 modifiée:

NOTE: Funny colours though.

en:

METATHEATRE IN

Ligne 358 modifiée:

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

en:

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Ligne 360 modifiée:

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

en:

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

Ligne 362 modifiée:

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

en:

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Ligne 364 modifiée:

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

en:

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Ligne 366 modifiée:

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

en:

METATHEATRE IN RICHARD II

Ligne 368 modifiée:

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

en:

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Ligne 370 modifiée:

yep, no problema! —sv

en:

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

Ligne 372 modifiée:

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

en:

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Ligne 374 modifiée:

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.

en:

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Ligne 376 modifiée:

done —sv

en:

METATHEATRE IN 1 HENRY IV

Ligne 378 modifiée:

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

en:

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Ligne 380 modifiée:

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

en:

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

Ligne 382 modifiée:

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

en:

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Ligne 384 modifiée:

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

en:

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Lignes 386-456 modifiées:

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

en:

METATHEATRE IN 2 HENRY IV


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



METATHEATRE IN HENRY V


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



METATHEATRE IN 1HENRY VI


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



METATHEATRE IN 2 HENRY VI


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



METATHEATRE IN 3 HENRY VI


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



METATHEATRE IN RICHARD III


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



METATHEATRE IN HENRY VIII


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



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Lignes 460-522 modifiées:

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

en:



METATHEATRE IN


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



METATHEATRE IN


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



METATHEATRE IN


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



METATHEATRE IN


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



METATHEATRE IN


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



METATHEATRE IN


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


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Ligne 524 modifiée:

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

en:

METATHEATRE IN

Ligne 526 modifiée:

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).

en:

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Ligne 528 modifiée:

done —sv

en:

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

Ligne 530 modifiée:

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

en:

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Ligne 532 modifiée:

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.

en:

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Ligne 534 modifiée:

done —sv

en:

METATHEATRE IN

Ligne 536 modifiée:

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

en:

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Ligne 538 modifiée:

NOTE: MERCUTIO bites it.

en:

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

Ligne 540 modifiée:

done…. mercutio gets iced —sv

en:

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Ligne 542 modifiée:

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

en:

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Ligne 544 modifiée:

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

en:

METATHEATRE IN

Ligne 546 modifiée:

Poetry and Painting added… —sv

en:

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Ligne 548 modifiée:

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

en:

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

Ligne 550 modifiée:

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).

en:

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Ligne 552 modifiée:

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

en:

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Ligne 554 modifiée:

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

en:

METATHEATRE IN

Ligne 556 modifiée:

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

en:

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Ligne 558 modifiée:

updated —sv

en:

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

Ligne 560 modifiée:

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

en:

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Ligne 562 modifiée:

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

en:

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Ligne 564 modifiée:

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

en:

METATHEATRE IN

Ligne 566 modifiée:

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

en:

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Ligne 568 modifiée:

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

en:

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

Ligne 570 modifiée:

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 ).

en:

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Ligne 572 modifiée:

done — sv

en:

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Ligne 574 modifiée:

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

en:

METATHEATRE IN

Ligne 576 modifiée:

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

en:

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Ligne 578 modifiée:

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.

en:

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

Ligne 580 modifiée:

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

en:

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

27 novembre 2004 à 15h34 par 65.92.29.40 -
Ligne 46 modifiée:

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

en:

DISGUISE: JULIA as Sebastian (1649,2225)

Ligne 60 modifiée:

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

en:

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

Ligne 64 modifiée:

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

en:

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

Lignes 71-72 supprimées:


Ligne 234 modifiée:

The PAGE as LADY (252,2750)

en:

The PAGE as Lady (252,2750)

Ligne 238 modifiée:

LUCENTIO as CAMBIO (703,2383)

en:

LUCENTIO as Cambio (703,2383)

Ligne 242 modifiée:

TRANIO as his master LUCENTIO (786,2462)

en:

TRANIO as his master Lucentio (786,2462)

Ligne 246 modifiée:

HORTENSIO as LITIO (898,1891)

en:

HORTENSIO as Litio (898,1891)

Ligne 250 modifiée:

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

en:

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

Lignes 351-355 supprimées:
27 novembre 2004 à 15h30 par 65.92.29.40 -
Ligne 86 modifiée:

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

en:

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

Ligne 99 modifiée:

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

en:

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

Ligne 111 modifiée:

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

en:

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

Ligne 125 modifiée:

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en:

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Ligne 134 modifiée:

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Ligne 180 modifiée:

JESSICA: DISGUISED as a boy (925,961)

en:

JESSICA as a boy (925,961)

Ligne 184 modifiée:

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

en:

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

Ligne 188 modifiée:

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

en:

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

Ligne 206 modifiée:

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en:

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Ligne 222 modifiée:

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en:

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Ligne 230 modifiée:

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Ligne 232 modifiée:

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

en:

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

Ligne 236 modifiée:

The PAGE: DISGUISED as LADY (252,2750)

en:

The PAGE as LADY (252,2750)

Ligne 240 modifiée:

LUCENTIO: DISGUISED as CAMBIO (703,2383)

en:

LUCENTIO as CAMBIO (703,2383)

Ligne 244 modifiée:

TRANIO: DISGUISED as his master LUCENTIO (786,2462)

en:

TRANIO as his master LUCENTIO (786,2462)

Ligne 248 modifiée:

HORTENSIO: DISGUISED as LITIO (898,1891)

en:

HORTENSIO as LITIO (898,1891)

Ligne 252 modifiée:

The PEDANT: DISGUISED as Lucentio’s father VINCENTIO (2180,2490)

en:

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

Ligne 284 modifiée:

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

en:

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

Ligne 303 modifiée:

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Ligne 323 modifiée:

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en:

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27 novembre 2004 à 15h20 par 65.92.29.40 -
Lignes 41-42 supprimées:
Lignes 52-53 ajoutées:


Lignes 69-70 supprimées:


Lignes 77-79 supprimées:

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

Ligne 80 modifiée:

METATHEATRE IN MEASURE

en:

METATHEATRE IN MEASUREFOR MEASURE

Lignes 88-90 ajoutées:

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

Lignes 92-93 supprimées:

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

Lignes 99-100 ajoutées:

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

Lignes 102-103 supprimées:

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

Lignes 106-107 supprimées:


Lignes 111-112 ajoutées:

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

Lignes 114-116 supprimées:

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

Ligne 117 modifiée:

METATHEATRE IN LLL

en:

METATHEATRE IN LABOURS LOST

Ligne 121 modifiée:

• PLAY WITHIN THE PLAY:

en:

• PLAYS WITHIN THE PLAY:

Ligne 128 supprimée:

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Ligne 130 modifiée:

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

en:

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

Lignes 134-135 ajoutées:

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Lignes 142-143 ajoutées:


Lignes 156-157 ajoutées:


Lignes 160-161 ajoutées:


Lignes 164-165 ajoutées:


Lignes 168-169 ajoutées:

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

Lignes 171-172 supprimées:

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

Ligne 174 modifiée:

METATHEATRE IN VENICE

en:

METATHEATRE IN MERCHANT OF VENICE

Lignes 182-183 modifiées:
en:

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Lignes 186-187 modifiées:
en:

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Ligne 190 ajoutée:

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

Ligne 194 ajoutée:

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Ligne 196 modifiée:

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

en:

METATHEATRE IN AS YOU LIKE IT

Ligne 200 modifiée:

METATHEATRE IN AYLI

en:

• DISGUISES:

Lignes 204-206 modifiées:

• DISGUISES:

ROSALIND as Ganimede: (781,2681)

en:

ROSALIND as Ganimede: (781,2681)

Ligne 206 ajoutée:

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Ligne 210 modifiée:

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en:

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Ligne 214 ajoutée:

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Lignes 218-221 ajoutées:

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


Ligne 224 modifiée:

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

en:

METATHEATRE IN SHREW

Lignes 228-232 modifiées:

METATHEATRE IN SHREW

en:

• DISGUISES:

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

Lignes 236-238 modifiées:

• PLAY WITHIN THE PLAY:

en:

The PAGE: DISGUISED as LADY (252,2750)

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Ligne 240 modifiée:

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).

en:

LUCENTIO: DISGUISED as CAMBIO (703,2383)

Lignes 242-243 modifiées:

• DISGUISES:

en:

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Lignes 244-245 modifiées:

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

en:

TRANIO: DISGUISED as his master LUCENTIO (786,2462)

Ligne 246 modifiée:

The PAGE: DISGUISED as LADY (252,2750)

en:

\\

Ligne 248 modifiée:

LUCENTIO: DISGUISED as CAMBIO (703,2383)

en:

HORTENSIO: DISGUISED as LITIO (898,1891)

Ligne 250 modifiée:

TRANIO: DISGUISED as his master LUCENTIO (786,2462)

en:

\\

Ligne 252 modifiée:

HORTENSIO: DISGUISED as LITIO (898,1891)

en:

The PEDANT: DISGUISED as Lucentio’s father VINCENTIO (2180,2490)

Ligne 254 modifiée:

The PEDANT: DISGUISED as Lucentio’s father VINCENTIO (2180,2490)

en:

\\

Ligne 256 ajoutée:

• PLAY WITHIN THE PLAY:

Lignes 260-264 modifiées:

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

en:

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).

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

\\

Ligne 274 modifiée:

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

en:

\\

Ligne 276 modifiée:

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

en:

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

Ligne 278 modifiée:

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

en:

\\

Ligne 280 ajoutée:

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

Lignes 284-289 modifiées:

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

en:

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

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

\\

Lignes 299-305 modifiées:

VIOLA is DISGUISED as Caesario (250,2419)

en:


VIOLA as Caesario (250,2419)

\\

FESTE as Sir Topaz (2003,2045)

Ligne 307 modifiée:

FESTE is DISGUISED as Sir Topaz (2003,2045)

en:

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

Lignes 310-311 supprimées:

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

Ligne 319 modifiée:

POLIXENES: DISGUISED as a Gentleman (1857,2260)

en:

\\

Ligne 321 modifiée:

CAMILLO: DISGUISED as a Gentleman (1857,2260)

en:

POLIXENES as a Gentleman (1857,2260)

Ligne 323 modifiée:

FLORIZEL: DISGUISED as Doricles (1796,2262)

en:

\\

Ligne 325 modifiée:

HERMIONE: DISGUISED as a Statue (3208,3312)

en:

CAMILLO as a Gentleman (1857,2260)

Lignes 329-339 modifiées:

PLAY WITHIN THE PLAY:

en:

FLORIZEL as Doricles (1796,2262)


HERMIONE as a Statue (3208,3312)


• PLAY WITHIN THE PLAY:

\\

Lignes 343-344 ajoutées:


Lignes 347-353 ajoutées:

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



27 novembre 2004 à 15h01 par 65.92.32.47 -
Ligne 54 ajoutée:

METATHEATRE IN WINDSOR

Ligne 56 modifiée:

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

en:

• DISGUISES:

Ligne 60 modifiée:

METATHEATRE IN WINDSOR

en:

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

Lignes 62-64 modifiées:

• DISGUISES:

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

en:

\\

Ligne 68 modifiée:

• PLAY WITHIN THE PLAY: usually entitled HERNE, THE HUNTER (3065,3159).

en:

• PLAY WITHIN THE PLAY:

Lignes 72-80 ajoutées:

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


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


27 novembre 2004 à 14h59 par 65.92.32.47 -
Ligne 17 ajoutée:

\\

Ligne 42 modifiée:

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

en:
Ligne 48 modifiée:

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

en:

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

Ligne 50 ajoutée:

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

Ligne 52 ajoutée:

\\

27 novembre 2004 à 14h57 par 65.92.32.47 -
Ligne 32 modifiée:
en:

\\

27 novembre 2004 à 14h57 par 65.92.32.47 -
Lignes 24-26 modifiées:

• DISGUISE: ARIEL as Harpy (1583,1616)

en:

• DISGUISE:

ARIEL as Harpy (1583,1616)

Lignes 32-33 ajoutées:
27 novembre 2004 à 14h56 par 65.92.32.47 -
Ligne 26 ajoutée:

\\

27 novembre 2004 à 14h56 par 65.92.32.47 -
Lignes 19-21 supprimées:

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

Ligne 25 supprimée:

\\

Lignes 31-33 ajoutées:

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

27 novembre 2004 à 11h15 par 65.92.28.101 -
Lignes 54-63 ajoutées:

• 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).

Lignes 74-78 ajoutées:

• DISGUISE:

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

\\

Lignes 86-87 ajoutées:

NONE.

Lignes 98-104 ajoutées:

• PLAY WITHIN THE PLAY:

Masque (489,780)


Lignes 113-122 ajoutées:

• PLAY WITHIN THE PLAY:

Masque of the Russians: (2051,2182)

\\

Pageant of the Nine Worthies: (2490,2683)

\\

Lignes 131-152 ajoutées:

• 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)


Lignes 161-177 ajoutées:

• DISGUISES:

JESSICA: DISGUISED as a boy (925,961)

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

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


Lignes 187-201 ajoutées:

• 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)

\\

Lignes 211-232 ajoutées:

• PLAY WITHIN THE PLAY:

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).

• DISGUISES:

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

The PAGE: DISGUISED as LADY (252,2750)

LUCENTIO: DISGUISED as CAMBIO (703,2383)

TRANIO: DISGUISED as his master LUCENTIO (786,2462)

HORTENSIO: DISGUISED as LITIO (898,1891)

The PEDANT: DISGUISED as Lucentio’s father VINCENTIO (2180,2490)

\\

Lignes 242-251 ajoutées:

• PLAY WITHIN THE PLAY:

The gulling of Parolles occurs through “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).

\\

Lignes 261-267 ajoutées:

• DISGUISES:

VIOLA is DISGUISED as Caesario (250,2419)

FESTE is DISGUISED as Sir Topaz (2003,2045)

\\

Lignes 277-296 ajoutées:

• DISGUISES:

POLIXENES: DISGUISED as a Gentleman (1857,2260)

CAMILLO: DISGUISED as a Gentleman (1857,2260)

FLORIZEL: DISGUISED as Doricles (1796,2262)

HERMIONE: DISGUISED 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)

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).

27 novembre 2004 à 10h54 par 65.92.28.101 -
Ligne 21 modifiée:

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

en:

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

Lignes 25-33 modifiées:
en:

METATHEATRE IN TEMPEST:

• 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.

Lignes 37-41 modifiées:

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

en:

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


METATHEATRE IN VERONA:

Lignes 48-99 modifiées:

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

en:

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


METATHEATRE IN WINDSOR


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


METATHEATRE IN MEASURE


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


METATHEATRE IN ERRORS


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


METATHEATRE IN MUCH ADO


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


METATHEATRE IN LLL


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


METATHEATRE IN DREAME


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

\\

Lignes 101-103 modifiées:

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

en:

METATHEATRE IN VENICE

\\

Ligne 104 supprimée:

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

Ligne 106 modifiée:

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

en:

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

Lignes 108-112 modifiées:

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

en:


METATHEATRE IN AYLI

\\

Ligne 113 supprimée:

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

Ligne 115 modifiée:

NOTE: My mistake. BOTTOM’s 2nd and 3rd entrances should read (813,900) and (917,1020).

en:

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

Lignes 117-130 modifiées:

done —sv

en:


METATHEATRE IN SHREW


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


METATHEATRE IN ALL’S WELL

\\

Ligne 131 supprimée:

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

Ligne 133 modifiée:

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

en:

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

Ligne 135 modifiée:

NOTE: Same problem as with the character of KENT in LEAR. Here ROSALIND and CELIA’s being disguised from TLN 782 to 2601 is equated with a very long stay onstage. Otherwise the graph is very fine but I think that the characters of ADAM (which, rumour has it, was interpreted by Shakespeare himself) and SILVIUS (who is in love with PHEBE) should be added to it to make the story structure a bit clearer.

en:

\\

Ligne 137 modifiée:

done —sv

en:

METATHEATRE IN TWELFE NIGHT

Ligne 139 modifiée:

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

en:

\\

Ligne 140 supprimée:

NOTE: The INDUCTION will definitely have to be included in the graph (SLY, LORD, SERVINGMEN, PLAYERS, and PAGE).

Ligne 142 modifiée:

I’ve temporarily modified the XML encoding so as to represent the latter as not on stage during which time they are in the background. I’ll update the code when I’ll get into stage behaviours. —sv

en:

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

Ligne 144 modifiée:

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

en:

\\

Ligne 146 modifiée:

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

en:

METATHEATRE IN WINTER’S TALE

Ligne 148 modifiée:

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

en:

\\

Ligne 149 supprimée:

NOTE: The character of CAMILLO appears to be lacking an entrance (he has five whereas there are only four in the graph). Perhaps this is also due to his being disguised. Otherwise, the graph is very pretty.

Ligne 150 supprimée:

Actually… there are five entrances… the first one ends at line 47, the second starts at 49, so you have to «zoom in» to really see this. — sv

27 novembre 2004 à 10h45 par 65.92.28.101 -
Ligne 20 modifiée:

TEMPEST:

en:
Ligne 23 modifiée:
en:

\\

Ligne 25 ajoutée:
Ligne 27 modifiée:
en:

\\

Ligne 29 ajoutée:

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

Ligne 31 ajoutée:

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

Ligne 33 supprimée:

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

Ligne 34 supprimée:

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

Ligne 36 modifiée:

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

en:

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

Lignes 38-40 modifiées:

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

en:

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

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

27 novembre 2004 à 10h39 par 65.92.28.101 -
Ligne 23 modifiée:

METATHEATRE:

en:
Lignes 24-29 supprimées:

• 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.

27 novembre 2004 à 10h37 par 65.92.28.101 -
Ligne 27 ajoutée:
27 novembre 2004 à 10h37 par 65.92.28.101 -
Ligne 26 modifiée:
en:

\\

27 novembre 2004 à 10h36 par 65.92.28.101 -
Ligne 20 supprimée:
27 novembre 2004 à 10h36 par 65.92.28.101 -
Lignes 20-22 modifiées:

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

en:

TEMPEST:

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

27 novembre 2004 à 10h35 par 65.92.28.101 -
Lignes 20-33 modifiées:

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

en:

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

METATHEATRE:

• 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.

10 novembre 2004 à 15h56 par StephaneVolet -
Lignes 66-67 supprimées:


Ligne 71 modifiée:

\\

en:

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

Lignes 74-75 supprimées:


Lignes 76-77 supprimées:


Lignes 78-79 supprimées:


Ligne 83 modifiée:

\\

en:

yep, no problema! —sv

Ligne 89 modifiée:

\\

en:

done —sv

Lignes 92-93 supprimées:


Lignes 94-95 supprimées:


Lignes 98-99 supprimées:


Lignes 100-103 supprimées:



Lignes 102-103 supprimées:


Lignes 104-105 supprimées:


Ligne 109 modifiée:

\\

en:

done —sv

Ligne 115 modifiée:

\\

en:

done —sv

Ligne 121 modifiée:

\\

en:

done…. mercutio gets iced —sv

Ligne 127 modifiée:

\\

en:

Poetry and Painting added… —sv

Ligne 133 modifiée:

\\

en:

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

Ligne 139 modifiée:

\\

en:

updated —sv

Ligne 145 modifiée:

\\

en:

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

Lignes 148-149 supprimées:


Ligne 153 modifiée:

\\

en:

done — sv

Lignes 156-157 supprimées:


Ligne 161 modifiée:
en:

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

10 novembre 2004 à 11h29 par StephaneVolet -
Lignes 17-20 supprimées:



Lignes 19-20 supprimées:


Lignes 21-22 supprimées:


Lignes 23-24 supprimées:


Lignes 25-26 supprimées:


Lignes 27-28 supprimées:


Lignes 29-30 supprimées:


Lignes 31-32 supprimées:


Lignes 33-34 supprimées:


Ligne 38 modifiée:

\\

en:

done —sv

Lignes 41-42 supprimées:


Ligne 46 modifiée:

\\

en:

done —sv

Ligne 52 modifiée:

\\

en:

I’ve temporarily modified the XML encoding so as to represent the latter as not on stage during which time they are in the background. I’ll update the code when I’ll get into stage behaviours. —sv

Lignes 55-56 supprimées:


Lignes 57-58 supprimées:


Ligne 62 modifiée:

\\

en:

Actually… there are five entrances… the first one ends at line 47, the second starts at 49, so you have to «zoom in» to really see this. — sv

Ligne 63 supprimée:

\\

10 novembre 2004 à 08h48 par 65.92.25.221 -
Ligne 182 modifiée:

\\

en:

\\

09 novembre 2004 à 20h06 par 69.157.174.84 -
Lignes 142-219 ajoutées:



THE TRAGEDIES


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).


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.


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

NOTE: MERCUTIO bites it.


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).


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).

\\

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).


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

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


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 ).


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.

08 novembre 2004 à 20h57 par 69.157.182.186 -
Ligne 106 modifiée:

INTERNAL SERVER ERROR: http://zboing.ca/shakespeare/svg/Histories/TheFirstPartOfKingHenryTheFourth

en:

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

Ligne 116 modifiée:

NOTE: Obviously my list of PRINCIPAL characters is a bit thin and should be thickened up. Perhaps this is one play where we might see what the full twenty-five characters would look like?

en:

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

Ligne 130 modifiée:

INTERNAL SERVER ERROR: http://zboing.ca/shakespeare/svg/Histories/TheThirdPartOfKingHenryTheSixt

en:

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

Ligne 134 modifiée:

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

en:

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

Ligne 136 modifiée:

NOTE: Graph is missing “Lady ANNE”. Also, the character of BUCKINGHAM dies after his penultimate exit and reappears “AS GHOST”. I also suspect that we’ll have to add some other characters to do full justice to this play (but I am not sure which ones yet).

en:

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

07 novembre 2004 à 16h26 par 65.92.35.234 -
Ligne 96 modifiée:

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

en:

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

07 novembre 2004 à 16h24 par 65.92.35.234 -
Lignes 88-141 ajoutées:



THE HISTORIES


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

NOTE: Funny colours though.


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


INTERNAL SERVER ERROR: http://zboing.ca/shakespeare/svg/Histories/TheFirstPartOfKingHenryTheFourth


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


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

NOTE: Obviously my list of PRINCIPAL characters is a bit thin and should be thickened up. Perhaps this is one play where we might see what the full twenty-five characters would look like?


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.


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


INTERNAL SERVER ERROR: http://zboing.ca/shakespeare/svg/Histories/TheThirdPartOfKingHenryTheSixt


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

NOTE: Graph is missing “Lady ANNE”. Also, the character of BUCKINGHAM dies after his penultimate exit and reappears “AS GHOST”. I also suspect that 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

07 novembre 2004 à 08h57 par 69.157.181.86 -
Ligne 70 modifiée:

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

en:

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

Ligne 72 modifiée:

NOTE: Once again the disguises of LUCENTIO, TRANIO, and HORTENSIO are playing havoc with the actual appearances. Also, the INDUCTION will definitely have to be included in the graph (SLY, LORD, SERVINGMEN, PLAYERS, and PAGE).

en:

NOTE: The INDUCTION will definitely have to be included in the graph (SLY, LORD, SERVINGMEN, PLAYERS, and PAGE).

07 novembre 2004 à 08h53 par 69.157.181.86 -
Lignes 76-78 modifiées:

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

NOTE: Something strange is happening to the COUNTESS OF ROSSILLION. Her eight appearances are reduced to five (with a much too long fourth appearance). I cannot understand this artefact since the Countess is never disguised and her list ia about as unproblematic as can be. I also think that I should have qualified the heroin HELENA by describing her as “a gentlewoman, later, wife to Bertram”.

en:

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

07 novembre 2004 à 08h51 par 69.157.181.86 -
Lignes 43-44 supprimées:

NOTE: Sorry, my mistake. Though they are indeed “secondary” both THE MERCHANT OF SIRACUSE and THE DUKE OF EPHESUS should be included in this graph, since their presence at the Protatsis and Catastrophe of the play neatly frames its action.

Lignes 47-48 supprimées:

NOTE: Though they are “secondary” (and sometimes even “tertiary”), Don John’s henchmen CONRAD and BORACHIO should be included in this graph, as well as Hero’s lady in waiting URSULA , VERGES, THE WATCH, and the FRIAR since their presence defines much of the action.

Ligne 56 modifiée:

NOTE: There seem to be some missing entries for BOTTOM (probably due to some confusion in the framing of the data regarding his being ASS-HEADED)

en:

NOTE: My mistake. BOTTOM’s 2nd and 3rd entrances should read (813,900) and (917,1020).

Lignes 61-62 supprimées:

NOTE: My mistake. Graph is missing the character of the DUKE of Venice (whose sole appearance nicely indicates the pivotal courtroom scene).

Lignes 82-84 modifiées:

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

NOTE: Once again VIOLA’s being disguised as Cesario ( from TLN 250 to 2419) is interpreted as a long stage appearance. But these “artefacts” nonetheless show us approximately what “disguise frames” around certain characters would look like. Perhaps ORSINO should be described as “ruler of Illyria” (Illyria is the present day Albania) and SIR TOBY as “uncle to Olivia”.

en:

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

06 novembre 2004 à 15h36 par 65.92.29.206 -
Lignes 35-36 supprimées:

NOTE: Although it originally came up as a “INTERNAL SERVER ERROR” page, the graph is indeed “parfait”.

06 novembre 2004 à 15h33 par 65.92.29.206 -
Ligne 46 modifiée:

NOTE: Though they are indeed “secondary” both THE MERCHANT OF SIRACUSE and THE DUKE OF EPHESUS should be included in this graph, since their presence at the Protatsis and Catastrophe of the play neatly frames its action.

en:

NOTE: Sorry, my mistake. Though they are indeed “secondary” both THE MERCHANT OF SIRACUSE and THE DUKE OF EPHESUS should be included in this graph, since their presence at the Protatsis and Catastrophe of the play neatly frames its action.

Ligne 98 modifiée:

NOTE: The character of CAMILLO appears to be lacking an entrance (he has five whereas there are only four in the graph). Perhaps this is also due to his being disguised.

en:

NOTE: The character of CAMILLO appears to be lacking an entrance (he has five whereas there are only four in the graph). Perhaps this is also due to his being disguised. Otherwise, the graph is very pretty.

06 novembre 2004 à 15h28 par 65.92.29.206 -
Lignes 18-21 ajoutées:



Lignes 24-25 ajoutées:


Lignes 28-29 ajoutées:


Lignes 32-36 modifiées:

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

en:


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

NOTE: Although it originally came up as a “INTERNAL SERVER ERROR” page, the graph is indeed “parfait”.

Ligne 38 modifiée:

Fixed —sv

en:

\\

Lignes 42-43 ajoutées:


Ligne 48 modifiée:

done —sv

en:

\\

Lignes 54-56 modifiées:

done —sv

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

en:

\\

Ligne 56 modifiée:

Fixed —sv

en:

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

Ligne 58 ajoutée:

\\

Ligne 64 modifiée:

done —sv

en:

\\

Lignes 68-99 ajoutées:

NOTE: My mistake. Graph is missing the character of the DUKE of Venice (whose sole appearance nicely indicates the pivotal courtroom scene).


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

NOTE: Same problem as with the character of KENT in LEAR. Here ROSALIND and CELIA’s being disguised from TLN 782 to 2601 is equated with a very long stay onstage. Otherwise the graph is very fine but I think that the characters of ADAM (which, rumour has it, was interpreted by Shakespeare himself) and SILVIUS (who is in love with PHEBE) should be added to it to make the story structure a bit clearer.


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

NOTE: Once again the disguises of LUCENTIO, TRANIO, and HORTENSIO are playing havoc with the actual appearances. Also, the INDUCTION will definitely have to be included in the graph (SLY, LORD, SERVINGMEN, PLAYERS, and PAGE).


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

NOTE: Something strange is happening to the COUNTESS OF ROSSILLION. Her eight appearances are reduced to five (with a much too long fourth appearance). I cannot understand this artefact since the Countess is never disguised and her list ia about as unproblematic as can be. I also think that I should have qualified the heroin HELENA by describing her as “a gentlewoman, later, wife to Bertram”.


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

NOTE: Once again VIOLA’s being disguised as Cesario ( from TLN 250 to 2419) is interpreted as a long stage appearance. But these “artefacts” nonetheless show us approximately what “disguise frames” around certain characters would look like. Perhaps ORSINO should be described as “ruler of Illyria” (Illyria is the present day Albania) and SIR TOBY as “uncle to Olivia”.


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

NOTE: The character of CAMILLO appears to be lacking an entrance (he has five whereas there are only four in the graph). Perhaps this is also due to his being disguised.

06 novembre 2004 à 15h23 par StephaneVolet -
Lignes 17-20 supprimées:



Lignes 19-20 supprimées:


Lignes 21-22 supprimées:


Lignes 23-24 supprimées:


Ligne 26 modifiée:

\\

en:

Fixed —sv

Lignes 29-30 supprimées:


Ligne 34 modifiée:

\\

en:

done —sv

Ligne 40 modifiée:

\\

en:

done —sv

Lignes 44-45 modifiées:

\\

en:

Fixed —sv

Ligne 51 modifiée:

\\

en:

done —sv

Lignes 54-56 supprimées:


06 novembre 2004 à 09h23 par 65.92.17.219 -
Lignes 44-64 modifiées:

NOTE: Though they are indeed “secondary” both THE MERCHANT OF SIRACUSE and THE DUKE OF EPHESUS should be included in the graphs since their presence at the Protatsis and Catastrophe of the play neatly frames the action.

en:

NOTE: Though they are indeed “secondary” both THE MERCHANT OF SIRACUSE and THE DUKE OF EPHESUS should be included in this graph, since their presence at the Protatsis and Catastrophe of the play neatly frames its action.


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

NOTE: Though they are “secondary” (and sometimes even “tertiary”), Don John’s henchmen CONRAD and BORACHIO should be included in this graph, as well as Hero’s lady in waiting URSULA , VERGES, THE WATCH, and the FRIAR since their presence defines much of the action.


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


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

NOTE: There seem to be some missing entries for BOTTOM (probably due to some confusion in the framing of the data regarding his being ASS-HEADED)


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

06 novembre 2004 à 09h02 par 65.92.17.219 -
Lignes 36-48 modifiées:

//

en:


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


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

NOTE: Though they are indeed “secondary” both THE MERCHANT OF SIRACUSE and THE DUKE OF EPHESUS should be included in the graphs since their presence at the Protatsis and Catastrophe of the play neatly frames the action.


06 novembre 2004 à 08h49 par 65.92.17.219 -
Lignes 15-36 modifiées:

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

en:

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



THE COMEDIES


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


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


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

//

04 novembre 2004 à 09h32 par StephaneVolet -
Ligne 1 modifiée:

I wouldn’t be a real techie if I didn’t have a bit of delay!

en:

Graphs are up!

Ligne 3 modifiée:

:-/

en:

I’ve put up some kind of system:

Ligne 5 modifiée:

But!… we are making progress!…

en:

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

Lignes 7-8 modifiées:

I’ve xmlized all The Comedies and all The Tragedies and The Histories.

en:

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

Ligne 10 modifiée:

I’ll have a couple of questions to ask (I’ve had choices to make in the markup which could be construed as contentious!…)

en:

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

Ligne 12 ajoutée:

The the Wiki Name? of the play

Lignes 14-16 ajoutées:

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!

02 novembre 2004 à 07h17 par StephaneVolet -
Ligne 7 modifiée:

I’ve xmlized all The Comedies and all The Tragedies … today (2004–11–02) I should finish The Histories.

en:

I’ve xmlized all The Comedies and all The Tragedies and The Histories.

02 novembre 2004 à 05h38 par StphaneVolet -
Lignes 1-11 modifiées:

Describe The Tech Corner here.

en:

I wouldn’t be a real techie if I didn’t have a bit of delay!

:-/

But!… we are making progress!…

I’ve xmlized all The Comedies and all The Tragedies … today (2004–11–02) I should finish The Histories.

I’ll have a couple of questions to ask (I’ve had choices to make in the markup which could be construed as contentious!…)

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