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JhoiraArtificer
@JhoiraArtificer

Decided to pull this out of the comments on this week's books post because I have a lot of opinions (shouts out to @garak for inspiring this). For the best experience I recommend being able to listen to/watch the linked YouTubes, but you can of course just read what I'm saying!

let's start with Beowulf

In my post, I said that a crucial feature of Maria Dahvana Headley's translation of Beowulf was that it reads like a transcribed oral work, and (at least for me) essentially demands to be read out loud. I think it's important to note here that Beowulf most likely started as oral tradition, as the kind of story you'd hear in a big hall, probably while people were drinking. In a world where most people can't read, you need story to pass along the important things—and the way you tell the story influences how you experience it.


nex3
@nex3

I would have done it loud and proud except I usually read at night when Liz is trying to sleep and that would have annoyed her. Anyway Liz is absolutely right and I cannot recommend highly enough saying at least the real juicy Shakespeare lines out loud to yourself because it is an incomparable experience.


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in reply to @JhoiraArtificer's post:

I've always found the Norton Shakespeare to be an excellent edition, and apparently the latest (the 3rd) is the best yet. I don't know if I feel like I can afford to buy new editions of books I still own, but I'd like to.

I think it's still appropriate to read the sonnets as textual first, just given that he wrote them mostly when the theaters were shut down. They were text first, and I'm not aware of any indication they were intended for performance. Now, the author's still dead, so on, so forth, but it just provides a kind of category difference.

I say that but I'm somewhat infamous for ignoring line breaks in all poetry lol.

Oh, and where's the consensus on the "playbill scripts" idea? I have no idea what it's actually called, but I remember some scholars argued there seemed to be evidence that cheap scripts were sold as keepsakes at plays, meaning Shakespeare was writing simultaneously to be performed and read? It seems like we should have any, like, x>0 copies, if that were the case, but I dunno?

Good point on the publication intention of the sonnets! I guess I kind of view performing them as a "bootstrap" to learning how to read and ponder interpretation and intention—at least for me, I feel like that's something I wasn't taught very well in school (note: I didn't take any English secondary education courses) and I'm more able to "turn it on" if I think in terms of performance. Now I'm curious if other people would feel similarly...

And really interesting question on playbill scripts! I honestly hadn't heard of them existing in the Shakespeare portion of Early Modern times (accurately or not, I think of them more closely with, like, libretti at Classical operas), but it wouldn't surprise me if they had either! I honestly wouldn't know where to go looking for the scholarship on this, either... the majority of my Early Modern (English) theater knowledge is a side-slide from my interest in gender and Christianity at the time, plus Shakespeare's actual texts.