my monday listicle

apparently, some whack-a-doo movie is coming out soon about shakespeare and how shakespeare didn’t really write shakespeare which reminds me of a line from the royal tenenbaums:

Well, everyone knows Custer died at Little Bighorn. What this book presupposes is… maybe he didn’t.

i figure i might as well hop on the shakespeare conspiracy bandwagon by positing that shakespeare is secretly controlling the fate of modern literature from beyond the grave. consider these popular novels which all got their titles from shakespearean works. what does it all mean? »

  • Brave New World by Aldous Huxley
  • Cakes and Ale by William Somerset Maugham
  • The Dogs of War by Frederick Forsyth
  • Infinite Jest by David Foster Wallace
  • Pale Fire by Vladimir Nabokov
  • Pomp and Circumstance by Noel Coward
  • Remembrance of Things Past by Marcel Proust
  • The Sound and the Fury by William Faulkner
  • Something Rotten by Jasper Fforde
  • Time Out of Joint by Philip K. Dick
  • Under the Greenwood Tree by Thomas Hardy
  • What Dreams May Come by Richard Matheson
  • The Winter of Our Discontent by John Steinbeck
July 18, 2011
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fighting your weight in wild cats

in this 85th edition of f-words, we visit one of my most prized possessions: a dictionary of slang, jargon & cant: embracing english, american, and anglo-indian slang, pidgin english, tinker’s jargon and other irregular phraseology by barrère and leland (1890).

that some of these terms are no longer used anymore is utterly shocking. how often do words fail us when we take our hugo boss tuxedos to the dry cleaners and try to explain away certain “stains” from the night before? and when we are besieged by mongrel dogs thirsty for our reuben sandwiches, what should we yell? and when we are performing a delicate chekovian soliloquy for the mayor of boise and an audience of dozens and our lines escape us, how do we describe the experience later (in the guise of a blog posting about old dictionaries?). for many of us, the answers have come too late, but for the fortunate few—these f-words may have arrived just in time.

facings · beer-droppings on the breast of a coat
fagger · a small boy put into a window to rob the house or to open it for others to rob; called also “little snakesman.”
fegaries · fads, caprices, whimsies, odd fancies
ferricadouzer · a knock-down blow
fibbings · rapid repeated blows, delivered at a short distance
field-lane duck · a baked sheep’s head
fight one’s weight in wild cats · to be full of courage and “go”
fillibrush · to praise ironically
fingersmith · a pickpocket
first night-wreckers · men who attempt to hiss down a play on first performance
flabberdegaz · any words not in the part said by an actor whose memory fails him
fly the kite · to make one’s exit by the window
fogle-hunter · a stealer of handkerchiefs
footsac · an exclamation to drive away intrusive dogs

October 25, 2010
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ragbag readers’ favourite stage directions

who knew that my brief breech of the proscenium would cause so many of you to send me erotic poulets filled with your own favourite stage directions? who knew that stage directions were a thing that a *regular* person had a favourite of? who cares? thanks to 4 anonymous ragbag readers (or people that pretend to read it), today’s post has written itself:

from shakespeare’s titus andronicus:

  • Enter the empress’ sons, with lavina, her hands cut off, and her tongue cut out, and ravish’d

from shakespeare’s much ado about nothing:

  • Enter Prine, Leonato, Claudio and Jacke Wilson

the only problem is that “jacke wilson” is not in this scene nor in the play at all. from wagner’s götterdämmerung:

  • The flames immediately flare up so that the fire fills the whole space in front of the hall and appears to seize on the building itself. Horrified, the men and women press to the very front of the stage. When the whole stage seems engulfed in fire, the glow suddenly dies down, so that soon all that remains is a cloud of smoke which drifts away to the back of the stage, setting the horizon as a layer of dark cloud. At the same time the Rhine overflows its banks in a mighty flood, surging over the conflagration.

from ring lardner’s [dadaist drama] i gaspiri:

  • The curtain is lowered for seven days to denote the lapse of a week

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beckett bonus: the stage directions for beckett’s ghost trio specify that the door leading to a room stage right should be ‘imperceptibly ajar’.

using stage directions only, samuel beckett wrote a play

talk about peculiar! in 1956, samuel beckett penned a one act play entirely in stage directions. the above video is a performance from beckett’s act without words i. as with all beckett, use your own judgment when determining if it is right for you. for your reference, here is how the play starts (heads up: there is a lot of reflecting involved):

Desert. Dazzling light.

The man is flung backwards on sage from right wing. He falls, gets up
immediately, dusts himself, turns aside, reflects. Whistle from right wing.

He reflects, goes out right. Immediately flung back on stage he falls, gets up immediately, dusts himself, turns aside, reflects.

Whistle from left wing.

He reflects, goes out left.

Immediately flung back on stage he falls, gets up immediately, dusts himself, turns aside, reflects.

Whistle from left wing.

He reflects, goes towards left wing, hesitates, thinks better of it, halts, turns aside, reflects.

April 21, 2010
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peculiar elizabethan stage directions

  • enter hieronimo; he knocks up the curtain
  • hell is discovered
  • volpone peeps from behind a traverse
  • eugenius discovered sitting loaded with many irons; a lampe burning by him; then enter clowne with a piece of browne bread and a garret root
  • a couch discovered with the duke on it
  • enter lopez at a table with jewels and money upon it, an egg roasting by a candle
  • exit orestes dragging clytemnestra’s body
  • enter gloucester and buckingham in rotten armour, marvelous ill-favoured
  • haughty, centaur, mavis, mrs otter, epicene, trusty, having discovered part of the scene above
  • enter giovanni and annabella lying on a bed
  • nuns discovered singing
  • dashing of brains heard within

and of course, the always-intriguing cue from the winter’s tale

  • exit, pursued by a bear

best stage direction of all time

here satan letteth a fart

found in english morality plays of the 16th century. (source)

February 11, 2010
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to my fellow travelers

this f-word post is the first since the exciting conclusion of word idol and the crowning of its champion, fourings. but fear not, fellow metallica fans. just as we can all count on ulrich and hetfield to crank out an eternal barrage of face-melting power ballads, so too can we count on ol’ raynor ganan to golden shower us with words that start with the letter f.

this week’s dictionary is one that i keep close to my heart, literally (literally literally) as it is one of only 12 reference books that is forever plugged-in to the bespoke book seat which rests on my desk, a mere 71.12 centimeters from my ticker¹. here are some select f-words from the penguin dictionary of literary terms and literary theory:

  • fabulation: a term used to describe the anti-novel. fabulation involves allegory, verbal acrobatics and surrealistic effects.
  • facetiae: a bookseller’s term for humorous or obscene books.
  • faction: a portmanteau word which denotes fiction which is based on and combined with fact.
  • fazetie: a german term for a clever, witty, well-phrased anecdote which may or may not be bawdy and/or erotic.
  • federal theatre project: an enterprise inaugurated in the USA in 1935 to provide employment for people in the theatre and to offer more entertainment during the Depression.
  • fellow travelers: a phrase used by Trotsky to describe soviet authors who accepted the 1917 Revolution without necessarily accepting Bolshevik ideology, who maintained that literature should not be subject to political tenets or coercion.
  • festschrift: a symposium compiled in honour of a distinguished scholar or writer; an ‘homage volume.’
  • ficción: a genre invented by the Argentine poet and critic Jorge Luis Borges. A ficción is a story-essay which glosses human dreams and illusions. It is ironical in tone and also didactic.
  • ficcelle: Henry James’s term for the confidante character whose role within the novel is the elicit information, which is conveyed to the reader without narratorial intervention.
  • flyting: a cursing match in verse²; especially between two poets who hurl abuse at each other.
  • four levels of meaning: Dante explains the four levels as: (a) the literal or historical meaning; (b) the moral meaning; (c) the allegorical meaning; and (d) the anagogical.
  • fustian: formerly a coarse cloth made of cotton and flax; now a thick, twilled cotton cloth. In the 16th C. it was used to describe inflated, turgid language.

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1. and if i had situs inversus, it would only be 63.5 centimeters away.
2. watch your back, bro-dog. i am still gunning for you.

know your noms
nom de guerre · war name, a name assumed by a person engaged in an enterprise
nom de plume · pen name, a name assumed by a writer
nom de théâtre · stage name, a name assumed by an actor
nom de vente · buyer name, name assumed by a buyer at an auction who wishes to remain anonymous

know your noms

  • nom de guerre · war name, a name assumed by a person engaged in an enterprise
  • nom de plume · pen name, a name assumed by a writer
  • nom de théâtre · stage name, a name assumed by an actor
  • nom de vente · buyer name, name assumed by a buyer at an auction who wishes to remain anonymous
October 15, 2009
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a space opera… in the year 2000
what do you imagine going to the opera will be like in the year 2000? what about people in the 1800s, what did they  imagine what going to the opera would be like in the year 2000? furthermore, what do you imagine that people in the 1800s imagined what you would imagine that they would imagine what going to the opera 9 years ago would be like? before we sink into an infinite abyss, let us observe this 1882 illustration from the hyper-cool paleo future blog (which has several more pictures of this series) where lithographer albert robida conceptualises his 2nd millennium operatic vision. consider:
your elegant monocle and tender moustache and the bevy of fly honeys in paisley petticoats that you assist in boarding your flying yellow dolphin while kaiser wilhem patrols the perimeter in a solo spaceship (sword at the ready), and 100 feet below you,  some dandy ushers boobsy mcgee out of her wooly overcoat. it’s almost as if steampunk scene happened last year.
and to think only a few years before this lithograph was published, nietzsche (in die geburt der tragödie) went on a 54 paragraph tirade about how  much opera blows chunks. look who’s eating a corvine delmonico now!!!!!!!!!!!!!!!!!!!!!!!!!!!
(answer: friedrich wilhelm nietzsche!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!)

a space opera… in the year 2000

what do you imagine going to the opera will be like in the year 2000? what about people in the 1800s, what did they imagine what going to the opera would be like in the year 2000? furthermore, what do you imagine that people in the 1800s imagined what you would imagine that they would imagine what going to the opera 9 years ago would be like? before we sink into an infinite abyss, let us observe this 1882 illustration from the hyper-cool paleo future blog (which has several more pictures of this series) where lithographer albert robida conceptualises his 2nd millennium operatic vision. consider:

your elegant monocle and tender moustache and the bevy of fly honeys in paisley petticoats that you assist in boarding your flying yellow dolphin while kaiser wilhem patrols the perimeter in a solo spaceship (sword at the ready), and 100 feet below you, some dandy ushers boobsy mcgee out of her wooly overcoat. it’s almost as if steampunk scene happened last year.

and to think only a few years before this lithograph was published, nietzsche (in die geburt der tragödie) went on a 54 paragraph tirade about how much opera blows chunks. look who’s eating a corvine delmonico now!!!!!!!!!!!!!!!!!!!!!!!!!!!

(answer: friedrich wilhelm nietzsche!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!)

hyperbole is an understatement -or- what will metacritique say about this?
perhaps in your sixth grade production of all aboard the gastrointestinal tract, you earned high praise and many kudos in your school’s newspaper for your absorbing portrayal of a wincing ileocecal valve. but was that review as bombastic or as tumid as the following one (dated may 30, 1784) from an irish newspaper which describes a performance by sarah siddons (the most popular tragedienne of the 1700s):
On Saturday, Mrs. Siddons, about whom all the world had been talking, exposed her beautiful, adamantine, soft, and lovely person, for the first time, at Smock-Alley Theatre, in the bewitching, melting, and all-tearful character of ” Isabella.”She was nature itself! She was the most exquisite work of art! She was the very daisy, primrose, tuberose, sweet-brier, furze-blossom, gilliflower, wallflower, cauliflower, auricula, and rosemary ! In short, she was the bouquet of Parnassus. Where expectation was raised so high, it was thought she would be injured by her appearance; but it was the audience who were injured : several fainted before the curtain drew up! When she came to the scene of parting with her wedding-ring, ah ! what a sight was there ! the very fiddlers in the orchestra, albeit unused to the melting mood, blubbered like hungry children crying for their bread and butter; and when the bell rang for music between the acts, the tears ran from the bassoon-player’s eyes in such plentiful showers that they choked the finger-stops, and, making a spout of the instrument, poured in such torrents on the first fiddler’s book, that, not seeing the overture was in two sharps, the leader of the band actually played in one flat. But the sobs and sighs of the groaning audience, and the noise of corks drawn from the smelling-bottles, prevented the mistake between flats and sharps being discovered.
One hundred and nine ladies fainted, forty-six went into fits, and ninety-five had strong hysterics ! The world will scarcely credit the truth when they are told that fourteen children, five old women, one hundred tailors, and six common-councilmen were actually drowned in the inundation of tears that flowed from the galleries, the slips, and the boxes to increase the briny pond in the pit; the water was three feet deep; and the people were obliged to stand upon the benches, and were in that position up to their ankles in tears! An act of Parliament against her playing any more will certainly pass.
there comes a point in hyperbole, just as there comes a point in a hyperbola, when things start reversing themselves and your well-intended praise quickly plunges towards unrelenting contempt.

hyperbole is an understatement -or- what will metacritique say about this?

perhaps in your sixth grade production of all aboard the gastrointestinal tract, you earned high praise and many kudos in your school’s newspaper for your absorbing portrayal of a wincing ileocecal valve. but was that review as bombastic or as tumid as the following one (dated may 30, 1784) from an irish newspaper which describes a performance by sarah siddons (the most popular tragedienne of the 1700s):

On Saturday, Mrs. Siddons, about whom all the world had been talking, exposed her beautiful, adamantine, soft, and lovely person, for the first time, at Smock-Alley Theatre, in the bewitching, melting, and all-tearful character of ” Isabella.”

She was nature itself! She was the most exquisite work of art! She was the very daisy, primrose, tuberose, sweet-brier, furze-blossom, gilliflower, wallflower, cauliflower, auricula, and rosemary ! In short, she was the bouquet of Parnassus. Where expectation was raised so high, it was thought she would be injured by her appearance; but it was the audience who were injured : several fainted before the curtain drew up! When she came to the scene of parting with her wedding-ring, ah ! what a sight was there ! the very fiddlers in the orchestra, albeit unused to the melting mood, blubbered like hungry children crying for their bread and butter; and when the bell rang for music between the acts, the tears ran from the bassoon-player’s eyes in such plentiful showers that they choked the finger-stops, and, making a spout of the instrument, poured in such torrents on the first fiddler’s book, that, not seeing the overture was in two sharps, the leader of the band actually played in one flat. But the sobs and sighs of the groaning audience, and the noise of corks drawn from the smelling-bottles, prevented the mistake between flats and sharps being discovered.
One hundred and nine ladies fainted, forty-six went into fits, and ninety-five had strong hysterics ! The world will scarcely credit the truth when they are told that fourteen children, five old women, one hundred tailors, and six common-councilmen were actually drowned in the inundation of tears that flowed from the galleries, the slips, and the boxes to increase the briny pond in the pit; the water was three feet deep; and the people were obliged to stand upon the benches, and were in that position up to their ankles in tears! An act of Parliament against her playing any more will certainly pass.

there comes a point in hyperbole, just as there comes a point in a hyperbola, when things start reversing themselves and your well-intended praise quickly plunges towards unrelenting contempt.

how to decipher theatre reviews

when the dust jacket of a novel informs you that miss x is “the new jane austen,” you instantly know that her book is full of bitchy remarks, and any novel written “in the style of virginia woolf,” obviously has no plot. similarly theatre criticism can be understood once the technical terms used by the modern critic are decoded.

  • brechtian production: the company couldn’t afford a set.
  • epic production: a production that is still going on long after the pubs have closed.
  • feminist: productions in which over 5% of the company are women.
  • high comedy: comedy without any laughs
  • naturalism: the depiction of life at its most boring.
  • polemic: the argument of a play. sometimes it goes like this:
x: would you like a cup of tea?
y: no.
x: oh yes you would.
y: oh no i wouldn’t.
x: oh yes you would.
y: oh no i wouldn’t…etc.
  • polished: overrehearsed and smug.
  • political: sympathetic to the left
  • working-class-theatre: theatre cultivated to instill a sense of well-being and smug superiority in an audience of middle-class, pseudo-intellectuals.

these amusing interpretations are from bluff your way in british theatre (1986). as it was written by fidelis morgan and his first name begins with an f, i figure that all of the words (and not just feminist) are f-words thus satisfying my weekly obligation to present them.

May 19, 2009
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[Flash 9 is required to listen to audio.]

another peculiar holiday tradition: m’aider!

ever since i was really really little, my mom would barge into my room at 6:30 a.m. every may 1st blasting the appended song (vanessa redgrave singing the lusty month of may from the musical, camelot) on a portable boombox. she continues this tradition via phone EVERY year. i post this audio° not so much for your benefit but out of annual pavlovian conditioning.

thornton gone wilder
i don’t want to get all gary vanderchunk on you, but this article in the hudson review is worth a look-see in the hopes that it might convince you that thornton wilder (and his works) are worthy of a longer look-see:

He was born in 1897, the same year as William Faulkner, a year after F. Scott Fitzgerald, and two years before Hemingway; he published his first novel in 1926, the same year as Soldiers’ Pay and The Sun Also Rises, a year after The Great Gatsby and Arrowsmith, and a year before Elmer Gantry, and was immediately hailed as one of the best writers of his generation. He went on to write several more novels, almost all of them critically acclaimed bestsellers, and to win three Pulitzer Prizes, one for fiction and two for drama (he is still the only writer to have won Pulitzers in both categories). One of his novels was among the twentieth century’s great publishing sensations; one of his plays is the most performed American theatrical work of all time; yet another of his stage efforts was the basis for one of the most successful Broadway musicals in history. Some consider him the equal or superior of Hemingway and Fitzgerald as a novelist, and some place him alongside—or above—Eugene O’Neill and Tennessee Williams in the pantheon of American drama.
Why, then, can it seem as if Thornton Wilder has fallen between the cracks?

an impersonal passion: thornton wilder by bruce bawer. in the hudson review (autumn 2008)

thornton gone wilder

i don’t want to get all gary vanderchunk on you, but this article in the hudson review is worth a look-see in the hopes that it might convince you that thornton wilder (and his works) are worthy of a longer look-see:

He was born in 1897, the same year as William Faulkner, a year after F. Scott Fitzgerald, and two years before Hemingway; he published his first novel in 1926, the same year as Soldiers’ Pay and The Sun Also Rises, a year after The Great Gatsby and Arrowsmith, and a year before Elmer Gantry, and was immediately hailed as one of the best writers of his generation. He went on to write several more novels, almost all of them critically acclaimed bestsellers, and to win three Pulitzer Prizes, one for fiction and two for drama (he is still the only writer to have won Pulitzers in both categories). One of his novels was among the twentieth century’s great publishing sensations; one of his plays is the most performed American theatrical work of all time; yet another of his stage efforts was the basis for one of the most successful Broadway musicals in history. Some consider him the equal or superior of Hemingway and Fitzgerald as a novelist, and some place him alongside—or above—Eugene O’Neill and Tennessee Williams in the pantheon of American drama.

Why, then, can it seem as if Thornton Wilder has fallen between the cracks?

an impersonal passion: thornton wilder by bruce bawer. in the hudson review (autumn 2008)

10 writers who departed in mysterious ways

  • sherwood anderson: choked to death on a toothpick.
  • arnold bennett: drank water from a carafe in a paris restaurant in an attempt to show that the city’s water was safe to drink, but he caught typhoid from it and died two months later.
  • molière: was playing the lead role of the hypochondriac in his play the imaginary invalid when he died.
  • aeschylus: is alleged to have died when an eagle dropped a tortoise on his head.
  • emile zola: asphyxiated by carbon monoxide fumes from a fire in his bedroom (it had a defective chimney)
  • pietro aretino: this italian saritist poet literally laughed himself to death at the theater one night in 1556: he fell off his seat and fatally banged his head on the floor.
  • thomas merton: the prolific cistercian monk was electrocuted by a faulty fan while attending a conference on buddhism in bangkok.
  • francis bacon: killed a chicken one day and stuffed its carcass with snow in an effort to discover if chilled meat could be preserved in this fashion. an innovative idear for the time..but the chicken fared better than him, as he caught a fatal chill while stuffing it.
  • ranier maria rilke: died at the age of 51 of blood poisoning, after he had been cut by the thorn of a rose he had picked for a woman he knew.
  • tennessee williams: choked to death on the plastic top of a nasal spray in a new york hotel room in 1983.
from stranger than ficiton by aubrey mallone (2000).

January 9, 2009
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