…melodies and rub them together. Exactly. And get a whole world of new music and new dramatic insight. Is this what say Shakespeare does with a double plot? No, both his plots are usually commonplace old familiar things which he proceeds to smash together…

…changes, we hasten to seek security and comfort in the old environment. I was delighted to come across a passage in Shakespeare a few days ago, a familiar passage, which suddenly revealed the same message. One touch of nature makes the whole world…

…under civilized conditions. The civilized man becomes a complete mash or mesh of, and the word mish means I am in Gaelic. Shakespeare knew that, obviously, and the scholars have never noticed it in Hamlet. When he speaks of mishing malecho, he is using a…

…that privates have not to save ceremony, save general ceremony? And this is a perpetual petulance. Quirk all the way through Shakespeare. How can we sort out the private and the corporate? He's always, too, playing on the conflicting modes of the auditory…

…man meant to avoid all the characteristics of the... yokel, who was, like the Pete Seegers today, full of country music. Shakespeare was regarded as a yokel in his own time. Milton referred condescendingly to him, see warbling his native wood notes wild.…

…well-trod stage and on, it's Il Penceroso, the nightlife. Where did Johnson's learned sock play beyond? Or, sweet as Shakespeare, fancy's child, warbling his native wood notes wild, untaught, spontaneous, Peter Pan, ignoramus. Was it Shakespeare himself who,…

…sock play beyond? Or, sweet as Shakespeare, fancy's child, warbling his native wood notes wild, untaught, spontaneous, Peter Pan, ignoramus. Was it Shakespeare himself who, was it in some of his works where he had to sort of apologize to the boys in the…

…of apologize to the boys in the neighborhood because, you know, just a little Latin and less Greek? That was Johnson's observation about Shakespeare. He was a dandy guy, but small Latin and less Greek. And that reminds me of some real grievance of my own…

…mention some. Well, look. I have a 14th century conciation, a 15th century conciation. If we've got here, for example, In poetry. Shakespeare, iconic. Or the Transformation one. Those are pearls that were his eyes. You see, this is a nice example of the…

…an annunciation. Well, then put it with icicles. I don't know exactly who painted it. Let's carefully put that with icicles. It's Shakespeare. All right. Those two go together. All right. Then Caravaggio will go with what? I guess it'll go with the... It…

…here. That's not Baroque, man. But I do have a perfect text for Turner and Shelley here. She picked it up today. Oh, icons. Shakespeare, remember, on an icicle hanged by the wall? That's a light. Oh, yeah. This is also a double point of view, isn't it?…

…no... Remember, it's a discontinuous space. One of the things you see about... visual space is that it's connected. Whereas when Shakespeare says, when icicles hang by the wall... It might be interesting to contrast the Milton space with the icicle. No, we…

…Alice in Wonderland from. Without intending to. Jefferson Aeroflame, Alice when she's ten feet tall. Did you find Caravaggio? Yeah, yeah. Ah, now let's see. What would be... I've got here four slides. Do we have any iconic? Anything to go with Shakespeare?

…painted. That's right. He was creating new Vermeers. It's like somebody being punished for writing new Shakespearean plays that Shakespeare had never thought of. You know, that's right. What would happen, actually? It's a tremendous idea. What would happen…

…prefer to look in the rearview mirror. You feel safer back one age. This is just as true of Plato as it was of Shakespeare. And Shakespeare was a medievalist in his work. Plato was very much devoted to the old primitive and integral order of tribal man…

…in the rearview mirror. You feel safer back one age. This is just as true of Plato as it was of Shakespeare. And Shakespeare was a medievalist in his work. Plato was very much devoted to the old primitive and integral order of tribal man behind him.…

…and rub them together. Exactly. And get a whole world of new music and new dramatic insight. Is this what, say, Shakespeare does with a double plot? No, both his plots are usually commonplace, old, familiar things, which he proceeds to smash together…