parsifal hendrix Creative Commons License 2018.02.28 0 0 4530

                                            shakespeare and goethe

                                     -avagy miként diktálta faust az iródeák williamnek a lear királyt

 

 

 

Helen Vendler once wrote that Shakespeare’s sonnets work in readers’ minds like a “lightning rod for nuttiness”. Vendler was referring to the wild hinterland of scholarship that trawls the sonnets for evidence of Shakespeare’s real-life desires and transgressions. This critical impulse was famously satirized by Oscar Wilde in “The Portrait of Mr W. H.”, in which the obsessive scholar Cyril Graham shoots himself with a revolver in order to demonstrate his firm belief that the mysterious dedicatee of the 1609 volume, Mr W. H., was the beautiful young actor Willie Hughes. It remains true that Shakespeare’s sonnets have a way of enticing readers to find within their lines whatever nutty story they are looking for. All the same, a bit of wildness seems more than justified – even necessary – when dealing with these extraor­dinary poems. Shakespeare took a reckless attitude towards his predecessors, especially traditional sonnet-writers,

Jim was irreverent and mischievous. One time we were shooting outside and he suddenly disappeared. He came back with this cheeky smile and I took his picture. Only later, when I got the photos developed, did I realise what he had been doing: he’d hidden behind a tree, got himself aroused and, through his trousers, was pointing his erection right at my camera.

His girlfriend Pam came over, claiming Jim had pushed her into the closet and set it on fire

Jim and I were around the same age, and we clicked intellectually. He and his girlfriend Pam Courson moved into a place next door to where my wife and I lived in Laurel Canyon. I remember one evening we spent together, smoking a load of hash and listening to a vinyl import of Sgt Pepper . That was a great night. Harlem Renaissance. A period of musical, literary, and cultural proliferation that began in New York’s African-American community during the 1920s and early 1930s. The movement was key to developing a new sense of Black identity and aesthetics as writers, visual artists, and musicians articulated new modes of African-American experience and experimented with artistic forms, modernist techniques, and folk culture. Harlem Renaissance artists and activists also influenced French and Caribbean Négritude and Negrismo movements in addition to laying a foundation for future Black Arts champions.