By Anna Thomasson
The wintry weather of 1924: Edith Olivier, by myself for the 1st time on the age of fifty-one, concept her lifestyles had come to an finish. For Rex Whistler, a nineteen-year-old paintings scholar, lifestyles was once simply starting. jointly, they launched into an intimate and not going friendship that might remodel their lives. steadily Edith's international unfolded and she or he turned a author. Her domestic, the Daye condominium, in a wooded nook of the Wilton property, turned a sanctuary for Whistler and the opposite really good and gorgeous more youthful males of her circle: between them Siegfried Sassoon, Stephen Tennant, William Walton, John Betjeman, the Sitwells and Cecil Beaton - for whom she was once 'all the muses'.
Set opposed to a backdrop of the madcap events of the Twenties, the sophistication of the Nineteen Thirties and the drama and austerity of the second one global conflict and with a rare forged of pals and neighbors, Anna Thomasson brings to existence, for the 1st time, the interesting, and curious, friendship of a bluestocking and a shiny younger factor.
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Additional resources for A Curious Friendship: The Story of a Bluestocking and a Bright Young Thing
Manning, pp. 2, 3, 32. , p. 34. , p. 55. , The Uses of History in Early Modern England (Huntington Library Quarterly special issue, 2005). Manning, pp. 38–40; and see James Shapiro, 1599. A Year in the Life of William Shakespeare (London: Faber and Faber, 2005), pp. 137–8. , p. 38n. Chambers, William Shakespeare, II, 326. Spedding, Bacon, III, 153. In the account of the episode of 7 February that appears in Bacon’s declaration of April, Phillips describes the play, not as ‘so olde’, merely as ‘old’.
11 If it is true that in reading Shakespeare we meet not only a text but a mind, Shakespeare’s mind is knowable from its gifts and patterns of expression and description, or its habits of language and imagery, but not from its opinions. Many critics attribute ‘views’ or ‘attitudes’ or ‘positions’ in Shakespeare. ) How are Shakespeare’s opinions to be identiﬁed? The need of the drama – its essence being conﬂict – to represent opposing positions is not in itself an impediment to the dramatic expression of a playwright’s point of view, for there have been many didactic playwrights.
Peter Hall, on other fronts a radical ﬁgure in developing the Royal Shakespeare Company in the 1960s, was conservative on that one. Now most playgoers happily accept stagings set in any period or in none. Perhaps historical authenticity will regain its appeal, but for the present, at least, the theatrical power of the plays does not seem dependent on the representation of it. A comparable change, it is true, has affected the staging of plays by other Renaissance dramatists. Yet in those cases there generally seems to lie, in a 28 Shakespeare, Marlowe, Jonson director’s choice of setting, a search for a social world as far as possible equivalent to, without being as deterrently remote as, the Elizabethan or Jacobean era.