WEBVTT NOTE Shakespeare's Theater (video) 1 00:00:00.000 --> 00:00:02.000 The Theory of Money and Credit 2 00:00:30.000 --> 00:00:44.200 We've got a vast internet audience out there, I assume, so we'll try to stay on top here. 3 00:00:44.200 --> 00:00:52.200 Welcome back to our second session, we're going to talk about Shakespeare and Ludwig von Mises. 4 00:00:52.200 --> 00:00:58.380 I want to begin with a quotation from a woman named Janet McKeer. 5 00:00:58.980 --> 00:01:04.500 This is from a Chicago magazine, a YouTube this called City Talk. 6 00:01:04.500 --> 00:01:11.500 It's a May 25th, 2001 article by Jean Walden-Wolff and Janet McKeer, 7 00:01:11.960 --> 00:01:17.340 an activist appearing in a Shakespeare play in the Chicago area. 8 00:01:17.340 --> 00:01:24.340 And in this interview, we learn, uh, the athletes have never been keen on doing big Hollywood movies. 9 00:01:24.340 --> 00:01:31.340 Ludwig says, quote, all things are about making money, and I don't find that terribly interesting. 10 00:01:31.340 --> 00:01:37.340 Today in our world, art has to be commercial. That's a really sad point of view. 11 00:01:37.340 --> 00:01:43.340 If Shakespeare had to be commercial, he wouldn't have written the things he did. 12 00:01:43.340 --> 00:01:52.340 And there's a piece of Mises. It just shows you how deeply ingrained this cultural myth of the ice hockey artist in our culture is. 13 00:01:52.340 --> 00:01:58.340 Shakespeare was a fully commercial artist working in a fully commercial theater. 14 00:01:58.340 --> 00:02:05.340 And indeed he's given aid for my whole case. 15 00:02:05.340 --> 00:02:14.120 If you want to say that great commercial art is possible, you just have to point to Shakespeare. 16 00:02:14.120 --> 00:02:18.980 He's closed the way we can all go home right now. 17 00:02:18.980 --> 00:02:26.420 Shakespeare's the greatest writer who ever lived, he's probably the greatest artist who ever lived, 18 00:02:26.420 --> 00:02:29.660 and he worked in a commercial environment. 19 00:02:29.660 --> 00:02:38.320 If that was possible, there can't be anything fundamentally wrong with a commercial basis for art. 20 00:02:38.320 --> 00:02:48.760 So I'm going to stop here, but let's try to explicate that, and my own this afternoon is to show that, yes, 21 00:02:48.760 --> 00:02:59.480 that's the operator of the commercial environment, and I want to show that much of the season was because of that and not in spite of that. 22 00:02:59.480 --> 00:03:29.480 That is, you could say, yes, Shakespeare worked in a commercial environment, but he overcame it, and in a certain sense, that is true, and I am certainly not going to say that a commercial environment produced Shakespeare, because there was only one Shakespeare, and if you could credit his achievements to commerce, then there should have been a whole bunch of Shakespeare running around in the day, and there were certainly people who were trying to be Shakespeare, or trying to be Shakespeare. 23 00:03:59.480 --> 00:04:06.480 and much of the left-wing program for art is to steal the artist from competition. 24 00:04:06.480 --> 00:04:10.480 Oh, how horrible the competitive marketplace is. 25 00:04:10.480 --> 00:04:14.480 You see, it's the same argument they make in basic economics. 26 00:04:14.480 --> 00:04:17.480 Competition is bad. 27 00:04:17.480 --> 00:04:21.480 And if you could only eliminate the competitive aspects of culture, 28 00:04:21.480 --> 00:04:24.480 you would have so much better a culture. 29 00:04:24.480 --> 00:04:28.480 Well, it is true that nobody likes competition. 30 00:04:28.480 --> 00:04:58.480 This year it's probably got antsy about Marlow and Ben Johnson at the time, and everyone sort of bleeds about eliminating the competition, but the answer is that's not healthy. It's not healthy in basic economics. It's not healthy, I'm going to argue, in culture as well. Just as in basic economics, competition is healthy for culture. It keeps people on their toes. It keeps their best 31 00:04:58.480 --> 00:05:06.480 This is one of the peaks of World Llama, and it's a great example of that. 32 00:05:06.480 --> 00:05:13.480 So let's talk about the cultural environment that Shakespeare worked in. 33 00:05:13.480 --> 00:05:23.480 Renaissance theatre, I think it was a Ludwig von Mises theatre, a Jacobean theatre, that's in two periods under Queen Elizabeth I and James I. 34 00:05:23.480 --> 00:05:38.480 This is one of the peaks of World Llama, probably the greatest body of fanatic work that is working at that time. 35 00:05:38.480 --> 00:05:50.480 And it was a largely commercial operation. In fact, it's interesting, this is a good example of the fundamental thing I was talking about this morning, 36 00:06:20.480 --> 00:06:29.480 Company, and thank goodness there's no government-spanning agency if there was a sign of money for this 37 00:06:29.480 --> 00:06:35.480 that they probably would not have given it to take here. So what he had to oppose was 38 00:06:35.480 --> 00:06:42.480 an already established commercial theater world in London, which would predicate on 39 00:06:42.480 --> 00:06:51.400 on the fact that London by that time, 1580s, was one of the largest cities in Europe, was 40 00:06:51.400 --> 00:07:01.960 a great commercial center already, therefore had generated surplus wealth so that people 41 00:07:01.960 --> 00:07:08.840 could spend money on something as frivolous as entertainment. 42 00:07:08.840 --> 00:07:27.840 and again in Stratford where Shakespeare grew up, people weren't going to spend their hard-earned money on a play, at least not maybe once a year, but in one day you had a situation where there was enough economic wealth so people could go to the theater regularly. 43 00:07:27.840 --> 00:07:51.840 Now, it took entrepreneurs to figure that out, the government didn't build the theater, even the aristocrats didn't build the theater, there had been already a kind of position of acting groups appearing at aristocratic colleges, 44 00:08:21.840 --> 00:08:26.840 And some of you may have seen the replica of the globe that we now have in London. 45 00:08:26.840 --> 00:08:35.840 These were large theaters. They expanded between 2000 and maybe 3000 people including students and founded. 46 00:08:35.840 --> 00:08:41.840 The first theater was built by a man named Burby. 47 00:08:41.840 --> 00:08:45.840 His son went on to become statesman in 1980 after Mr. Burby. 48 00:08:45.840 --> 00:09:14.840 So it took, typically, a foresighted entrepreneur to see that there was an economic opportunity here, that if you invested the money, rather large sums of money in those days, to build one of these theaters, you could get enough people to come to it to justify your investment. 49 00:09:14.840 --> 00:09:44.840 The greatest expense was in building a theater. The Elizabethan theaters were out for it. They didn't have scenery in our modern sense. They did have rather elaborate costuming and that cost money, although in many cases, and here an element of the aristocratic space in this picture, the theaters were often connected with a neighbor, 50 00:09:44.840 --> 00:10:06.840 and also as part of that connection, they got kind of top-off aristocratic outfits so they could dress off in robes and look like queens and queens without really buying stuff, but they were kind of just an easy hand-me-down from their aristocratic occasions. 51 00:10:06.840 --> 00:10:28.840 Anyway, it was by Elizabethan standards, by Renaissance standards, the theater business was rather heavily capitalized by major investments, and in fact, the theater companies were among the first joint stock companies. 52 00:10:28.840 --> 00:10:45.840 They actually have shareholders, Shakespeare eventually became a shareholder in the theater company he was involved in, so he got a percentage of the growth, he got a really good holiday deal on his plate. 53 00:10:45.840 --> 00:11:01.840 So there really was quite an economic underpinning to these theories. Again, if England hadn't, if London hadn't had that leap to a certain stage of economic prosperity at this point, nothing would have been possible. 54 00:11:01.840 --> 00:11:31.840 Basically the theaters were a commercial operation. They were open to the general public and that means basically the middle class and the lower classes don't have fully active records on the people that attend these plays, but it's just that we get indications that professional lawyers, students who have gone to the theater a lot and often provide legal advice to the theater 55 00:11:31.840 --> 00:11:54.840 companies are often getting in trouble, but the daily working men would go to the theater and I believe the price was about a penny, which was an hour's wage then, and it's kind of curious how the basic entertainment has stayed at about minimum wage. 56 00:11:54.840 --> 00:12:09.840 If you think of what a movie ticket costs now, it's roughly one hour's wage, and the budget, in case you see it, is roughly one hour's wage for the average person. 57 00:12:09.840 --> 00:12:19.840 and the few, in other words, appeal to a broad spectrum of the populace of London. 58 00:12:19.840 --> 00:12:26.840 They were all built initially outside the city limits of London. 59 00:12:26.840 --> 00:12:38.840 Whether this was fast-flowing metropolis now, it was then a rather small, walled, still medieval city. 60 00:12:38.840 --> 00:12:43.520 actually correspond to what called the city in London now, 61 00:12:43.520 --> 00:12:49.120 you know, London is a geography, it's the finance of this region, 62 00:12:49.120 --> 00:12:51.400 what called the city roughly correspond, 63 00:12:51.400 --> 00:12:54.280 you can still see the old walls at some point. 64 00:12:54.280 --> 00:12:57.440 And the theaters were built outside the city limits 65 00:12:57.440 --> 00:13:03.000 because the civic authorities were not too thrilled with theater. 66 00:13:03.000 --> 00:13:13.000 Some of the London authorities were relatively middle class, some with certain sympathies, 67 00:13:13.000 --> 00:13:23.000 and so they, many of them, subscribe to the certain objections to the theater that involved too much sex, 68 00:13:23.000 --> 00:13:29.000 and it was corrupting women, dressed up as women and so on. 69 00:13:29.000 --> 00:13:59.000 and so the theaters couldn't get licenses within the city limits of London and moreover they wanted to build the theaters outside the jurisdiction of the city fathers of London and they also tended to have some aristocratic protections and here's where the situation gets a little complicated you can't call the Ludwig von Mises theater too commercial because there was an element of patronage 70 00:13:59.000 --> 00:14:06.160 All the punitive companies were attacked by some prominent aristocrats at court. 71 00:14:06.160 --> 00:14:15.160 For example, Shakespeare's company was allegedly the Lord Chamberlain's men, their representative court was the Lord Chamberlain. 72 00:14:15.160 --> 00:14:23.880 Later, they became the punitive men, and James I came to the throne in 1604, so it was the most successful company, 73 00:14:23.880 --> 00:14:31.160 and they've got the highest average, also the world's average, and that's, I don't want to minimize that. 74 00:14:31.160 --> 00:14:41.560 Patriotism was so important to them when the civic authorities threatened to close down the theaters, 75 00:14:41.560 --> 00:14:48.200 it's a few of them, it was very important to have a patient at court who could defend you. 76 00:14:48.200 --> 00:14:57.360 Appearances at court were very important to Shakespeare's company and the other company. 77 00:14:57.680 --> 00:15:07.400 That is, yes, they performed in the public theater and got a substantial portion of income from that. 78 00:15:07.760 --> 00:15:12.560 But a command performance at the court was still a big deal. 79 00:15:12.780 --> 00:15:14.660 It was financially rewarding. 80 00:15:14.660 --> 00:15:17.800 You often could make more than one performance. 81 00:15:17.800 --> 00:15:23.800 at the court that we could from there in the whole run of a play at the public theater. 82 00:15:23.800 --> 00:15:31.800 It was very prestigious. We've seen this in the 20s at some of Shakespeare's plays, 83 00:15:31.800 --> 00:15:40.800 in the 20s, where they will make a big view on how they have performed before his majesty at a live hall on such and such occasion. 84 00:15:40.800 --> 00:16:07.800 So, this is an example of what I was talking about this morning, that we can't always separate the world of patients from the world of the market, they won't work together, but still fundamentally, the plays were oriented towards a commercial theater, and we could see that in what Shakespeare appealed to in the plays. 85 00:16:07.800 --> 00:16:19.800 Now, it's interesting just to go, just try to think of the status of the period and the status of playwright of the General Van and of Shakespeare's own state. 86 00:16:19.800 --> 00:16:33.800 There's a lot of retro, that there's retroactive thinking going on. We saw that in a quote from this woman saying that, you know, Shakespeare wouldn't have written what he did if he was commercial. 87 00:16:33.800 --> 00:16:37.800 Now, we no longer think of Shakespeare as commercial. 88 00:16:37.800 --> 00:16:41.800 As a matter of fact, he's still quite successful commercialized as a number of movies are shown. 89 00:16:41.800 --> 00:16:45.800 But now, we think of Shakespeare as viral. 90 00:16:45.800 --> 00:16:49.800 And this is a kind of optical illusion, a trick of perspective, 91 00:16:49.800 --> 00:16:53.800 and it's something I'll be coming back to again and again. 92 00:16:53.800 --> 00:16:58.800 Now, Shakespeare is one of our quintessential images of high culture. 93 00:16:58.800 --> 00:17:02.800 But he was absolutely the pop culture of his day. 94 00:17:02.800 --> 00:17:18.800 the most popular playwright of the day and no one was standing around the Elizabethan period saying, oh, we need to go see Shakespeare, that's our culture. 95 00:17:18.800 --> 00:17:26.800 Why was this lowered to dark then? And what's interesting is if you look at the contemporary reactions to the plays, 96 00:17:26.800 --> 00:17:36.800 To the theater in general, even the fakes here, is that this was vulgar, out-cultured stuff. 97 00:17:36.800 --> 00:17:46.800 There were tremendous attacks on the theater during fakes' lifetime, largely coming from the puritan wing, 98 00:18:16.800 --> 00:18:31.800 The theory was very contentious, and basically you drop the complaint about fake theater in his day that you get about first movies, then television and now video games. 99 00:18:31.800 --> 00:18:43.800 That is what people said, what they say about any good art form at the beginning, that there was brutal sexual violence in it, and people in this book illusioned for reality. 100 00:18:43.800 --> 00:18:49.800 and the cookies, plates, and cherries, they couldn't distinguish between what they saw on the stage and what was real. 101 00:18:49.800 --> 00:18:57.800 Again, you see this in Play-Doh Republic, it was attacked on a theme of drama, you can see it today in attacks on video games. 102 00:18:57.800 --> 00:19:01.800 It's one consistent point throughout the history of culture. 103 00:19:01.800 --> 00:19:09.800 And whatever culture is the most popular and has the most impact, there are people who are going to complain about it. 104 00:19:09.800 --> 00:19:24.800 Now, I don't want to go too far on this. There were people that recognized Shakespeare's genius in his day. 105 00:19:24.800 --> 00:19:31.800 Shakespeare began writing probably in the late 1580s, certainly in style by the 1590s. 106 00:19:31.800 --> 00:19:49.800 In 1598, a man named Samuel Hewitt was saying in print that this guy Shakespeare is as good as the ancients, that his tragedies are as good as the ancient Greek and Roman tragedies, his comedies are as good as Paulus's parents and so on. 107 00:19:49.800 --> 00:19:55.800 So people who were in his days recognized this man's genius. 108 00:19:55.800 --> 00:20:09.800 That doesn't mean, you know, that he wasn't severely criticized in general in the field of psychology and space theory of psychology, sometimes by his fellow playwrights who complained he wasn't educated. 109 00:20:09.800 --> 00:20:22.800 He was famously called an upstart crow in one contemporary critique because the other playwrights were jealous of him. 110 00:20:22.800 --> 00:20:30.800 So it's a good example of what happens when we compare the past with the present. 111 00:20:30.800 --> 00:20:36.800 Today, Shakespeare in a way has been changed for us. 112 00:20:36.800 --> 00:20:43.800 He's become a classic. He's taught in schools. There's something almost museum-like in our attitude towards him. 113 00:20:43.800 --> 00:20:48.800 We know he's a great playwright. We know he's a great playwright ever. 114 00:20:48.800 --> 00:20:56.160 So we tell him some facts, but there are many people who if they saw a Shakespeare play and didn't know 115 00:20:56.160 --> 00:21:04.640 a Shakespeare version would complain bitterly again about the unending, very gross in his comedies 116 00:21:04.640 --> 00:21:10.160 and sometimes even in his tragedies as in Hamlet, or again the incredible violence. 117 00:21:10.160 --> 00:21:19.160 I mean, what video game has more people shot up at the end than Hamlet, percentage-wise? 118 00:21:19.160 --> 00:21:30.160 And so, you know, basically, we've come to terms with Shakespeare, and we suddenly forget that in his own day, 119 00:21:30.160 --> 00:21:41.160 He had a real powerful charge to him that frightened bank people and was near even more general. 120 00:21:41.160 --> 00:21:53.160 And it's very typical if you oversee the whole period of one lesson about the transformation of pop culture into high culture. 121 00:21:53.160 --> 00:22:04.160 The number of plays that survived from Shakespeare's time is in the hundreds, I believe. 122 00:22:04.160 --> 00:22:19.160 We have 37 or 38 plays by Shakespeare, during his lifetime about 200 plays total, including his 19 of his that were printed in his lifetime were printed. 123 00:22:19.160 --> 00:22:49.160 and other plays that have been found since, I don't know the exact figure, but probably about 300, 250 to 300 plays survived from the whole period, let's say roughly from 1580, 1530, I think a lot of plays, or very few of them are read today, and they unquestionably represent the tick-tock 124 00:22:49.160 --> 00:22:58.160 of Life Center, that most of the plays from the time are as long as early episodes of My Three Sons. 125 00:22:58.160 --> 00:23:07.160 I mean, you know, when you look at the history of television, it is staggering how much has been produced, 126 00:23:07.160 --> 00:23:15.160 and unfortunately, much of it has been preserved, and we have to live with it in the naked night and TV land. 127 00:23:15.160 --> 00:23:22.160 Now, you know, mercilessly, most of the plays, probably the majority of the plays have been lost. 128 00:23:22.160 --> 00:23:26.160 They were maybe produced once and then disappeared. 129 00:23:26.160 --> 00:23:31.160 This is true of Greek tragedy as well. 130 00:23:31.160 --> 00:23:34.160 I really don't have time to talk much about Greek tragedy, 131 00:23:34.160 --> 00:23:42.160 but it's estimated that about a thousand tragedies were produced in Athens 132 00:23:42.160 --> 00:23:46.880 during the record excensory when Athens was producing drama. 133 00:23:47.880 --> 00:23:51.720 Of those 1,033 players that survived, 134 00:23:54.920 --> 00:23:58.460 seven by F to the seven by Sanctification 19 by Euripides. 135 00:24:00.160 --> 00:24:02.960 And, you know, when we look back at Greek drama, 136 00:24:02.960 --> 00:24:07.280 we justify the look of it as one of the peaks of dramatic creation, 137 00:24:07.280 --> 00:24:10.880 probably the two greatest periods of dramatic creation, 138 00:24:40.880 --> 00:25:10.880 There were survived victims, there was drugs being discussed, and people went out of the way to praise them, but, you know, there was undoubtedly a Quentin Tarantino of the Scythian drama, there was undoubtedly an Oliver Stone of the Scythian drama, and mercilessly we just fared those words, but they were there, and if we saw them, we would probably speak less of Greek tragedy, or at least have a more balanced view, 139 00:25:10.880 --> 00:25:19.880 With Ludwig's and Jacqueline's drama, we have the advantage that almost all of Shakespeare's plays are preserved, thank heaven. 140 00:25:19.880 --> 00:25:26.880 There's indications that maybe one or two of special play called Cardinal were lost. 141 00:25:26.880 --> 00:25:29.880 But, you know, the world was starting to preserve those. 142 00:25:29.880 --> 00:25:35.880 We have wonderful dramas by Kirsten Marlow, Ben Johnson. 143 00:25:35.880 --> 00:25:44.120 You can keep going down the ranks and you get some excellent plays by Thomas Middleton, by Paul Turner, by John Ford, 144 00:25:44.120 --> 00:25:50.180 you know, Ludwig Mises and John, well, Jacobin and John Ford, that's a film-maker, 145 00:25:50.180 --> 00:25:56.220 Ludwig Mises and Jacobin and John Ford is much more violent than the guys who wrote The Searchers. 146 00:25:56.220 --> 00:26:03.800 But, you know, it's an impressive body of a theorist, 147 00:26:03.800 --> 00:26:14.800 And so we begin to see the way any real culture is tiered in terms of quality, that, you know, 148 00:26:14.800 --> 00:26:19.800 in this case, we have the subpoena figure of safety standing above it all, then we have some 149 00:26:19.800 --> 00:26:25.800 still giant figures like Marlon Francis and some electric figures, and then it sort of, 150 00:26:25.800 --> 00:26:31.800 it spreads out and there's some pretty bad Elizabethan and Jacobean dramas, comedies 151 00:26:31.800 --> 00:26:44.800 And again, you don't have that kind of material for meat tragedy, but when we look at the 152 00:26:44.800 --> 00:26:51.800 Brahman's age, it starts to look more like the culture of our time, like the history of 153 00:26:51.800 --> 00:26:57.800 cinema, for example, where again you have some Titanic users in the 20th century, people 154 00:26:57.800 --> 00:27:07.960 and then, you know, you get down, down the ranks and, you know, what I'm getting at is any true culture, 155 00:27:07.960 --> 00:27:13.480 we are a Ludwig culture, is based on a pyramid of darkness. 156 00:27:13.480 --> 00:27:21.920 I think basically a lot of lousy stuff is turned out, the vast proportion of such a tiny culture is lousy 157 00:27:21.920 --> 00:27:31.920 and you need that range of work in order to produce the great achievements of any period. 158 00:27:31.920 --> 00:27:39.920 When people complain about commercial culture today, they have only the craft to point them. 159 00:27:39.920 --> 00:27:50.920 Thousands of bad movies have been made, thousands of bad television shows are being shown at any given moment as you speak. 160 00:27:50.920 --> 00:27:57.920 as he speaks, but there are a piece of quality, and the problem we have is when people compare 161 00:27:57.920 --> 00:28:03.920 the average work of commercial culture today with the piece of the past, which is now thought 162 00:28:03.920 --> 00:28:09.920 of as non-commercial, but in fact were part of the commercial culture in their day, and 163 00:28:09.920 --> 00:28:19.920 I mean, you realize in fact that the same environment that produced Shakespeare in his 164 00:28:19.920 --> 00:28:28.920 for his day, you know, he's producing the great movies, the great television shows of our day, that is, you need a very competitive marketplace. 165 00:28:28.920 --> 00:28:39.920 Again, I don't have time to talk about Greek drama, but it is interesting that even though it's here for Athenian theatre commercials, but it was competitive. 166 00:28:39.920 --> 00:28:50.160 was a civic institution and specifically designed as competition. These great dramas we read today, 167 00:28:50.160 --> 00:28:56.960 Esquisse of Orsaya, Sophocles of Antigone and the Oedipus Tyrants and so on, these were all part of 168 00:28:56.960 --> 00:29:03.040 quote literally a competitive system. And so even though that fever wasn't commercial, it had a very 169 00:29:03.040 --> 00:29:09.120 strong competitive element built into it and the dramas were written for civic dramatic competition. 170 00:29:09.920 --> 00:29:18.920 Elizabethan England didn't have quite that system, but it was a very competitive environment. 171 00:29:18.920 --> 00:29:23.920 And what I'm saying is the planes were better for that reason. 172 00:29:23.920 --> 00:29:34.920 Competition spurred innovation, it spurred creativity, it kept people from settling into comfortable rucks. 173 00:29:34.920 --> 00:29:41.920 Now, the reason the association theater was so competitive is it was so entrepreneurial. 174 00:29:41.920 --> 00:29:56.920 There was some barrier to entry that needed enough money to create, build a theater, and outfit it, and hire actors, and hire playwrights, and so on. 175 00:29:56.920 --> 00:30:05.920 But, you know, if you could raise the money, you could enter the business, especially since it was a kind of friends business. 176 00:30:05.920 --> 00:30:09.920 Again, it was a very unregulated marketplace. 177 00:30:09.920 --> 00:30:16.920 They built computers specifically outside the city limits so that they were in unregulated zones. 178 00:30:16.920 --> 00:30:41.920 So how commercial the Ludwig von Mises Theater was, particularly in the South Bank area where the Grove was eventually built more safely than much of it's clear, I mean that was the center for theater, bare-bathing folks at houses of prostitution in the state to this day. 179 00:30:41.920 --> 00:30:47.920 One of the fun activities was concentrated in this one area outside the city. 180 00:30:47.920 --> 00:30:57.920 Ironically, the land was under the control of the Bishop of Lucca, I believe, and therefore the city couldn't be because it was a search territory. 181 00:30:57.920 --> 00:31:04.920 But the, bear baiting was this wonderful sport, 182 00:31:04.920 --> 00:31:10.920 it wasn't the equivalent of bullfighting, they would tie a bear to a stake and stick dogs on it, 183 00:31:10.920 --> 00:31:14.920 and people would bet on who won, the dog or the bear. 184 00:31:14.920 --> 00:31:17.920 We can have a head start and get a movie of it. 185 00:31:17.920 --> 00:31:22.920 But, and I don't need to explain, but the numbers of people after years, 186 00:31:52.920 --> 00:31:54.760 of the World's Fastest Building. 187 00:31:54.760 --> 00:32:03.960 So, very competitive, there were usually about three major theater companies in England during 188 00:32:03.960 --> 00:32:11.800 Shakespeare's lifetime, and again, they were very competitive, they were always looking 189 00:32:11.800 --> 00:32:19.160 for new talent, and that's one of the keys to Shakespeare's life story and to the story 190 00:32:19.160 --> 00:32:21.400 of the whole world. 191 00:32:21.400 --> 00:32:33.400 The theater attracted talent because it was a world that rewarded talent at a time where talent wasn't all that rewarded throughout society. 192 00:32:33.400 --> 00:32:47.400 I mean, Shakespeare's world was emerging from what we call feudalism, an era when most people were born into the state of life that they were going to spend in. 193 00:32:47.400 --> 00:32:56.400 Most people in state years, lifetimes, stayed in the social ranks, economic ranks they were born in. 194 00:32:56.400 --> 00:33:00.400 If your father was a blacksmith, you became a blacksmith. 195 00:33:00.400 --> 00:33:04.400 That's why we have the name Smith, both found in our language. 196 00:33:04.400 --> 00:33:12.400 Many of our names are referred to the occupation, the name Cooper, for example, 197 00:33:12.400 --> 00:33:36.400 for example, why he put wheels together, the big tailors, I mean, the speculative world was not a world of great economic and social mobility, it was more so than it even had been, but one of the key routes to upward mobility in his day was the theater. 198 00:33:36.400 --> 00:33:43.400 And you can see that this has attracted a lot of people from the university. 199 00:33:43.400 --> 00:33:51.400 There is now people who go to university and end up unemployable as a result. 200 00:33:51.400 --> 00:33:57.400 Now, in some cases, yeah, you see the Ludwig van Mises age was a great age. 201 00:33:57.400 --> 00:34:01.400 The doctors, the lawyers, Shakespeare's play was like that. 202 00:34:31.400 --> 00:35:01.400 Hollywood has been for a lot of the 20th century and what television has come to mean. I remember I went to Harvard as an undergraduate. I was class of 66. I remember there was one kid in our class who wanted to go to Hollywood. And we thought this was the craziest idea we'd heard of. This was the Kennedy era. You know, you went to Harvard because you wanted to become president or become your advisor president. But there was this one kid that wanted to be president. 203 00:35:01.400 --> 00:35:02.400 and so on. 204 00:35:02.400 --> 00:35:07.400 His name was Tim Hunter, actually, and he set on to make the movie, including a movie 205 00:35:07.400 --> 00:35:10.400 called Text and a movie called River's Edge. 206 00:35:10.400 --> 00:35:11.400 I'm sorry. 207 00:35:11.400 --> 00:35:13.400 But I remember we saw some strange things. 208 00:35:13.400 --> 00:35:15.400 And then I remember I stayed at Harvard. 209 00:35:15.400 --> 00:35:17.400 I was a professor there for a while. 210 00:35:17.400 --> 00:35:23.400 And people were, by the 19th century, people were interested in going into psychology. 211 00:35:23.400 --> 00:35:27.400 And we thought that was the absolutely stupidest idea we'd ever heard of. 212 00:35:27.400 --> 00:35:33.400 Well, we know Conan O'Brien was a couple of spots down in the classes that the entire 213 00:35:33.400 --> 00:35:39.400 system would think about to go over and take over television, comedy, and so on. 214 00:35:39.400 --> 00:35:45.400 And I remember one of the late 70s, a student called Zednick was writing a little comedy 215 00:35:45.400 --> 00:35:49.400 he went on to write news on and some other things for business. 216 00:35:49.400 --> 00:35:54.400 And still, at any given point, and this is young people. 217 00:35:54.400 --> 00:35:59.800 uh... while your life will make money, you know, they know where the money is coming from 218 00:35:59.900 --> 00:36:05.240 and where it is coming from, in culture uh...you know, as today we see it to be video games 219 00:36:05.240 --> 00:36:07.640 and talking about that at the end of the week 220 00:36:07.640 --> 00:36:12.760 but it's interesting one of the things that could do the rides in the world was the theater 221 00:36:12.760 --> 00:36:15.720 and you can see the pattern again and again 222 00:36:15.720 --> 00:36:21.900 uh... Chris Romolo, the famous graduate, I think, Ben Johnson is a famous graduate 223 00:36:21.900 --> 00:36:29.900 It is interesting that most of the other playwrights in Shakespeare's day were university graduates. 224 00:36:29.900 --> 00:36:35.900 And as I said, they actually speak for the whole of the game's end. 225 00:36:35.900 --> 00:36:38.900 They didn't have a university education. 226 00:36:38.900 --> 00:36:40.900 But, you know, he proved them wrong. 227 00:36:40.900 --> 00:36:46.900 And there's even some indications in his early plays, you know, he was trying to show off 228 00:36:46.900 --> 00:36:50.900 that he actually was well educated, particularly in writing. 229 00:36:50.900 --> 00:36:57.900 in Latin. Among his earlier plays is about comedy errors, that's an indication of politicians' Latin flavor. 230 00:36:57.900 --> 00:37:04.900 The next one, we've got Titus Andronikus, which is very much in the mold of Hispanic infradity. 231 00:37:04.900 --> 00:37:14.900 He's showing that he knows the Latin models, and that's where I think he was sensitive to the fact that he hadn't gone to university. 232 00:37:14.900 --> 00:37:26.660 But he was pursuing a course that an intelligent young man in his day would commuter in London 233 00:37:26.660 --> 00:37:36.260 then with life in the fast lane, as Hollywood has been for so many people in the 20th century. 234 00:37:36.260 --> 00:37:47.220 and the financial rewards were pretty substantial, especially for someone who didn't have connections 235 00:37:47.220 --> 00:37:51.220 with court and really didn't have many other opportunities. 236 00:37:51.220 --> 00:37:55.700 The nice thing about the theater was, then and now, it wasn't about talent. 237 00:37:55.700 --> 00:38:00.100 You know, if you could act well and bring in the audiences, you were in great shape. 238 00:38:00.100 --> 00:38:03.620 If you could write and play with people like you, you were in great shape. 239 00:38:03.620 --> 00:38:24.620 It's hard to translate finances into modern terms, but I think the figures are roughly like this, that a playwright could be paid five pounds for writing a play when he could live for a year on ten pounds. 240 00:38:24.620 --> 00:38:31.620 And it was like, you know, you could get a lot of money in real terms for writing a play. 241 00:38:31.620 --> 00:38:38.620 You don't quote me exactly on those figures, but, you know, it would be like getting $50,000 for a split panel. 242 00:38:38.620 --> 00:38:45.620 I know it sounds ridiculous, because the monetary and the nominal amount is so low, but you can find instructions for that. 243 00:38:45.620 --> 00:38:55.620 for that. But the playwrights were well rewarded, and of course in Shakespeare's case, he became 244 00:38:55.620 --> 00:39:04.620 a shareholder in the theater company. He was so important to his success that they let him 245 00:39:04.620 --> 00:39:10.620 buy into the company and stuff. I believe he was the only playwright who was a shareholder 246 00:39:10.620 --> 00:39:13.220 in one of the companies. 247 00:39:13.220 --> 00:39:17.820 So he had a real financial stake and became a very wealthy man. 248 00:39:18.820 --> 00:39:24.660 I mean, basically, he was from a lower middle class family. 249 00:39:24.660 --> 00:39:29.240 The fortunes of the family went up and down. 250 00:39:29.720 --> 00:39:31.680 Father was the effective mayor of Stalford. 251 00:39:31.940 --> 00:39:36.840 At one point, the Ben Suffolk business reversed, but he loaded so much money 252 00:39:36.840 --> 00:40:03.840 to buy a venture that second-dickens out is Bradford, a local L.A. land is Bradford and invested in some London property, as well, so, again, it's hard to translate this into modern terms, but he became, he was quite successful financially on every indication that he wanted, wanted to be. 253 00:40:03.840 --> 00:40:11.980 Now, again, it's hard for us to look after the status of writers in that day because we, again, 254 00:40:11.980 --> 00:40:19.760 we projected back this idea that here's a great writer's face here and everybody must have been 255 00:40:19.760 --> 00:40:28.700 aware of him as a great writer, but a better way to think about it is that playwrights 256 00:40:28.700 --> 00:40:34.700 These presentations, they have more or less the status of screenwriters today. 257 00:40:34.700 --> 00:40:42.700 Most people are unaware of who the screenwriters of movies are. 258 00:40:42.700 --> 00:40:49.700 I mean, most of them know who the screenwriters are and who the movie was, or the Wizard of Oz. 259 00:40:49.700 --> 00:40:54.700 You know, some of them say they know it was Orpheus, or he was also the director. 260 00:40:54.700 --> 00:41:05.700 But most people are now aware of who the screenwriter is, and you almost never can sell a film on the basis of who the screenwriter is. 261 00:41:05.700 --> 00:41:17.700 The films are very far-oriented. You know, people want to go see the latest Brad Pitt movie, or the latest Angela Azul, or the Joey movie. 262 00:41:17.700 --> 00:41:24.700 They don't want to see the latest, you know, esthahad, especially at the program. 263 00:41:24.700 --> 00:41:33.700 I mean, it's a pre-period, for example, esthahad was hot, and, you know, you occasionally see, you know, 264 00:41:33.700 --> 00:41:40.700 stories are told on shows, you occasionally see from the producers who brought you American Pie II, 265 00:41:40.700 --> 00:41:48.420 I don't even want to set an institute as anybody is, but you know, maybe Bill Borkheimer, let's say, a Bill Borkheimer professor, 266 00:41:48.420 --> 00:41:55.460 but you know, basically we sell films on the start, and that probably was two and a half years ago, 267 00:41:55.460 --> 00:42:04.660 that the actors were the most famous, the two most famous, two of the most famous actors were then Edwin Allen, 268 00:43:04.660 --> 00:43:34.660 and Re-Understanding of Fakes and Bulls, and he makes the plan, he closes it up, of when Fakes' plays were first published, his name didn't even appear on the title page in the early 1590s, they were just, you know, saying the faginies of Richard III or whatever, at a certain point in the 1590s, they stopped putting his name on the title page, as if they realized he's marketable, Fakes is marketable, 269 00:43:34.660 --> 00:44:02.660 And it does seem, Ernest, this book is revolutionary because the arguments that Shakespeare's plays were intended to be printed, you know, the common view is that Shakespeare had no interest in public figures' plays and that he was just lucky that we happened to have some texts that were illegally printed and then were published in his first folio in 1620, I think, as friends. 270 00:44:02.660 --> 00:44:09.660 Ernst says this is just a statement of some kind. He comes up with a very elaborate argument 271 00:44:09.660 --> 00:44:17.660 that Shakespeare's theatre company had a project especially branding Shakespeare. You know, 272 00:44:17.660 --> 00:44:24.660 you could write this, Stephen King. You could sell a movie on his Stephen King name. So, 273 00:44:54.660 --> 00:45:06.660 that by 1600 people were thinking, oh, I hear Shakespeare has a new play at the Globe. It's called In the Year. Let's go to see it. A fellow is going to do it. 274 00:45:06.660 --> 00:45:20.660 Now, again, we can't prove this. We don't have contemporary analysis of children, but a lot of the evidence shows that people were beginning to notice Shakespeare's name in a way that they weren't noticing other names. 275 00:45:20.660 --> 00:45:22.660 and the Postal Service and Christian Wallows. 276 00:45:22.660 --> 00:45:25.660 And then Ben Johnson comes along. 277 00:45:25.660 --> 00:45:29.660 Peter the Great guy starts both including his own plays, 278 00:45:29.660 --> 00:45:32.660 and his name is bigger than the title of the play. 279 00:45:32.660 --> 00:45:35.660 And so it's an interesting moment, 280 00:45:35.660 --> 00:45:38.660 very important moment in literary history, 281 00:45:38.660 --> 00:45:43.660 when the author of the play starts to emerge as important. 282 00:45:43.660 --> 00:45:48.660 Saffron's family, we were very much obsessed with the notion, again, 283 00:45:48.660 --> 00:45:55.660 And again, the similar solitary genius, remember, sitting up at the attic, writing a play. 284 00:45:55.660 --> 00:46:04.660 Kim, most English-American plays were much more like clean plays in that they had multiple authors. 285 00:46:04.660 --> 00:46:13.660 This feels unusual in that he seemed to have written most of his plays himself, by himself. 286 00:46:13.660 --> 00:46:37.660 I actually find many of them maybe, some of them may be collaborations, increasingly people find the hand of Thomas Middleton and he's best, and they just find it laughing, it's always been clear that Bixby has collaborated with John Fletcher towards the end of his career here on a political key noble achievement, 287 00:46:37.660 --> 00:46:50.660 The long time was not a science, in terms of its canon, its history was clear, it wasn't totally biomed, but now increasingly it's admitted, the complete shapes, their addition, etc., and the state's DNA is combined on MEA. 288 00:46:50.660 --> 00:46:57.660 This was a more common pattern, just the way there was no movie with a single screen right after. 289 00:46:57.660 --> 00:47:04.660 And in fact, the movies you see up there on the screen are attractive to the people who actually wrote the films. 290 00:47:04.660 --> 00:47:13.100 In fact, it's a huge deal of negotiations. Who gets green credit for a film? 291 00:47:13.100 --> 00:47:18.180 And, you know, Casablanca, which maybe we'll talk about in a little bit. 292 00:47:18.180 --> 00:47:25.180 Well, a local line writers have been identified with that script, 293 00:47:25.180 --> 00:47:27.500 and more people keep coming out of the liberal economy. 294 00:47:27.500 --> 00:47:32.660 They wrote from the beginning of the 15th century. 295 00:47:32.660 --> 00:47:34.860 Well, that's the way safety of theater works. 296 00:47:34.860 --> 00:47:43.380 There's every indication, for example, that the safety of theater has a script author. 297 00:47:43.380 --> 00:47:56.300 You know, there are people in the Hollywood movies, a lot of them, but if they bring in somebody who's good at ending or good at happening, 298 00:47:56.300 --> 00:48:04.740 Here's another interesting point about divisive labor that enters into culture in ways, you know, it's not supposed to. 299 00:48:04.740 --> 00:48:13.820 For the image of, I said this morning that the forward of culture would only be possible because of divisive labor. 300 00:48:13.820 --> 00:48:21.540 But even within our, we are so entranced by this theory of the single community that we don't realize 301 00:48:21.540 --> 00:48:46.540 of Labor is a principle. In Hollywood, there were a certain joke on this, and you've got a film, and it's sort of swinging, and it's just buying, and the studio decides this needs to be built, and they bring a solid film, but he's known as a joker, he wouldn't want him writing the whole film. 302 00:48:46.540 --> 00:48:51.540 We can't do it, but what is the center of that is getting just the right flow, so to speak. 303 00:48:51.540 --> 00:48:56.540 But someone else is perfect at writing index, perfect for getting in the middle, 304 00:48:56.540 --> 00:49:03.040 but knows how to aim the film, or writing is a very specialized art in Hollywood. 305 00:49:03.040 --> 00:49:07.540 And then, again, we don't have the kind of records that will tell us this in detail, 306 00:49:07.540 --> 00:49:14.040 but there's these few occasions that all start, like, with Marlowe's Dr. Fauci. 307 00:49:14.040 --> 00:49:23.040 It's almost certain that that play we have is not completely by Marlowe, and I think some guy was wanting to add drugs to it. 308 00:49:23.040 --> 00:49:40.040 Probably guy named Samuel Owen. And you know, every indication we have is that the way these plays were written was more the way films were written than the way we think of plays being written. 309 00:50:10.040 --> 00:50:40.040 The genius of one author's vision got corrupted, and in the case of Marlowe's, Dr. Faucius seems to be the post, with how many themes do not seem to be written on the level of installation of the great Friedrich theme, but that, on the other hand, may be just a poem, as they say in a very ancient Bible point, which sees how many styles are in a poem, it had a great debate about Dr. Faucius's view that probably seems rooted or improved, 310 00:50:40.040 --> 00:51:05.040 but I want to suggest that you see the two options are there. Sometimes the collaborative nature of the players may have messed them up. Sometimes it may have improved them. So again, Shakespeare was so talented that it seemed that he could get away with writing pretty much the whole plays and stuff. 311 00:51:05.040 --> 00:51:10.760 and so on. But that was very unusual. And many of the players we know to be collaborations 312 00:51:10.760 --> 00:51:17.760 by key, sometimes key, authors. And again, they were not necessarily the worst for that. 313 00:51:17.760 --> 00:51:23.760 Let's say, you know, Shakespeare's day, big stuff, you know, he was pretty far over. He 314 00:51:23.760 --> 00:51:27.760 needed to see comedy scenes in it. They didn't have to bring in Samuel Rowley to fill out 315 00:51:27.760 --> 00:51:34.760 Shakespeare, you know, he had the right comedy, he could write comedy. So, what I, I used 316 00:51:35.040 --> 00:51:43.040 Use the analogy for Hollywood so that we can see that this was a more complicated system 317 00:51:43.040 --> 00:51:52.040 of Renaissance playwriting and theater in general, and one that could in many ways lead 318 00:51:52.040 --> 00:51:55.040 to what makes the play great. 319 00:51:55.040 --> 00:52:04.040 Here's another example of how Shakespeare was working in a kind of active commercial theater environment. 320 00:52:04.040 --> 00:52:24.040 Bixby was himself an actor, we know that. He was the rock, the star of the company. There's no hard evidence that there were legends that say he played Hamlet's father as a ghost, that Mises played the character, Mises was an out-of-it-it, if you like it. 321 00:52:24.040 --> 00:52:31.040 He was a big player, maybe a character actor. He's not a star the way Ludwig was. 322 00:52:31.040 --> 00:52:40.040 Oh, we know something about his theater company and he worked with it. 323 00:52:40.040 --> 00:52:51.040 A good indication is a matter of comedy. We know the two principal comedians that Shakespeare worked with. 324 00:52:51.040 --> 00:53:19.040 The first was a man named Will Kemp and the second was a man named Robert Arden. Will Kemp was the comic lead in the first half of 60s Korea in the 50s and 90s, and probably created roles like Bill Berry, not to do about nothing, Lance Block, Goebel, and Mr. Bennet, and so on. 325 00:53:19.040 --> 00:53:49.040 and we can improve from this and from independent evidence that Hampton is good at dancing, the biblical sense is good at dancing, he's good at dance, he's a good dancer, and the evidence is his great little comic dialogue with himself, he can talk to himself, and Shakespeare wrote parts for this guy, you can see that the comic parts 326 00:53:49.040 --> 00:53:55.040 in general companies are written with clamped in mind. 327 00:53:55.040 --> 00:53:57.040 Again, in typical Hollywood fashion, 328 00:53:57.040 --> 00:54:00.040 that society was too big to save his company. 329 00:54:00.040 --> 00:54:03.040 He could go off on his own and start his own company 330 00:54:03.040 --> 00:54:04.040 with just a big star. 331 00:54:04.040 --> 00:54:07.040 And he was able to prove himself on this day. 332 00:54:07.040 --> 00:54:11.040 I mean, he actually did okay. 333 00:54:11.040 --> 00:54:15.040 But he was then replaced by a man named Robert Armand, 334 00:54:15.040 --> 00:54:18.040 who was evidently very funny, but a different kind of humor. 335 00:54:18.040 --> 00:54:33.040 We have a good voice, we can sing, and it takes a little bit of a shift from writing in parts for clowns to writing in parts for fiends. 336 00:54:33.040 --> 00:54:53.040 and, uh, touch phones, uh, in, uh, 12 nights, or excuse me, touch phones as you like, it's fest days, uh, in 12 nights, and above all, it's noon, it's evening, uh, and, you know, this is also a major change in what safety is doing dramatically, 337 00:55:23.040 --> 00:55:24.880 and the State World Bank. 338 00:55:24.880 --> 00:55:30.160 Well, it doesn't make safety a less of a genius, because, you know, there were other people 339 00:55:30.160 --> 00:55:33.120 in the theater company, they weren't allowed to see real. 340 00:55:33.120 --> 00:55:36.400 And they weren't coming up with brilliant ideas to see real. 341 00:55:36.400 --> 00:55:38.080 It still took safety to do it. 342 00:55:38.080 --> 00:55:43.520 Nevertheless, you can see they were working as a man in the field of the world with certain 343 00:55:43.520 --> 00:55:51.920 constraints, just as, you know, John Ford, the 21st century one, you know, he knew the 344 00:55:51.920 --> 00:55:59.120 Actors. He had this acting company that John Wayne was going to be in the film, that Will 345 00:55:59.120 --> 00:56:05.440 Baum was going to be in the film. He had these character actors and he always was creating 346 00:56:05.440 --> 00:56:11.680 parts for them. And it's one of the reasons his films are so great is that Ford had a 347 00:56:11.680 --> 00:56:17.120 great working relationship with his actors. He knew he could write parts for them. It was 348 00:56:17.120 --> 00:56:21.980 They played them perfectly, that you know, when we wanted the sidekick and the fine, 349 00:56:21.980 --> 00:56:24.240 it was way too scared or too vulnerable. 350 00:56:24.240 --> 00:56:28.040 Well, I think it takes me a little bit more similar than I would think. 351 00:56:28.040 --> 00:56:32.240 And again, the fact that he worked in a political field in Barney 352 00:56:32.240 --> 00:56:39.440 meant that he made decision decisions not on what we would call purely aesthetic grounds. 353 00:56:39.440 --> 00:56:45.440 He couldn't say, I have to have a, you know, I have to have a funeral in two years, 354 00:56:45.440 --> 00:56:47.440 Let's go out and holler at some of the computers. 355 00:56:47.440 --> 00:56:49.440 No, it's probably worked the other way. 356 00:56:49.440 --> 00:56:51.440 I've got Robert Armand here. 357 00:56:51.440 --> 00:56:53.440 He was so great in As You Like It. 358 00:56:53.440 --> 00:56:55.440 He was so great in Trump Now. 359 00:56:55.440 --> 00:56:57.440 What can I do for him? 360 00:56:57.440 --> 00:57:00.440 I'm going to write him a part like, you know, you've never seen before. 361 00:57:00.440 --> 00:57:02.440 It'll have incredible pathos. 362 00:57:02.440 --> 00:57:06.440 You know, I want to prove accident of series of streets, 363 00:57:06.440 --> 00:57:08.440 but the result is one of the greatest, 364 00:57:08.440 --> 00:57:10.440 well, probably the greatest drama ever written 365 00:57:10.440 --> 00:57:14.440 and one of the greatest folks to be in that drama. 366 00:57:14.440 --> 00:57:19.800 of Drama. So this is particularly for, you know, in the abstract, the people who are 367 00:57:19.800 --> 00:57:27.000 content with commercial theater would say, what use is having the actors you're working 368 00:57:27.000 --> 00:57:33.720 with dictate the kind of parts you write your plays? And Shakespeare would say, I don't 369 00:57:33.720 --> 00:57:38.120 know what I'm doing, even though I can live with this. You know, it's interesting, 370 00:57:38.120 --> 00:57:44.360 It was always, I'm saying, has bearing on the famous question of Shakespeare's Orchid Fist. 371 00:57:44.360 --> 00:57:50.000 I hesitate to believe it's not, but I'm sure someone will, and I'll say it's always, you know, 372 00:57:50.000 --> 00:57:56.000 there are all these crazy theories that Shakespeare wouldn't write, his plays, 373 00:57:56.000 --> 00:58:03.240 and one of the prominent candidates is of the Earl of Ulster, 374 00:58:03.240 --> 00:58:09.240 of the World to Plays, and Bruce Pellgrant, who's a great friend of Ludwig's too, whom I've met here. 375 00:58:09.240 --> 00:58:17.240 He and I have a very bookish esteem, and we've been standing where we've been making a review of his book, 376 00:58:17.240 --> 00:58:22.240 you know, the early Shakespeare, I think, and playing it in the middle of Oxford, World to Plays. 377 00:58:22.240 --> 00:58:29.240 I bring it up because the issue actually reflects this anti-coversial prejudice. 378 00:58:29.240 --> 00:58:51.880 And the argument against states here having written these plays is how could this lower middle class kids from rural classrooms who never went to a university write these great plays? 379 00:58:51.880 --> 00:58:55.880 It must have been an aristocrat. 380 00:58:55.880 --> 00:59:10.880 I had a great, I had a great fun with the children, the children of Eugen Bastiat because his argument was so class-based that a middle-class figure could have written something only an aristocrat could have written as well about aristocrats. 381 00:59:10.880 --> 00:59:19.880 I think you say we had a pretty similar stage of letters, and then the miracle of all miracles happens. 382 00:59:19.880 --> 00:59:23.880 Thoughts of action came to my defense. 383 00:59:23.880 --> 00:59:33.880 Roman letters to the Lutheran standard say, I don't know much about the real faith here, but I know one thing. 384 00:59:33.880 --> 00:59:35.880 He was an actor. 385 00:59:35.880 --> 00:59:44.880 and the man who wrote these plays was an actor, and he really was brilliant, very learned, scholarly, and really insightful. 386 00:59:44.880 --> 00:59:49.880 Well, the whole charge was, how could some ignorant actor have written these plays 387 00:59:49.880 --> 00:59:54.880 instead of this well-educated Earl of Oxford, this Mr. Grant? 388 00:59:54.880 --> 00:59:59.880 And Heskey said, you know, the one thing you can tell from these plays, and he said, 389 00:59:59.880 --> 01:00:07.240 And so, you know, Heston had this idea that, you know, safety grew out of poverty, you know, 390 01:00:07.240 --> 01:00:11.640 that if you wanted to choose one profession for the guy who worked these players, 391 01:00:11.640 --> 01:00:15.640 everyone would always say, he must have been a lawyer, he must have been a doctor, he must have been this, 392 01:00:15.640 --> 01:00:21.000 he must have been that. You know, Heston really cut to it all and said, you know what, he must have been an actor. 393 01:00:21.000 --> 01:00:28.680 He knows so well how to write talks for actors. And so, you know, Heston had this idea that, you know, 394 01:00:58.680 --> 01:01:05.240 was an aristocrat, and Stakefield was the one and only, we could say, majorly that argument, 395 01:01:05.240 --> 01:01:12.040 but everyone, you've got to play almost everyone, let me say that, in some low-middle-fife audience. 396 01:01:12.040 --> 01:01:20.600 Ben Johnson's father was a bricklayer, the kid was a business man, Stakefield's father was a blood maker, 397 01:01:20.600 --> 01:01:34.600 and Marlowe's part of, is also a, was a fademan, I don't think he's generally, the part that you see, is that these playwrights of this time were on the move. 398 01:01:34.600 --> 01:01:46.600 In fact, when you go through the history of art, whether it's painting, music, literature, there were very few of us in class who could achieve anything in the arts. 399 01:01:46.600 --> 01:02:16.600 Ludwig von Mises, Murray Rothbard, Friedrich Hayek, Eugen von Boehm-Bawerk, Friedrich Hayek, Eugen von Boehm-Bawerk, Carl Menger, Jean-Baptiste Say, Frederic Bastiat, Israel Kirzner, Hans-Hermann Hoppe, Joseph Salerno, Walter Block, Lew Rockwell, Roger Garrison, Hans-Hermann Hoppe, Frederic Bastiat, Jean-Baptiste Say, Frederic Bastiat, Eugen von Boehm-Bawerk, Carl Menger, Hans-Hermann Hoppe, Friedrich Hayek, Eugen von Boehm-Bawerk, 400 01:02:16.600 --> 01:02:25.600 And so, I mean, again, even I think this great commemorative of those two origins and the other he even wrote in place, 401 01:02:25.600 --> 01:02:29.600 we can actually reinterpret the light of wrong faith here. 402 01:02:29.600 --> 01:02:41.600 That the logic of the situation indeed dictates that a young kid from Stratford would be brought here to produce this phenomena, 403 01:02:41.600 --> 01:02:45.600 someone very ambitious, trying to make something out of the spout of the world. 404 01:02:45.600 --> 01:02:56.600 in the World. Well, I don't want to over-express this too much, the positive aspect of the 405 01:02:56.600 --> 01:03:00.600 commercial characters that take place here. So let me qualify it, and again, one of the 406 01:03:00.600 --> 01:03:06.600 things I'm doing over today and tomorrow is suggesting how the coverage and commercial 407 01:03:06.600 --> 01:03:14.600 systems blend, overlap, sometimes the intentions sometimes reinforce each other. There are 408 01:03:14.600 --> 01:03:15.600 in the world. 409 01:03:15.600 --> 01:03:20.600 Significant signs, let's face it, was not entirely comfortable with commercial theater. 410 01:03:20.600 --> 01:03:28.600 You know, in the words of the Godfather, you know, this is the life he showed. 411 01:03:28.600 --> 01:03:34.600 I think he understood that this is what he pursued, and he pursued it very successfully. 412 01:03:34.600 --> 01:03:39.600 But I think he had doubts, and we see this in many ways. 413 01:03:39.600 --> 01:04:09.600 The one thing, he did seek out patronage at a number of points in his career, as if he was just asking the orders for the other course in life, that is, it does appear that he was born in the theater, but the plagues was a problem in those days, and when plagues broke out in London, they often shut down the theaters, sometimes, I believe for as long as a year and a half, 414 01:04:09.600 --> 01:04:24.720 In the 1690s, when Shakespeare was not able to write plays, he wrote so great. Super elegant, 415 01:04:24.720 --> 01:04:47.720 Melissa Elizabethan Postman, Nathan McLeese, Venus and Adonis, two extremely rooted, high-culture poems with references to Ovid and obviously the Roman antiquity, they were exactly what people thought of as ludicrous in those days. 416 01:04:47.720 --> 01:04:56.000 Plays were not thought of as words. Again, it was thought of roughly the way people think of TV tricks now. 417 01:04:56.000 --> 01:05:09.480 It was through the author's word, an instinctive laugh, the reason to think that Shakespeare wrote that his name would not become immortal if he simply wrote play. 418 01:05:09.480 --> 01:05:15.480 As I said, when he started writing play, they didn't even put his name on the thumbnail. 419 01:05:15.480 --> 01:05:30.480 So there were signs that he was considering the author's route, it was a great part, of writing poetry dedicated to the Earl of Southampton. 420 01:05:30.480 --> 01:05:38.480 are very well through the upcoming World War, maybe the fourth day of the year of efforts 421 01:05:38.480 --> 01:05:42.480 against one of the most prominent young nobles. 422 01:05:42.480 --> 01:05:50.480 The dedication to folks in the way that owns the Renaissance efforts to get things done can be, 423 01:05:50.480 --> 01:05:57.480 you do not know what sucking up can be if you haven't read Dedication to a Renaissance Nobles. 424 01:05:57.480 --> 01:06:05.480 and, you know, it's obvious Shakespeare was trying to get a position in Southampton's core, 425 01:06:05.480 --> 01:06:13.480 but there's some indication that Southampton did open out, as there's points that are explained, 426 01:06:13.480 --> 01:06:19.480 he brought things to see Shakespeare's company as a career of Southampton, as a career of ethics, and so on. 427 01:06:19.480 --> 01:06:34.980 So, it does seem that he was keeping his options open, trying to open up the options of German patronage from a prominent global. 428 01:06:34.980 --> 01:06:44.980 And, as I said, the career of Stakefield's company was not entirely divorced from aristocratic or, eventually, more open-ended. 429 01:06:44.980 --> 01:07:01.980 And in fact, the gold field was built in 1698-99. In the early 1600s, we had, the company opened up an email field, the Blackfriars. 430 01:07:01.980 --> 01:07:13.980 We had a more upscale clientele. We could charge more and generally attract a more aristocratic audience. 431 01:07:13.980 --> 01:07:27.080 We see this pattern in general in the period that there was not a simple divorce between the commercial commuters and the kind of risk record. 432 01:07:27.080 --> 01:07:37.720 This is even clearer in Ben Johnson's career, Johnson, who wrote for Penn, thanks to the company, 433 01:07:37.720 --> 01:07:43.720 thanks to a duo, actually, that known Johnson's colleagues, their peers who defected at many points. 434 01:07:43.720 --> 01:07:53.720 But Johnson eventually made the bulk of his money writing core cognates for James I. 435 01:07:53.720 --> 01:08:12.560 and then there was a, if you could be successful at court, there weren't, you got these nice lump sum payments and eventually Johnson got a pay-free for the fee, so again, Johnson's typical role is going on is people pursue all their options, 436 01:08:12.560 --> 01:08:42.560 The book is now, people will work in the commercial world of art, but also seek out government grants and sometimes patronage as well, so it's interesting when you look at the previous 20th century artists, they'll take money wherever they can get it, but in, so in Shakespeare's case, as well, there seemed to be signs that he was looking to get patronage when he could, but there are signs to me that he was uncomfortable, 437 01:10:12.560 --> 01:10:19.220 The doctor was tough on him and dealing with the political world was a strain for him. 438 01:10:19.220 --> 01:10:26.920 All the compromises involved, all the having to work with other theorists and with the owners of the company, 439 01:10:26.920 --> 01:10:32.420 well, he was a co-owner, but the manager of the company working with the actors, this was difficult. 440 01:10:32.420 --> 01:10:41.120 I know the oddest thing about Big Beers, he retires probably 1610, 1611, goes back to Stratford, 441 01:10:41.120 --> 01:10:49.220 You know, at the peak of his powers, he still runs things like the Tempest. 442 01:10:49.220 --> 01:10:55.400 There's no sign of any feebleness in his powers. 443 01:10:55.400 --> 01:11:01.280 It does seem that this has put away enough money and owned enough land. 444 01:11:01.280 --> 01:11:02.880 He said, I don't need this anymore. 445 01:11:03.200 --> 01:11:07.860 My own personal theory is that he went home to prepare an edition of his parties. 446 01:11:07.860 --> 01:11:20.860 This is a very controversial idea. Again, the most common view is that the picture is utterly different from the publication, so I cannot believe that. 447 01:11:20.860 --> 01:11:28.860 I can't believe that if I didn't see it here, I wouldn't want it to be preserved, and as good as healthy as it could be. 448 01:11:28.860 --> 01:11:58.860 And I'm glad to say, finally, some scholars are coming around to the same view, earn or make the points, are standing well for folks of all time, points to some interesting facts that in Shakespeare's role, there are three legacies, one for Richard Gervais, one for John Hedges, and one for Henry Campbell, Hedges and Campbell went on to publish Shakespeare's plays in the same space, 449 01:11:58.860 --> 01:12:00.860 of the First Folio of 1643. 450 01:12:00.860 --> 01:12:09.860 And we had Shakespeare's plays in a lot of bad thoughts, but better than we might have hoped. 451 01:12:09.860 --> 01:12:20.860 And my guess is, and other scholars now support this, is that Shakespeare was talking to these friends about publishing his work, 452 01:12:20.860 --> 01:12:25.860 or maybe even preparing the idea that if he died, they would finish the project. 453 01:13:25.860 --> 01:13:37.580 with the world of the commercial theater. I'm not claiming that. Again, the people that see problems with the commercial character of theater are like, 454 01:13:37.580 --> 01:13:48.460 undoubtedly, Shakespeare had to do things that he didn't want to. It's interesting to example, a couple of his plays have panoramic titles, 455 01:13:48.460 --> 01:13:50.460 I do like it. 456 01:13:50.460 --> 01:13:54.460 Profile is somehow what you want. 457 01:13:54.460 --> 01:14:01.460 As you state to your son and daughter, okay, this is what you want, here it is. 458 01:14:01.460 --> 01:14:08.460 He's written The Merchant of Venice, which is an unusually dark comedy, an unusually complex one, 459 01:14:08.460 --> 01:14:15.460 one which borders on tragedy and some feel has a strong side to it. 460 01:14:15.460 --> 01:14:45.420 Maybe didn't go well, Jason says, but actually his writing is as you like it, what you do about nothing, as if he's saying, you know, my comedy is too serious for you, I can write this little stuff for you, or, you know, soil is encrusted on it, my gift is a bomb, some kind of real experiment that never succeeded, you know, 461 01:14:45.460 --> 01:15:15.460 When you look at the conversation between Hamlet and the players, you see that they're very into the whole business of QA companies and their rivalry, and he's got a wonderful rivalry, he was the first coach from all, he was Ben Johnson, Ben Johnson was always taking clock shots at Shakespeare, his Roman players weren't Roman enough, and claiming that he made mistakes in his play, and so on, 462 01:15:15.460 --> 01:15:34.460 and so, it was a very competitive environment, and Shakespeare operated in, and my guess is, yes, it was a strain on him, and yet, at times, he felt affected into doing things that he might not have wanted to do. 463 01:15:34.460 --> 01:15:57.800 You know, there's this famous legend that Queen Elizabeth liked the character of Falstaff so much that she wanted to see him in love, and thanks to her had the right, the very wise, you know, it's almost like when poor Arthur Condor had a kill-off, 464 01:16:27.800 --> 01:16:43.800 I also think he was a better playwright for it. He knew the theater company he was writing for and he knew his audience. 465 01:17:13.800 --> 01:17:22.480 What doesn't explain the genius, you know, if this explains the genius, then the plans 466 01:17:22.480 --> 01:17:29.480 of Thomas Becker ought to be a lot better than they are, not that the filmmakers motivated 467 01:17:29.480 --> 01:17:37.480 all that bad, but I'm going to start talking about a necessary knowledge of people's conditions. 468 01:17:37.480 --> 01:17:47.480 And we do think, however, that the whole world states they're operating was uplifting by this, by this competitive pressure. 469 01:17:47.480 --> 01:18:05.480 We really see what it is to have the City of London with, you know, in any given world, probably three major theater companies where everyone's competing for the public attention, for the public money. 470 01:18:05.480 --> 01:18:13.880 Money, it energized two or three generations of writers, and they all looked at each other 471 01:18:13.880 --> 01:18:17.040 up and don't seem really interested at all. 472 01:18:17.040 --> 01:18:23.520 You know, there's a tendency among most professors to study the influence of other dramatists 473 01:18:23.520 --> 01:18:24.520 on Shakespeare. 474 01:18:24.520 --> 01:18:30.240 Well, it's an even more fascinating question to raise the question of Shakespeare's influence 475 01:18:30.240 --> 01:18:36.240 on the Contemporary, because, you know, it was like, you know, a great Hollywood director. 476 01:18:36.240 --> 01:18:49.240 People see a John Ford Western, and then someone else can do a Western much better than he could have, 477 01:18:49.240 --> 01:18:55.240 if there hadn't been the example of John Polk, or Hitchcock's influence on thrillers. 478 01:18:55.240 --> 01:19:25.240 One thing that happens in this kind of intense competitive environment is people do imitate each other, and thanks to it, you probably do learn something from Marlow, for example, the very sound of his white bird is inherited from Marlow, but he went beyond Marlow, but in general, when we look at this period, maybe the absolute truth, it's a drama, 479 01:19:25.240 --> 01:19:30.240 The Theory of Money and Credit 480 01:19:30.240 --> 01:19:37.240 The Theory of Money and Credit 481 01:19:55.240 --> 01:19:57.240 under the word possible. 482 01:19:57.240 --> 01:20:03.240 You will see it hinges on a Shakespeare-based opera, you know, ladies and gentlemen. 483 01:20:03.240 --> 01:20:12.240 But, you know, I mean, in some ways, what's interesting is how a commercial environment can lift all boats. 484 01:20:12.240 --> 01:20:21.240 That the richness of the stage has to do precisely with the fact that the exact pattern you get in a commercial theater 485 01:20:21.240 --> 01:20:34.240 of People, in the painting, following the lead on the certain things that make the theater look like the modern world of connecting, for example, people. 486 01:20:34.240 --> 01:20:40.240 So, I think you're right, Henry the First, part one, and you're right, Henry the Fourth, part two. 487 01:20:40.240 --> 01:20:44.240 Now, it's very possible that the two plays, I think, are the same time. 488 01:20:44.240 --> 01:20:48.880 and at the beginning of, you know, like the three parts of War of the Rings 489 01:20:48.880 --> 01:20:54.360 or the Pirates of the Caribbean sequence now, but it is interesting 490 01:20:54.360 --> 01:20:59.080 that you find the same phenomenon that one thing is teased 491 01:20:59.080 --> 01:21:01.880 and then everyone starts entertaining it. 492 01:21:01.880 --> 01:21:10.400 Harmless helps kick off a sequence of revenge strategies in the Jacobian period 493 01:21:10.400 --> 01:21:17.400 These are commercial principles. Some people think it's by Middleton. Some people think it's by Sheryl Turner. There's no name on it, so it's a good example. We don't even know who wrote it, but it's called a revenge strategy. It's made up of a lot of things. 494 01:21:40.400 --> 01:21:51.400 It's marvelous to me to think what a sort of second wave, which leads to any other sort of first wave, but a second wave, rather than a six-year time, Paul Hammond was about. 495 01:21:51.400 --> 01:22:03.400 And in the metaphysical distance of human nature, it's about a rock-and-soccer revenge strategy with everybody dead at the end. 496 01:22:03.400 --> 01:22:06.400 That's what, whoever wrote that play, Paul Hammond. 497 01:22:06.400 --> 01:22:15.400 And it's a pretty good play. It's actually, you can see it's safe. It's a really exciting play. It's a great moment. It's a very dramatic turn. 498 01:22:15.400 --> 01:22:24.400 So this is what I'm talking about when I say that commercial theater is quite valuable. 499 01:22:54.400 --> 01:23:00.580 or the talk at a university where Salerno was playing no matter what play he wrote, 500 01:23:00.840 --> 01:23:05.800 whether he would have gone through the effort to turn out two plays a year. 501 01:23:05.800 --> 01:23:12.480 You know, very specific, people think he had a contract with more famous women 502 01:23:12.480 --> 01:23:17.300 to do some two plays a year, but that's what we see in a pattern. 503 01:23:17.600 --> 01:23:24.000 So we basically think, I try to think as well, writing a fellow and seeing it in a mirror. 504 01:23:24.000 --> 01:23:27.000 in one year, that's quite the way it works out. 505 01:23:27.000 --> 01:23:30.000 I mean, that's a big achievement. 506 01:23:30.000 --> 01:23:36.000 And, you know, if you have a contract to do it, would you have done it? 507 01:23:36.000 --> 01:23:39.000 We'd like to think yes. 508 01:23:39.000 --> 01:23:43.000 But, you know, few of us in Shakespeare love the money. 509 01:23:43.000 --> 01:23:50.000 You know, the nature of the deadline, the fact that there's money dependent upon meeting the demands 510 01:23:50.000 --> 01:23:56.560 of Demand for the company and the public, sometimes you need that. 511 01:23:56.560 --> 01:24:01.540 I think if you're going to be a sowing professor of creative writing at Oxford, 512 01:24:01.900 --> 01:24:09.340 who knows, you might have said, well, you know, we can, we can wait to produce these works. 513 01:24:09.740 --> 01:24:17.580 So I'm not in any way trying to demean Shakespeare by suggesting 514 01:24:17.580 --> 01:24:46.580 What I'm trying to do is actually uplift the notes of commerce in our minds, that doing something to make money, to please the public, is not an immobile activity, and again, every indication we have is that Stakedeer was a fully commercial artist, and if that's so, it doesn't take Stakedeer down, it doesn't take it down, it doesn't take it down. 515 01:25:17.580 --> 01:25:28.360 Yes, I mean, it's very operatic, to put it in a fact, and it is interesting that the 516 01:25:28.360 --> 01:25:31.360 Ben's reception molded for the tagline opera and... 517 01:25:31.360 --> 01:25:45.360 Well, I've got to put it up, Carl wants to do it, and I think there's a few of them who do it, especially one of the five people who want to do it. 518 01:25:45.360 --> 01:25:46.360 Yeah. 519 01:25:46.360 --> 01:25:49.360 There's the first one who wants to do it. 520 01:25:49.360 --> 01:25:55.360 Yes, yeah, I mean there's a... 521 01:25:55.360 --> 01:26:03.360 There's probably one of those favorite authors. There's a famous passage about climate of Athens and gold that Marx quotes. 522 01:26:03.360 --> 01:26:09.360 And, uh, Fakir was extremely famous in Germany in the 19th century. 523 01:26:09.360 --> 01:26:17.360 And the German translations of Fakir by Fagel and Peat are among the finest translations of anything ever done. 524 01:26:17.360 --> 01:26:20.360 They're simply magnificent. They're accurate and they're beautiful. 525 01:26:20.360 --> 01:26:40.360 and so Shakespeare, almost as long as Germany doesn't exist, I just want to say, in Germany, in Frankfurt, and I can testify to this, and so the world takes me south to the 19th century Germany than it was in the 19th century England, it was a big deal, 526 01:26:40.360 --> 01:27:10.360 and so Marx, who very much, Marx to me is a German Romanticist, he grew up in the world of German Romanticism and his vision is utopian in the way that German Romanticism was, he claimed it was anti-utopian and scientific, but that makes it a little bit more utopian, so Marx, you know, he really is the dissipationist, 527 01:27:10.360 --> 01:27:16.360 and Literary Intellectual, so, I mean, you know, one of the good points about a book that he writes, 528 01:27:16.360 --> 01:27:25.360 Shakespeare, they're all often for the wrong reason, but it has the, you know, there's a, 529 01:27:25.360 --> 01:27:30.360 there's plainly, as it would be embodied most in scholarship on Shakespeare, 530 01:27:30.360 --> 01:27:36.360 it takes off from the fact that the great man, well, Shakespeare and therefore, 531 01:27:36.360 --> 01:27:45.360 Even in the Soviet Union, there were actually some very good marksman courses in place here in the 1930s. 532 01:27:45.360 --> 01:27:46.360 Yes? 533 01:28:16.360 --> 01:28:22.360 Ben Brompton, for example, for all his privilege on Shakespeare, knew he was a much greater artist, 534 01:28:22.360 --> 01:28:28.360 that's one of the reasons he scribbled about it. And of course, in the poem that's perpetuated 535 01:28:28.360 --> 01:28:36.360 for so long, he says it was not a good omen for such a long time. I know both of you have been talking about, 536 01:28:36.360 --> 01:28:43.360 and it was important to realize that Shakespeare was regarded as essentially a pop culture figure, 537 01:28:43.360 --> 01:29:13.360 But what's also true is that already there's not people who will begin to realize who he is, again, it's fact of years, already in 1590, it's imperium to the ancient dramatists, so it's not simple, I mean, you know, his reputation is complex as a beginner, but you're right, the Beaumont inspector, who was originally an exceptional commercial artist, 538 01:29:13.360 --> 01:29:43.360 were more popular on the 17th century stage than Shakespeare, Johnson, not so than Shakespeare, but rather affected, and it was interesting that he was polarized, except for the third interregnum, something of a continuity in order to produce throughout the 17th, 18th century, but yes, when Shakespeare, by the end of the 18th century, was starting to be held up 539 01:29:43.360 --> 01:29:51.360 as this genius who can be totally divorced from his origin, above all, in commercial theater work. 540 01:29:51.360 --> 01:29:55.360 People are beginning to get that wasn't commercial theater. 541 01:29:55.360 --> 01:30:01.360 He's starting to be thought of as the lead figure of high culture and then the romantic. 542 01:30:01.360 --> 01:30:10.360 He becomes the great image of the perfect creator and, you know, he is. 543 01:30:10.360 --> 01:30:12.360 I mean, he's a great genius. 544 01:30:12.360 --> 01:30:28.360 I think it overridden, and again, you can see his differences from the other playwrights that he didn't really help in most cases, he could write the plays all by himself. 545 01:30:28.360 --> 01:30:44.360 So he does increasingly get pocketed, so that ultimately he's rejected that kind of quote by the glad woman, that 60-year-old woman that lit in the flames and did, you know, if you were the commercial theater, you would have completely forgotten his origin. 546 01:30:44.360 --> 01:30:45.360 Yes? 547 01:30:45.360 --> 01:30:54.360 How about you go, one time, about the political climate response that you've been giving popular times over the years, 548 01:30:54.360 --> 01:31:00.360 and what you believe to be a global and moral community that's productive, 549 01:31:00.360 --> 01:31:06.360 and especially the form that I was in was that it was kind of, although I'm sure it was productive, I'm not exactly sure. 550 01:31:15.360 --> 01:31:31.800 I've heard some people say some pretty nasty things about them, but I'll say to you, it's 551 01:31:31.800 --> 01:31:39.240 that from the point of view, it's a phenomenon. I mean, it has some kind of power, what we 552 01:32:09.240 --> 01:32:24.240 My very, very distant reaction to it is, isn't it just the world of the English public school, 553 01:32:24.240 --> 01:32:29.240 is a study of public schools, and it's difficult but so weird and it's not too many things, 554 01:32:29.240 --> 01:32:36.240 but as far as I can go, it's just like any public school find that I've ever seen in anyone. 555 01:32:36.240 --> 01:32:41.240 So, I'll be talking about something I know nothing about. 556 01:32:41.240 --> 01:32:43.240 One more question? 557 01:32:43.240 --> 01:32:48.200 I was very intrigued about the very deep connection between the two, 558 01:32:48.200 --> 01:32:53.040 essentially, nature and correlation between the two. 559 01:32:53.040 --> 01:32:58.080 Those are one of the critical parts of the argument that I'm sitting in, arriving on. 560 01:32:58.080 --> 01:33:04.600 Well, I mean, you know, I, I hold this place because this is so sensitive. 561 01:33:04.600 --> 01:33:11.480 But I will say this, what, what's so strong in correlation 562 01:33:11.480 --> 01:33:17.480 is content for the mob, and the mob is portrayed very much as a theater audience. 563 01:33:17.480 --> 01:33:24.480 And I suspect that Shakespeare has a profound identification with that moment. 564 01:33:24.480 --> 01:33:29.480 Coiling this reluctance to expose himself naked to the ground 565 01:33:29.480 --> 01:33:35.480 probably gives us insight into the way Shakespeare felt when he got up on the stage. 566 01:33:35.480 --> 01:33:43.480 I mean, many actors will tell you this, that they are in private, very private people. 567 01:33:43.480 --> 01:33:48.480 Not Carlson, a classic example, but he was very shy at the time. 568 01:33:48.480 --> 01:33:51.480 But when he was on the screen, he lit up. 569 01:33:51.480 --> 01:33:55.480 And, you know, he was just a congeniality, but a drag. 570 01:33:55.480 --> 01:33:57.480 He was a great line. 571 01:33:57.480 --> 01:34:00.480 Comparative is the most important thing with both of you. 572 01:34:00.480 --> 01:34:02.480 If you can fake that, you can fake anything. 573 01:34:32.480 --> 01:35:02.480 is that I get the greatest human genius who's ever written and he's got to get up in front of this crowd of groundlings and perform for them knowing that they don't have a clue what his great stuff is about and what, you know, this is the life he shows, you know, this is how he earns his money and he did it, he did it for 20 years and sent out play after play for these people and by and large they were mostly successful 574 01:35:02.480 --> 01:35:17.480 Walter Kaufman had this great line about Shakespeare. He knew how to give his pearls the air of the sky before passing them before this line. 575 01:35:17.480 --> 01:35:21.480 Hoppe was the only German who could say stuff like that about Shakespeare. 576 01:35:21.480 --> 01:35:26.480 And I think it's a real insight that he knew how to succeed in the political community. 577 01:35:26.480 --> 01:35:56.480 and I just felt that it was part of him that balked at it and hated it and Ben Rhodes in his relatively new book, I think it's 2003, takes place all the time, the first person I think to come up with a theory that thanks to his love for it as a way of getting away from the London theater, one of his real paradoxes in his life, which seems to be that he left his life, his children, his whole home behind, spent 20 years in London, 578 01:35:56.480 --> 01:35:58.480 and then came back to Stratford. 579 01:35:58.480 --> 01:36:00.480 Well, it turns out, if you look at the record, 580 01:36:00.480 --> 01:36:02.480 there are a lot of things that play Shakespeare in Stratford. 581 01:36:02.480 --> 01:36:04.480 There are these lawsuits, you know, 582 01:36:04.480 --> 01:36:08.480 buying a new house, building it, rebuilding it, and so on. 583 01:36:08.480 --> 01:36:10.480 And these things are fakes too. 584 01:36:10.480 --> 01:36:12.480 So he tells Shakespeare, the first commuter artist, 585 01:36:12.480 --> 01:36:15.480 that he needed the sanctuary at Stratford 586 01:36:15.480 --> 01:36:17.480 to get away from the London people. 587 01:36:17.480 --> 01:36:19.480 And he even proposes the amazing thing 588 01:36:19.480 --> 01:36:22.480 that Shakespeare wrote his plays in Stratford. 589 01:36:22.480 --> 01:36:27.480 And he says, how the hell did he live and play in the hustle and bustle of London? 590 01:36:27.480 --> 01:36:31.480 And it's just clear to say, it was about a four or five day journey from London to Stratholme, 591 01:36:31.480 --> 01:36:34.480 but he has this idea that Shakespeare needed that retreat. 592 01:36:34.480 --> 01:36:39.480 He needed to be able to participate himself between London and the London theater world, 593 01:36:39.480 --> 01:36:42.480 and somehow this private world. 594 01:36:42.480 --> 01:36:44.480 Oh, we have no proof for that. 595 01:36:44.480 --> 01:36:46.480 But it's a fascinating theory. 596 01:36:46.480 --> 01:36:50.480 And again, if you try to get into the mind of this, you know, being one of a kind, 597 01:36:50.480 --> 01:36:52.480 The Theory of Money and Credit 598 01:37:20.480 --> 01:37:29.480 I'm going home to Stratford, I'm going to put them into books and read that theory a little behind me. 599 01:37:29.480 --> 01:37:37.480 So, and again, that's my gut reaction, but I think, you know, if you look at certain moments, 600 01:37:37.480 --> 01:37:45.480 you can see it in a comic where someone is so embarrassed to be played before a crowd, 601 01:38:15.480 --> 01:38:45.480 and we'll talk about it a bit afterwards. We can, you know, be a little more informal. We can go to the internet audience. We'll be out there watching us as we do it. But I thought we were trying to have a movie every night at 7. Tomorrow night will be on the day, which we'll fit in with what we're doing on classical music. And then Wednesday, I'm going to show us just the closest film and prepare for what we're doing on Thursday. And then Thursday night, the high point, to prepare us for Friday morning's lecture, we'll rock. 602 01:38:45.480 --> 01:38:52.480 and the next episode of The Simpsons and the next episode of The M's Files and we'll see what truly great commercial art can do.