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Time to ramble...
This chapter was written by Adam Gilad. Story Edited by Gary Sperling, and directed by Frank Paur.
As I watch each episode with my family, I've got my journal open in front of me to take notes for these rambles. During the opening credits, my five-year-old son Benny said: "I like Gargoyles." I was very pleased, of course. Then he said, "Can you write down that?" So I did. And so I have.
SHE'S GOTTA HAVE IT
Back on the skiff, and Elisa still hasn't QUITE gotten the idea. She still anticipates being back in Manhattan. Like visiting Scotland was an anamoly, but now surely Avalon will send them home. (What did you all think at the time?)
And boy, that girl likes her hot dogs. Make her one with everything, you know?
Our Sea Monster attacks. It's a cool design, based on research that we did. (It happens to look a lot like a pre-historic whale I saw last night on a Discovery Channel special: "Walking with Pre-Historic Beasts".)
I wish we could have found a less generic name for the creature than "Sea Monster". Thunderbird is a cool name -- particularly since I have fond memories of the L.A. T-Birds from Roller Derby telecasts of my youth -- but our research never turned up another name for the Sea Monster.
Keep in mind that though we did research, we also had time constraints. We couldn't keep researching a topic indefinitely. Eventually, we'd have to use what we had and run with it in order for the story and script to be delivered on time.
But I know Gary and Adam did quite a bit of backgrounding for this story. The Sea Monster, Thunderbird, Raven and Grandmother all came from Haida stories -- though we conflated quite a bit, I think. We did always try to be as true as possible to the history and legends we were riffing on.
HEY, WEREN'T THERE FOUR OF YOU?
As the battle with the Sea Monster came to a close, my seven-year-old daughter Erin said: "What about Elisa? Where's Elisa?"
Five seconds later, Goliath surfaces and says pretty much the same thing, before fearing her drowned by shouting "ELISAAAAA!!" (Shades of things to come -- in Hunter's Moon III.)
Speaking of research, the origin of the whole episode was the fact that Totem Poles caught my eye as being a particularly gargoylesque deal. Then we did some preliminary research and found that they weren't carved in anything that seemed to resemble a gargoyle tradition. They were 'carved to honor animal ancestors'. So rather than stretch (or abuse) the truth, we decided to let the characters (and audience) be lured off course by the poles, just as we had been.
Fake GARGOYLES, right here in North America.
In many ways, I think it could be argued that what takes place in this episode is handled or covered in other episodes to come. We have another episode with a 'sea monster'... a more famous sea monster in a certain loch... coming up rapidly in "Monsters". Also in that ep, one of our cast is lost and feared drowned after an early attack by that monster. And much of Nick/Natsilane's dilemma is also re-covered with a more-important recurring character (Peter Maza) in our other Native American-themed episode: "Cloud Fathers". We even do more with a volcano in "Ill Met by Moonlight". On some level I suppose I regret the duplication of efforts. I don't think we usually did this sort of thing.
But I don't regret the episode. I had plans for Raven. Plans for Queen Florence Island. Plans for Nick/Natsilane. I still think the ep has some cool stuff in it. And I think we NEEDED to cover Totem Poles. It was a natural.
HAR with a V. VAR with a D.
I went to a high school in North Hollywood, CA named "Harvard High School". Named after the University. (Some people have incorrectly stated I went to Harvard for college. But I went to Stanford for Undergrad and U.S.C. to get my Masters.)
I don't remember who's idea it was to have Nick be a graduate of Harvard. Might have been mine. Harvard of course is useful as a symbol.
I like Nick/Natsilane. He's got some nice attitude here and a nice shift. Maybe not the most impressive of our so-called "International Heroes". But very likable.
I give a lot of credit to the voice actor for bringing him to life. Gregg Rainwater was brought in by our Voice Director Jamie Thomason. Gregg was terrific. We used him again in Cloud Fathers, but I've used him many times since Gargoyles. I've even written parts with Gregg in mind. He was Jake Nez in Max Steel. And I cast him as Jake MacDonald in 3x3 Eyes. He always brings incredible humanity to a part, I think. Heroic, but real.
THAT'S NOT A CROW
It's a raven. Our second Trickster makes his first appearance. Of the four (Puck, Raven, Anansi and Coyote), Raven was the guy we gave the most evil bent to.
I like all the shape-shifting he does. (Though when he flees at the end, I wanted him to flee in his bird form, not his Raven-Goyle form.) I also like how he lies by using pieces of the Truth.
Raven-Goyle: "There is an evil sorceress named Grandmother. She summoned the monster that you fought."
When he said that, did you believe him?
Of course, Grandmother does have magic power and she did, in a way, summon the Sea Monster.
IT COULD BE WORSE. I ONCE LIVED ON 28TH STREET.
While doing our research, we encountered names of Islands off the Canadian coast like Queen Charlotte Island. So I named the fictional island we'd be using "Queen Florence Island."
Growing up in Woodland Hills, California, I lived on Queen Florence Lane, a street off Queen Victoria Road. Victoria and Florence were the daughters of Michael Curtiz, the director of such films as CASABLANCA. Curtiz, at one time, owned all the property in that area, so he named the two streets after his daughters.
OR so I once was told... by a ghost named Humphrey who tried to convince me that he was Humphrey Bogart, though you could tell by looking at him that he wasn't.
WHO EXACTLY IS THE SICK ONE HERE?
Elisa is so strong so much of the time, that it's kinda sexy to see her vulnerable and feverish.
Notice that Grandmother doesn't use Fairy magic to heal Elisa. She uses Haida medicine. Thus the rule of non-interference is bent not broken.
I like when Nick comes back in and the Fever's broken. And he says just don't tell me you cured her with tree bark.
When she says, "...and roots." His expression is priceless.
I like the lighting in the Volcano scene.
Goliath is so glad to learn that other clans have survived, that he doesn't notice -- in fact defends -- the inconsistencies in Raven's story.
Angela, on the other hand is suspicious. This was done, in part, to further develop her character. She's naive about certain things. Having been raised by humans, she's not inclined to judge them harshly or fear their prejudices. But she's not stupid. Something doesn't smell right and she notices.
For once, Bronx though does not. I chalk this up to the high quantity of magic being tossed around on this dying island. Grandmother is not what she seems. Neither is Raven. Bronx is confused.
Anyway, Goliath speaks to Gargoyles protecting to explain away why "Raven's Clan" can both hate humans and protect them. You get the sense that he understands all too well. Like despite everything, there's a part of him -- a prejudiced part -- that hasn't forgiven the human race for what happened at Wyvern. (Also keep in mind, he was just at Wyvern again, rehashing all those old memories.)
Of course, once Goliath learns that Raven was pulling something, he's furious at the trickster. Playing on his hopes AND his prejudices, Raven has risked G's wrath.
At the end of this scene, the three silent gargs vanish magically.
Erin said: "What happened? What just happened?"
Benny said: "How did they just vanish?"
They know I know the answer. But I resist telling them. It's a touch cruel. What did you guys think?
YOU CAN TAKE THE GIRL OUT OF THE CITY...
Elisa is such a New Yorker. Everything is compared to that. "This sure isn't Central Park."
Anyway, Raven, then a bear, then Bronx and finally Angela and Goliath find Elisa. I love Goliath and Elisa's hug. It's so unselfconscious. They were so worried about each other that they forgot the usual distance that they maintain.
So who did you trust? When the gargs disappeared, that had to indicate that something was up with the Raven-goyle.
So when Goliath tells Elisa that Grandmother is a sorceress, particularly given that Grandmother saved Elisa's life, we all tend to think that G's been duped. Then we spot Grandmother turning into Thunderbird. What did you all think then?
Benny noticed "her ears" and suspected her even before she turned into T-Bird.
THAT'S GOTTA HOIT
A cool moment in the battle against T-Bird is when Goliath rakes the creature with his claws.
Then Angela spots the Illusion. And plays it cool with Raven.
I like Goliath's line to Grandmother: "We live. We do not thrive."
Grandmother than establishes that Raven is a Trickster and that they are both "Children of Oberon". Thus we establish that aspect of our series.
She states that they are forbidden from directly interfering in human affairs. Reinforcing what the Weird Sisters said a few episodes before.
Raven joins the party. The jigs up, but he revels in it. He's got a few decent lines too.
I like "It's so messy."
POOR HORATIO, ALWAYS A BRIDESMAID, NEVER A BRIDE
Elisa more-or-less quotes Shakespeare: "There are more things in heaven and earth, Natsilane, than are dreamt of in your philosophy."
I've always loved that line.
Anyway, Goliath and Angela depart to fight Raven. They arrive first, but given the fact that Nick had to...
1. Have a final change of heart.
2. Change clothes.
3. Get up to the volcano without wings.
...He makes good time, don't you think?
Raven brings the totem beasts to life. This was always a bit weird. We introduce illusion gargs based on the totem beasts. But then when we bring the totem pole to actual life (or semblance) we have new designs for the woody creatures.
Does everyone see Goliath play dead for that bear?
Raven has a nice exit line here: "This place no longer amuses me."
Neither does this Ramble.
There's no memo, outline or script for this one on my computer, so we'll head right into my ramble on...
"AVALON, PART ONE"
DIRECTOR: Dennis Woodyard.
WRITER: Lydia Marano.
STORY EDITOR: Brynne Chandler Reaves.
...is all over the place. So much was coming together in this three-parter. The Weird Sisters, the eggs, the Archmage, Tom, Princess Katharine, the Magus, Macbeth, Demona. This was our most ambitious story yet. Which given episodes like "The Mirror" or "Vows" and multi-parters like "Awakening" and "City of Stone" was saying something.
Of course "Avalon" was never designed to be the cohesive single story movie that "City of Stone" was. It was designed as a tryptych. Part one would bring our heroes up to date. Part two would bring our villains up to date. Part three would pit them against each other.
"Avalon I" also represented the first episode in our fourth tier. The three-parter was what we called a 'tentpole'. We knew we couldn't air it until all the Tier 3 episodes had aired. And we knew we couldn't air any other Tier 4 episodes until this three-parter had aired. Despite the fact that "The Price" aired out of order, generally our Tentpole/Tier system worked very well. Out of 66 episodes that I worked on only two: "The Price" and "Kingdom" aired out of order, hopefully with minimal damage to the continuity.
The title was one of mine. But initially I wasn't sure that we were going to call the island Avalon. Now, it's mind-boggling to me, but I actually had my assistant Monique Beatty (who's now a producer in her own right) research Brigadoon to find out if that name was created only for the musical, or if it was something pulled from legends. I was thinking of Avalon, but looking for something from a Scotish tradition as opposed to British. Fortunately, Brigadoon was created for the musical. So we were 'stuck' with Avalon. Which made including King Arthur a natural.
Many series don't reveal that an episode is going to be a multi-parter until you get to the 'To Be Continued' line at the closer. "Avalon, Part One" could have just been titled "Avalon". The conventional wisdom is that people are reluctant to commit the time to a multi-parter in advance. That it is better to hook them on the story before revealing that they HAVE to come back to see the end. I always felt that was cheating. What is your reaction to seeing "Part One" attached to a title?
Another cool shot of our gargs waking up. Always nice to reiterate that at the start of our bigger stories.
Bronx gets left behind. Of course, this often happens. It was one of the things that the World Tour would set about correcting in a BIG way. But we made his getting left behind a bit more obvious here. Usually, he just doesn't go. This time they won't take him and he's sad. We were laying pipe.
My 5-year-old son Benny asked where Hudson and the Trio were going. I had to think about it. "On Patrol, I guess."
Then the GUARDIAN shows up. I love his cool, Goliath-inspired armor. My 7-year-old daughter Erin immediately demanded to know who he was. I wouldn't tell her. (I'm so mean.) Did any of you guess?
Of course he immediately encounters BRENDAN & MARGOT. (What would one of our multi-parters be without him?)
Then comes the three gang-bangers from "AWAKENING, PART THREE". As usual, Keith David does the voice for one of them -- making it distinctive from both Goliath and MORGAN, who's about to come in and speak. The problem is we got a touch confused. In Awakening, Keith voices the bald white guy. Here he does the same voice, but it's assigned to the black guy. Hard to say which is wrong, except by virtue of which came first. It annoys me though.
Morgan's fun in this. I really like him. No one but Simon DelMonte will get this, and I don't know if he even reads these rambles, but Morgan kind of reminds me of Jeff Goslin, a character that Cary Bates and I created in Captain Atom.
Anyway, I like how Morgan talks Guardian down. And I like how the sword is much heavier than he thought it was going to be. His cop buddies tease him, but he maintains his sense of wonder and goodness when talking about the Guardian to Elisa.
That's kind of a cool scene. First off he describes Guardian's armor: "Real armor. King Arthur stuff." Anyone think this was a clue to what was coming in the next episode? Even with the Avalon title? Then he tells her the guy's looking for Gargoyles. Elisa of course discourages her fellow officers from taking Garg reports seriously. Everyone who's seen one must be a nut-case. These guys should form 'a club'. Then she finds out that this Guardian was asking for Goliath by name. BOOM.
Site of our last encounter with Demona and Macbeth. Another clue.
Once Elisa got a look at the Guardian's armor, she must have thought -- yeah, there's a Goliath connection here all right.
Goliath shows with Bronx, who gets to come along and come along and come along for once. Bronx always seemed underutilized to us. We knew we couldn't bring the whole clan along. (Too many characters and no poignancy.) But Bronx was an easy addition. Of course, Bronx is also useful as a kind of living personality test. If Bronx likes you, it's a damn good sign. Bronx likes Tom. Does he remember him? What scents do you figure the Guardian carried back from Avalon. Anyway, Bronx engenders immediate trust in the Guardian for Goliath.
I love this scene. Guardian gives everyone so little time to catch up. He talks about the Archmage, reveals that he's Tom and talks about 'the eggs' being in danger. *That was a fun idea. Keep you guys thinking in terms of eggs for twenty minutes and reveal that it's just a pet name for the Avalon Clan.*
Benny asked: "What kind of Eggs?"
Erin: "Gargoyle Eggs."
Benny: "I didn't know Gargoyles hatch out of eggs." [Well, keep in mind it's been a year since he saw the first thirty episodes. And he's too young to remember the first time he saw the ones we're watching now.]
Then there's the skiff. Elisa: "Where'd that boat come from? ... To where? The other side of the lake? ... Wait for me!"
This all sounds fishy to her. Nothing makes sense. I wanted to get a clear shot in there of the pond in Central Park so that you could see objectively that it doesn't go anywhere. But I never quite managed that. I wanted you guys to be confused. Or at any rate to have a million questions. But like Elisa, no matter how suspicious, I figured you'd want to go along for the ride.
Mary, Katharine, the Magus and young Tom are all reintroduced. It's very clear that the first three have all learned their lesson from Awakening. They've all really become better people. Tom, of course, didn't need to learn that lesson. But he does learn to be a hero. He officially becomes the Guardian. It begins, I believe, as just a nice gesture on the part of the Princess. Later, of course, it'll become the truth. Then there's the long journey. I like the montage there. Hardship. We never had the time to show enough of the hardship of tenth century life.
Our gang heads into Edinburgh. Constantine's followers are all over the place. They all seem to look like Disney storyboard artists for some reason. ;)
There's some stellar voice work in this ep. Morgan Shepard as King Kenneth II. Sheena Easton making her Garg Premiere as Finella. Ian Buchanan as Constantine. (I've already mentioned Keith's versatility.)
But as usual, real props must be handed out to Jeff Bennnett and Kath Soucie.
Jeff plays Brooklyn, the Magus and Maol Chalvim. (No Bruno or Owen or Vinnie in this ep, I'm afraid.)
Kath plays Katharine, Mary and all three Weird Sisters.
Benny saw Finella and said: "That's one of the witches."
A year ago, Tom was his favorite character. Now Tom barely registered. And he really is fascinated with the Weird Sisters. Anyway, I corrected him, but I was glad that they were appearing later.
Ian Buchanan, once of General Hospital, is playing a cad here. We have to very quickly set up a lot of politics, sexual and otherwise. This story was as historical as we could make it based on the available research, the fact that we had to fit in a few fictional characters and eggs, and screen time compression.
Believe it or not, we also had another character originally that we cut early on because it was just getting too damn complicated. Katharine and Maol Chalvim's cousin: the future King Kenneth III. The father of Bodhe. Yep. That Bodhe. The father of Gruoch.
Kenneth III winds up being made High King of Scotland after Constantine is killed. To get a sense of their relationship, at least as I see it, you might want to check out "Once upon a time there were three brothers..."
(Or to give you a hint, ten years after the events depicted here, King Kenneth III would be murdered by Maol Chalvim's operatives during a civil war. Maol Chalvim was also known as Malcolm Forranach, the Destroyer. We used the Maol Chalvim version of his name so as not to confuse him with Katharine's father Prince Malcolm. Just as in City of Stone we emphasized Malcolm Canmore's Canmore name for the same reason.)
Anyway, Maol Chalvim seems intense but right on the money here. He's even kind of heroic when he and the Magus bring Tom back to Katharine's apartment, and he begs Katharine to go. Kind of heroic. He still leaves her. We were trying very hard to balance out his minor role here with his future roll as the grandfather of and major influence on Duncan. (Of course, he's also Macbeth's grandfather, as well.)
After Katharine tells Maol to go, there's a weird cut of him just standing there smiling. We needed some kind of transition before he took off running, and I guess that was the best we could do. But it's still awkward as hell.
But I'm getting ahead of myself.
We establish early on that Katharine doesn't think much of Constantine. You wouldn't know it from Awakening, but obvioulsy she's learned to be a decent judge of character.
Kenneth isn't quite so sharp. Everyone can see that he's a fool for Finella. And he doesn't recognize Constantine's threat (despite the fact that Constantine's father was a bitter enemy and) despite the fact that his son flat out tells him to beware. My thinking was that the crown had kept bouncing back and forth between different branches of the royal family. Kenneth had hoped that by taking Constantine in, instead of banishing him, he'd be able to be a positive influence on the boy. A nice idea perhaps, but maybe Kenneth was too innattentive to pull it off. And Maol probably was too covetous to really be a brother to young Con.
Anyway, Constantine tricks Finella and kills the king. We hear Finella sobbing, just to prove that she was neither in on it nor that she would approve of it. (Though one wonders what her reaction would have been down the road if Constantine hadn't spurned her in favor of Katharine. Would she have adjusted to the crime? Or did Constantine become an unredeemable villain in her eyes immediately? I hate to say it, but I tend to think it's the former. Actually, I don't hate to say it. She's more interesting to write that way.)
Erin asked: "He killed King Arthur? Why?"
That's a tough question. So first I had to explain that it was King Kenneth, not King Arthur. Then my wife Beth helped out by explaining that Constantine wanted to be king.
We come back from the act and we see that Constantine was ready for the takeover. The Banners are immediately changed in a scene clearly inspired by the Ian McKellan (spelling?) movie version of Shakespeare's Richard III. (A version I heartily recommend, by the way.)
We also continue to set up the Magus' own tragedy. He loves Katharine. Has loved her since before Awakening. That feeling is shown to deepen here when she is once again in danger. And when Constantine tries to coerce her into marrying him. (The astute Mary and Tom have to hold him back.) Here, we sense that maybe Katharine might some day return that love. That's what I wanted you all to think anyway. Did you?
Constantine takes his crown. Originally we wanted to stage this with the Stone of Destiny as we did with Macbeth. But again, I think we just had too many sets.
Michaelmas. I just like that word.
Constantine is fairly astute himself: "You have 36 very good reasons to obey." We kept reiterating the number of eggs for what was coming later.
The Magus disguises broken pots as eggs and vice-versa. But it always seemed to me that the kitchen staff at Edinburgh sure broke a lot of pots. I mean a LOT!
I like the lines: "Taking the wee bairns for a walk?" and "I don't think I like Gargoyle eggs." Very menacing.
Princess K burns her wedding dress. She feels she cannot leave because C will follow her to "the ends of the Earth." So the Magus responds: "Then I will take you beyond them." Again. Very romantic moment between them.
Finella joins the troop. The WOMAN SCORNED. She's really fun now. Dangerous. I always laugh when Constantine drinks the brew and collapses so abruptly.
Erin: "The Weird Sisters". My kids are just fascinated with this trio. I wonder if they still will be by the end of this three-parter or if like many fans, they will be disappointed?
They get turned into owls. But the Magus worries about giving up the source of his power. K doesn't care about that.
And Finella and Mary agree to take the book. I love these two. I think they'd make a totally kick-ass team. I doubt it would be commercial enough, but I'd love to do a spin-off show just with these two women. At any rate, there was the plan to include them as recurring characters in TimeDancer.
Tom has to leave his mother and his childhood behind. Now his role as the Guardian is a way for Katharine to make him accept the loss. It is the start of their relationship, though neither knows it. I watch this now, and I can't help thinking of the Anakin & Padma relationship and where that's destined to go.
Back to the present. We see the impressive shores of Avalon. Very cool painting.
Bronx reacts. Guardian: "He's found the eggs..." And the music swells and two gargs and a garg beast appear on the cliff.
Now is that a cliff-hanger or what? What was your reaction?
Erin and Benny wanted "to see ther rest!" I told them they'd have to wait a week and we got a lot of protesting. Just what I was hoping for.
Anyway, that's my ramble. Where's yours?
1) I was reading FAQ and in the timedancer section you talked about an antagonist called Calaban. Who is Calaban?
2) In the FAQ for bad guys, you mentioned an antagonist named Falstaff. Who is he?
3) Thanks a bunch
For both these guys, I have no intention of revealing my intentions at this time. But if you want a look at the original sources...
Caliban appears in William Shakespeare's THE TEMPEST.
Falstaff is introduced in Shakespeare's HENRY IV, PART ONE. He reappears in HENRY IV, PART TWO and is spun-off in THE MERRY WIVES OF WINDSOR. He dies off-stage in HENRY V.
By 2198, how much of New Olympian history is known to human scholars?
It's been years since I read it...
I think his historical and mythological background work is VERY helpful. I loved it.
But his interpretations of the plays seem very one-dimensional to me. In particular, he regards Hamlet as ambitious. He seems ONLY to regard Hamlet as ambitious and won't acknowledge that one of the most complex characters in Western Culture might have other aspects to his personality.
Mostly, I'd leave these things for individual readers to judge, but Asimov's name carries so much weight, that I felt a caveat was necessary.
The posting of the FAQ (thanks, Bishansky and JEB!) and your comments on them (including the "Weird Macbeth" part) prompted a question about this unmade two-parter from me.
We know that you had planned the following casting choices for this episode:
Macbeth as himself (or, more accurately, as his Shakespearean counterpart).
Demona as Lady Macbeth (the role that she was hatched to play :)
Goliath as Macduff
Elisa as Lady Macduff
Do you remember any of the other casting decisions for this story (i.e., who was to play Duncan, Malcolm, Banquo, Fleance, the Porter, etc.)?
Hudson was Duncan, I believe.
The rest I don't remember off-hand, largely because I don't think I had done much casting. It never got past the premise stage, unfortunately. It was the one story that I wanted to do that upper-management wouldn't approve. Even then, they were willing to approve it for a single episode. But I felt I couldn't do it justice in 22 minutes. So in essence, I'm the one who kiboshed it.
That really says something about the creative freedom we were given on the show. 66 episodes. And only one semi-rejected premise.
Did you plan to introduce any other Shakespeare plays into the Gargoyles Universe besides MacBeth, Ill Met by Moonlight and the Tempest? What did Oberon, Titania and Puck think of Ill Met by Moonlight? What did Prospero think of the Tempest?
I assume you mean "A Midsummer Night's Dream"...
I like to think that all were happy enough with Shakespeare's work. But except for Macbeth's reaction, I haven't fully worked out the responses in my mind.
In the old ask Greg, you told someone to repost a queston (what did Demona think of the play, Macbeth?) latter, after you thought about it. Well, I'm asking now.
Also, you said that Macbeth was highly amused by the play about him. Were you being sarcastic? I'd imagein that he would OUTRAGED at how William treated him, and his wife and made Duncan and Malcolm the mistreated ones. So was that just a smart ass answer on your part?
Do think Goliath likes James Joyce or William Faulkner? Just wanting to know 'cause I am trying out DUBLINERS, and I always have difficulty reading ABSALOM,ABSALOM! and, after three attempts, can never get past the third chapter! ARGH! I had an easier time with SOUND AND THE FURY. OK, thanks.
Goliath loves Shakespeare and Dostoyevski. I also love Shakespeare, but have trouble with Dostoyevski. I also LOVE Faulkner and have some trouble with Joyce. It suggests that Goliath's tastes are a bit more mature than mine.
Which is a long way of saying, Yes, he likes both.
I was going through the old archives and found that you had a hard time reading MERCHANT OF VENICE because of the anti-semitism you find in it. Well, I just thought you might like to check this out: one of my soon-to-be professors wrote a book called SHYLOCK AND THE JEWISH QUESTION, where he argues that MERCHANT... is not, in fact, an anti-semetical work at all. I didn't read that book, but I just thought to shed some new light or somehting like that. Oh, and if you do want to check this book out, the author's name is Martin Yaffe.
Thanks, I've heard of that book. Haven't gotten around to reading it yet.
In the long run, however, I personally don't think MERCHANT OF VENICE succeeds as an anti-semitic work. In fact, quite the reverse it winds up on the whole playing as, uh, pro-semitic?
But there are clear anti-semitic assumptions built into the work. Built into how Shakespeare was raised. Things that he doesn't know how to escape, may not even want to escape... but largely overcomes -- in spite of his intentions, to my mind. Because his power in drawing characters is so tremendous that he doesn't know how to create the stock Jewish villain without giving that character real life.
"I'll meet by moonlight" questions:
1 How does that name apply to the episode?
2 Why did Titanya and Oberon bother to make such a grand entrance? Or was that Avalon welcoming them back?
3 When Goliath, Gabreal and Angie fall into that water being filled filled by very hot lava, should not the water be too hot to swim in?
4 When Oberon made Goliath & his clan immune to his arts, was this some sota spell to make Oberon and his childern's magic not affect him, or was he saying he wouln't use his magic agenst them, or what?
5 By the end of the Gathering, did Oberon renew his promise about Goliath and clan being immune to his arts?
Not "I'll meet". "Ill Met". Very different.
1. It was an ill meeting under the moon when Oberon meets our gang. It's also a Shakespearean reference from "A Midsummer Night's Dream" the scene where Shakespeare introduces Oberon and Titania.
2. They do everything grand.
3. Stop calling her Angie.
5. He didn't have to. His word is law.