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Shakespeare Birth Date + Shakespeare Death Date = A Couplet

The stage is as bare as my lady’s ass 

In his lordship’s bedchamber.

Rough-hewn in the most knockabout way, 

Leaving splinters in the palace lawns

Of the imagination.

There’s many a dip

‘twixt the trap and the lip.

It fares little better than hastily strewn boards 

Covering parched ground, 

With barely enough elevation 

To keep the understanding masses at bay.

Were one fool enough 

To come from out the wings, 

And at centre front begin a soliloquy 

About the beauty of the wretched arena 

On which he stands, 

To fight the resulting and justified spontaneous combustion, 

There would not be found one drop of piss 

From any a Thespian’s hose.

For who could allow this sacrilege to be spoken? 

Even the flag atop the pole 

Knows that the magic is not yet arrived.

A stage without commercial trappings:

Without solid doors and thick drapes,

Uncluttered by pillars,

And arches,

Tables and chairs,

Windows and fireplaces;

Sans orchestra, sans balcony, sans pit.

A stage revealing all its secrets.

Profound as emptiness.

A stage in wait.

For in this world writ small 

(As in the globe around)

The audience

Has nothing to know/ nothing to learn,

Until the actor makes an entrance 

And prepares

To fight through our eyes and ears

To battle with those thoughts and fears

that lurk in sheltered halls.

What’s Hecuba to him?

Why – nothing!

Merely a name on a page of script.

A cue at which to turn his profile thus.

It is what Hecuba becomes 

To we who wait,

That turns the key

Upon the heavy gate.

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The Winter’s Tale On An Island

I’ve been reading
“The Winter’s Tale”
To Paw, my cat / kitten,
Black as a bear
With one white mitten.
I confess I emote with
Gusto,
Which he likes.
And I growl at the part
[Pursued by a bear]
Which he really likes.
And sometimes I,

(I confess),
G R O W L

Which makes Paw
Spit and bristle
And back up.

He even
– Sometimes –
Looks around the room.

Which makes me call his name,
Which calms him down.

I’m The Lighthouse Poet Laureate of Partridge Island /1821 – 2024 / A lot of stuff have I seen / A lot of stuff to report}

DE BA. UEL

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Buddy’s Ghost Was At The Theater And I Almost Said Hello

I once related the story of seeing my long-dead uncle driving past in a car. A learned, and much older gentleman, told others that I had had the common experience of seeing dead people. Up to that point, I didn’t know it was common. I’m not sure it is, as no one else has mentioned it to me.

But, at any rate, I saw Buddy’s ghost at the theater last night. It still takes me by surprise, though it no longer startles me. And I didn’t say “Hello”, because I thought it would startle the person, dead or not.

And a theater was the right place, for Buddy was an actor. A professional actor in his younger days, with a country-wide reputation. When I knew him, he had settled into being a theater/acting/directing teacher, affiliated with a university. He still did some turns on the stage. His advice was sought. His company was enjoyed. His personality was appreciated. Never boring. Never a bore.

And he was a damn good chef.  And a great story-teller over his meals.

And, at the theater, when I saw his ghost, there was his hat. Buddy could be a snazzy dresser. This guy was a snazzy dresser – stood out in the crowd – though I only saw him but the once. Not unusual that. I didn’t expect to see him again. I never saw my uncle again, either.

And – when all is said and done – I didn’t really have anything to say.

“How’s it going?”

“Well – you know.”

“How’s it going?”

“Well – you know. Much as you expect.”

“How’s it going?”

“You’ll know soon enough.”

I didn’t really expect to be told of Elysian Fields or Thrones of Gold or What is in Shakespeare’s tomb.

So, I didn’t approach him, and say “Hello”. And make him turn around.

And – in truth – a day later, I’m not so sure about the hat.

DE

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Shakespeare And Me – Until Black Death Do Us Part

233f2e9876272daa3e3ddf19c07ca00f
I have been consoled in my writing career that Shakespeare and I have one thing in common. Oh – yes – there may be a dozen others, but there is one I can point to uncategorically. We share a winsome way with our spelling of words. He even spelled his own name in a dozen different ways.
 
Even before-publication of my novels and stories, I was an example laid before my cousins (those younger than me). I don’t testify that this statement was used, but the gist was: “If you don’t smarten up, you’ll spell as badly as Dale.”.
 
And I’m sure some smart ass responded: “Not possible.”
 
But still, it is one (of the possible dozen) comparisons to Shakespeare.
 
Now, there are two.
 
It turns out that Shakespeare and I have been spurred on by a Pandemic / Black Death, to while away our enforced isolation to write our respective tomes. The Bard had to not only flee London, but his actors company was forbidden to mount any plays. All the theatres were closed. He decamped to safer accommodations and, with time at hand, wrote King Lear and Macbeth and other plays.
 
My indefatigable main character, Alison Alexandra (about whom I have been writing over four years) has decided to have her closest friends come and stay at her house until the world turns less mad. And – yes – this even includes R/Jane-the-Ghost. ‘Twill be a merry troupe. Quite Shakespearean.I’ll be busy for months.
 
I might even include Shaksbeard himself in my dedication.
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The Theatre For The World

theatre-clipart-stage-background-1

The stage is as bare as my lady’s ass in his lordship’s bedchamber.

Rough-hewn in the most knockabout way, leaving splinters in the palace lawns of the imagination. There’s many a dip ‘twixt the trap and the lip.

It fares little better than hastily strewn boards covering parched ground, and barely enough elevation to keep the understanding masses at bay.

Were one fool enough to come from out the wings, and at centre front begin a soliloquy about the beauty of the wretched arena on which he stands, to fight the resulting and justified spontaneous combustion, there would not be found one drop of piss from any a Thespian’s hose.

For who could allow this sacrilege to be spoken? Even the flag atop the pole knows that the magic is not yet arrived.

 

A stage without commercial trappings:

without solid doors and thick drapes,

uncluttered by pillars,

and arches,

tables and chairs,

windows and fireplaces;

sans orchestra, sans balcony, sans pit.

A stage revealing all its secrets.

Profound as emptiness.

A stage in wait.

For in this world writ small – as in the globe around – the audience has nothing to know, nothing to learn, until the actor makes an entrance, and prepares to fight past our eyes to battle with those thoughts and fears which lurk in sheltered halls.

What’s Hecuba to him?

Why – nothing. Merely a name on a page of script, a cue at which to turn his profile thus.

It is what Hecuba becomes to we who wait,

that turns the key upon the heavy gate.

(image) moziru.com/images/theatre-clipart-stage-background-1.jpg

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Shakespeare’s Birth And Death Day Is A Couplet

Shakespeare could look you in the eye and tell you who you are – so well-versed in the ways of people he was. He would then place you upon the stage, and have an actor have a go at you. With puns and foibles and insights.

Thus do I repeat my Shakespeare (though not exactly Shakespearean) homage.

~~~~~~~~~~~~~~~~~~~~~~~~~~~

The stage

Is as bare as my lady’s ass

In his lordship’s bedchamber.

Rough-hewn

In the most knockabout way,

Leaving splinters

In the palace lawns of the imagination.

There’s many a dip ‘twixt the trap and the lip.

It fares little better

Than hastily strewn boards

Covering parched ground,

With barely enough elevation

To keep the understanding masses at bay.

Were one fool enough

To come from out the wings,

And at centre front

Begin a soliloquy about the beauty

Of the wretched arena on which he stands,

To fight the resulting

And justified

Spontaneous combustion,

There would not be found one drop of piss

From any a Thespian’s hose.

For who,

Could allow

This sacrilege to be spoken?

Even the flag atop the pole knows

The magic is not yet arrived.

A stage without commercial trappings:

without solid doors and thick drapes;

uncluttered by pillars and arches,

tables and chairs,

windows and fireplaces;

sans orchestra,

sans balcony,

sans pit.

A stage revealing all its secrets.

Profound as emptiness.

A stage in wait.

For in this world writ small

– as in the globe around –

the audience has nothing to know,

nothing to learn,

until the actor makes an entrance,

prepares to fight past our eyes

to battle with those thoughts

and fears

which lurk in sheltered halls.

What’s Hecuba to him?

Why – nothing.

Merely a name in a script,

A cue at which to turn his profile thus.

It is what Hecuba becomes to we who wait,

that turns the key upon the heavy gate.

~DE BA. UE

 

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What Is Hecuba To Him – To Us – As We Gaze Upon The Theatre Stage?

 

image

The stage is as bare as my lady’s ass in his lordship’s bedchamber. Rough-hewn in the most knockabout way, leaving splinters in the palace lawns of the imagination.

There’s many a dip ‘twixt the trap and the lip.

It fares little better than hastily strewn boards covering parched ground, and barely enough elevation to keep the understanding masses at bay.

Were one fool enough to come from out the wings, and at centre front begin a soliloquy about the beauty of the wretched arena on which he stands, to fight the resulting and justified spontaneous combustion, there would not be found one drop of piss from any a Thespian’s hose.

For who could allow this sacrilege to be spoken?

Even the flag atop the pole knows that the magic is not yet arrived.

A stage without commercial trappings:

without solid doors and thick drapes;

uncluttered by pillars and arches, tables and chairs, windows and fireplaces;

sans orchestra, sans balcony, sans pit.

A stage revealing all its secrets. Profound as emptiness.

A stage in wait.

For in this world writ small – as in the globe around – the audience has nothing to know, nothing to learn, until the actor makes an entrance, and prepares to fight past our eyes to battle with those thoughts and fears which lurk in sheltered halls.

What’s Hecuba to him?

Why – nothing.

Merely a name on a page of script, a cue at which to turn his profile thus.

It is what Hecuba becomes to we who wait,

that turns the key upon the heavy gate.

DE

(image) https://media.timeout.com/images/101695099/image.jpg

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Every Stage Waits For Action On World Theatre Day

3405608142_9c99681644_o

The stage is as bare as my lady’s ass in his lordship’s bedchamber.

Rough-hewn in the most knockabout way, leaving splinters in the palace lawns of the imagination. There’s many a dip ‘twixt the trap and the lip.

It fares little better than hastily strewn boards covering parched ground, and barely enough elevation to keep the understanding masses at bay.

Were one fool enough to come from out the wings, and at centre front begin a soliloquy about the beauty of the wretched arena on which he stands, to fight the resulting and justified spontaneous combustion, there would not be found one drop of piss from any a thespian’s hose.

For who could allow this sacrilege to be spoken? Even the flag atop the pole knows that the magic is not yet arrived.

A stage without commercial trappings: without solid doors and thick drapes; uncluttered by pillars and arches, tables and chairs, windows and fireplaces; sans orchestra, sans balcony, sans pit.

A stage revealing all its secrets. Profound as emptiness.

A stage in wait.

For in this world writ small – as in the globe around – the audience has nothing to know, nothing to learn, until the actor makes an entrance, and prepares to fight past our eyes to do battle with those thoughts and fears which lurk in sheltered halls.

“What’s Hecuba to him?”

Why – nothing.

Merely a name on a page of script, a cue at which to turn his profile thus.

It is what Hecuba becomes to we who wait,

That turns the key upon the heavy gate.

DE

(image)https://farm4.staticflickr.com/3628/3405608142_9c99681644_o.jpg

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