<<
That's something else again, Ken, and nothing whatsoever to do with anyone
I've mentioned.
I know. I added it anyway:-).
>>
So I'm dumb. So shoot me. (Or blame it on how email cancels out tone.)
<<
My American ex-fiancée got through her 18thC Phid exam by playing +The
Threepenny Opera+ on the way to the exam hall on her car cassette system.
I got through an 18th century field exam never having read Tom
Jones. Too
effing long and too much to do. Wild served me just fine. Long may he
gallows-dance and whoremonger.
>>
Shame on you. TJ is long, sure, but it's easy reading -- you could have
managed it on a longish train journey.
My favourite is +Joseph Andrews+, which I developed a complicated
post-modernist Borgesian theory of fictions around.
I never really liked JW, partly because I came on the Brecht/Weill version
earlier, and partly because of the complicated 18thC political subtext. Who
needs it?
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The Brecht/Weill version -- That Whorehouse That We Once Called Home -- is
easily better than the Fielding original.
They based that on Fielding? Hmmm. Talk about a couple of
highwaymen...
>>
You're joking? Of course they did.
Though I suppose it was Brecht who picked it up.
It has my two favourite songs, and I suppose more for Weill's music than
Brecht's words, which I can only get (being strictly sans-German) in
translation -- The Chambermaid's Song and the Pirate Jenny/Wild duet about
the Whorehouse.
Got the Cambridge CCCP thing organised -- all I need to do now (don't even
ask) is decide whether or not to comb the blood from my hair, and book a
taxi to the station.
The Cisco Kid.
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