Looking down at Aeschylus

I was here last week:

The Acropolis is stunning. But I also spent a good bit of time looking down from the Acropolis at this place:

This is the Theater of Dionysus. (Wikipedia gives you a better view of it.) It’s where Western drama began, where the plays of Aeschylus, Sophocles, Euripides, and Aristophanes were first performed in the fifth century BCE. And if that doesn’t make you shiver, what will?

(By the way, Mary Renault’s The Mask of Apollo gives a vivid depiction of what it was like to be an actor in the ancient Greek theater.)

First Rowling, then Shakespeare… who’s next?

The Times today has an article about the possibility that Shakespeare wrote a passage in an edition of The Spanish Tragedy, an early Elizabethan play by Thomas Kyd.  The original computer analysis (by Brian Vickers) was very similar to that used to suggest that J. K. Rowling was the author of The Cuckoo’s Calling, which we talked about here.  Big Think describes what Vickers did:

Sir Brian has employed software called Pl@giarism–a free program developed by Maastricht University to catch law students cheating on their written work–to search a database of the 58 different plays performed in London between 1580 and 1595. But Sir Brian isn’t looking to catch anyone cheating. Rather, he is looking for examples of so-called “self-plagiarism.” The Pl@giarism software identifies every occasion that a sequence of three words appears in Shakespeare’s known works, and then looks for repetitions of these sequences in an unattributed text. Some of these word sequences are common, everyday collocations such as “by the way” or “Yes, my lord.”

Excluding those phrases, Sir Brian focuses on word sequences that are unique to Shakespeare. For instance, the word sequence “eyebrows jutty over” appears only twice in all of Elizabethan drama. One instance is in Shakespeare’s Henry V, written in approximately 1599. The only other instance is found in the fourth edition of Thomas Kyd’s “The Spanish Tragedy,” published in 1602. This version contains additions to five scenes, totaling 320 lines. In these short passages, Sir Brian found 46 collocation matches that are completely unique to Shakespeare’s poems and plays written before 1596. That evidence is hard to argue with.

What got the Times’ attention was another paper that focuses on Shakespeare’s handwriting and how that helps explain oddities in the passage:

In a terse four-page paper, to be published in the September issue of the journal Notes and Queries, Douglas Bruster argues that various idiosyncratic features of the Additional Passages — including some awkward lines that have struck some doubters as distinctly sub-Shakespearean — may be explained as print shop misreadings of Shakespeare’s penmanship.

“What we’ve got here isn’t bad writing, but bad handwriting,” Mr. Bruster said in a telephone interview.

What I couldn’t find in a cursory Google search was the actual passage in question.  It’s easy enough, though, to find the standard sample of Shakespeare’s messy handwriting–the passage from the manuscript of the play Sir Thomas More that is generally agreed to be by Shakespeare: