Ernst writes (from Rome):
It could be said to boil down to the matter of how consciously coherent that play we have in front of us is. It is clearly episodic, and, at the same time, a sense of coherence can be derived from it. I have limited belief in some of the themes here, not that they don't make sense looking at later plays. How, indeed, do themes develop in a playwright's mind? Are they consciously planned out in advance, or do they arrive slightly after such a play has been written and thought about?
I lean out a window in a stone building not far from the Campo di Fiore here in Rome--in order to catch an open website to deal with.
Musical Version of Bottom's Dream
1 day ago