memory theatre

What concerns me about the literary apocalypse that everybody now expects—the at least partial elimination of paper books in favor of digital alternatives—is not chiefly the books themselves, but the bookshelf. My fear is for the eclectic, personal collections that we bookish people assemble over the course of our lives, as well as for their grander, public step-siblings. I fear for our memory theaters.

—Nathan Schneider's "The New Memory Theater." The Smart Set (Nov. 19, 2010).

body forth

We body forth our ideals in personal acts, either alone or with others in society. We body forth felt experience in a poem’s image and sound. We body forth our inner residence in the architecture of our homes and common buildings. We body forth our struggles and our revelations in the space of theatre. That is what form is: the bodying forth. The bodying forth of the living vessel in the shapes of clay.

—M.C. Richards, Centering in Pottery, Poetry, and the Person (Wesleyan U. Press, 1969)

upstart crow

Nor must we forget, that, in his own life-time, Shakespeare was not Shakespeare, but only Master William Shakespeare of the shrewd, thriving business firm of Condell, Shakespeare & Co., proprietors of the Globe Theater in London; and by a courtly author, of the name of Chettle, was hooted at, as an "upstart crow" beautfied "with other birds' feathers."

—Herman Melville, "Hawthorne and His Mosses," The Literary World, August 17 and 24, 1850