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George Hibbard has always endorsed T.S. Eliot's idea that 'we must know all of Shakespeare's work in order to know any of it,' and this idea, implicit in the first essay in this volume, informs the whole collection, written in honour of one of Canada's leading Shakespearian editors and scholars. The two essays which begin the collection present broad overviews of Elizabethan drama and discuss Shakespeare's first great editor, Theobald. Together with the final essay – on publication and performance in early Stuart drama – these form the frame of the mirror held up to Shakespeare in the other eighteen essays, whether they of general themes running through some or all of Shakespeare's plays or the plays his contemporaries, or whether they treat of specific plays. There is an especially rich concentration on Macbeth and Coriolanus.
Shakespeare has been dubbed the greatest psychologist of all time. This book seeks to prove that statement by comparing the playwright's fictional characters with real-life examples of violent individuals, from criminals to political actors. For Gilligan and Richards, the propensity to kill others, even (or especially) when it results in the killer's own death, is the most serious threat to the continued survival of humanity. In this volume, the authors show how humiliated men, with their desire for retribution and revenge, apocryphal violence and political religions, justify and commit violence, and how love and restorative justice can prevent violence. Although our destructive power is far greater than anything that existed in his day, Shakespeare has much to teach us about the psychological and cultural roots of all violence. In this book the authors tell what Shakespeare shows, through the stories of his characters: what causes violence and what prevents it.
Written in the midst of World War II after its author emigrated to America, "The Sea and the Mirror" is not merely a great poem but ranks as one of the most profound interpretations of Shakespeare's final play in the twentieth century. As W. H. Auden told friends, it is "really about the Christian conception of art" and it is "my Ars Poetica, in the same way I believe The Tempest to be Shakespeare's." This is the first critical edition. Arthur Kirsch's introduction and notes make the poem newly accessible to readers of Auden, readers of Shakespeare, and all those interested in the relation of life and literature--those two classic themes alluded to in its title. The poem begins in a theater after a performance of The Tempest has ended. It includes a moving speech in verse by Prospero bidding farewell to Ariel, a section in which the supporting characters speak in a dazzling variety of verse forms about their experiences on the island, and an extravagantly inventive section in prose that sees the uncivilized Caliban address the audience on art--an unalloyed example of what Auden's friend Oliver Sachs has called his "wild, extraordinary and demonic imagination." Besides annotating Auden's allusions and sources (in notes after the text), Kirsch provides extensive quotations from his manuscript drafts, permitting the reader to follow the poem's genesis in Auden's imagination. This book, which incorporates for the first time previously ignored corrections that Auden made on the galleys of the first edition, also provides an unusual opportunity to see the effect of one literary genius upon another.
Clear mirrors and The Geneva Bible, revolutionary innovations of the Elizabethan age, inspired Shakespeare’s drive towards a new purpose for drama. Shakespeare reversed the conventional mirror metaphor for drama, implying drama cannot reflect the substance of human nature, and developed a method of characterization, through metadrama, self-awareness and soliloquy, to project St. Paul’s idea of conscience onto the Elizabethan stage. This revolutionary method of characterization, aesthetic existence beyond performance, has long been sensed but remains frustratingly uncategorized. Shakespeare’s Mirrors charts the invention of a drama that staged the unstageable: St. Paul’s metaphysical conception of human nature glimpsed through a looking glass darkly.
Week after week, a wealthy white businessman rides the same bus, befriending a single black mom. As they get to know one another, their pasts unfold and tensions rise, igniting a disturbing and crucial exploration of race.
Shakespeare's plays, argues Lings, concern far more than the workings of the human psyche; they are sacred, visionary works that, through the use of esoteric symbol and form, mirror the passage the soul must make to reach its final sacred union with the divine.
An electrifying new study that investigates the challenges of the Bard’s inconsistencies and flaws, and focuses on revealing—not resolving—the ambiguities of the plays and their changing topicality A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn’t tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. In This Is Shakespeare, Emma Smith—an intellectually, theatrically, and ethically exciting writer—takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd (the Spielberg and Tarantino of their day), flirting with and skirting around the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex. Instead of offering the answers, the Shakespeare she reveals poses awkward questions, always inviting the reader to ponder ambiguities.
In particular, we see the full variety of erotic connections, from the "star-crossed" devotions of Romeo and Juliet to the failed romance of Troilus and Cressida to the problematic friendship of Falstaff and Hal.".
Bronwen Wallace Memorial Award-winning poet Sonnet L'Abbé returns with her third collection, in which a mixed-race woman decomposes her inheritance of Shakespeare by breaking open the sonnet and inventing an entirely new poetic form. DOROTHY LIVESAY POETRY PRIZE FINALIST RAYMOND SOUSTER AWARD FINALIST How can poetry grapple with how some cultures assume the place of others? How can English-speaking writers use the English language to challenge the legacy of colonial literary values? In Sonnet's Shakespeare, one young, half-dougla (mixed South Asian and Black) poet tries to use "the master's tools" on the Bard's "house," attempting to dismantle his monumental place in her pysche and in the poetic canon. In a defiant act of literary patricide and a feat of painstaking poetic labour, Sonnet L'Abbé works with the pages of Shakespeare's sonnets as a space she will inhabit, as a place of power she will occupy. Letter by letter, she sits her own language down into the white spaces of Shakespeare's poems, until she overwhelms the original text and effectively erases Shakespeare's voice by subsuming his words into hers. In each of the 154 dense new poems of Sonnet's Shakespeare sits one "aggrocultured" Shakespearean sonnet--displaced, spoken over, but never entirely silenced. L'Abbé invented the process of Sonnet's Shakespeare to find a way to sing from a body that knows both oppression and privilege. She uses the procedural techniques of Oulipian constraint and erasure poetries to harness the raw energies of her hyperconfessional, trauma-forged lyric voice. This is an artist's magnum opus and mixed-race girlboy's diary; the voice of a settler on stolen Indigenous territories, a sexual assault survivor, a lover of Sylvia Plath and Public Enemy. Touching on such themes as gender identity, pop music, nationhood, video games, and the search for interracial love, this book is a poetic achievement of undeniable scope and significance.
“Utterly delicious, original, witty, hilarious and brilliant. Shakespeare in Love on magic mushrooms. The Bard has never been this much fun.” —Christopher Buckley, New York Times-bestselling author A tale of two Shakespeares . . . Struggling UC Santa Cruz grad student Willie Shakespeare Greenberg is trying to write his thesis about the Bard. Kind of . . . Cut off by his father for laziness, and desperate for dough, Willie agrees to deliver a single giant, psychedelic mushroom to a mysterious collector, making himself an unwitting target in Ronald Reagan’s War on Drugs. Meanwhile, would-be playwright (and oppressed Catholic) William Shakespeare is eighteen years old and stuck teaching Latin in the boondocks of Stratford-upon-Avon. The future Bard’s life is turned upside down when a stranger entrusts him with a sacred relic from Rome . . . This, at a time when adherents of the “Old Faith” are being hanged, drawn, and quartered as traitors. Seemingly separated in time and place, the lives of Willie and William begin to intersect in curious ways, from harrowing encounters with the law (and a few ex-girlfriends) to dubious experiments with mind-altering substances. Their misadventures could be dismissed as youthful folly. But wise or foolish, the bold choices they make will shape not only the “Shakespeare” each is destined to become . . . but the very course of history itself. “Hilarious, fascinating . . . a cunningly witty, frolicsome, time-warping bildungsroman . . . Winfield slings bucketfuls of double-entendres and wily puns, and he slips in hilarious variations on Shakespeare’s best-known lines . . . Winfield’s high-spirited tribute is a celebration of the power of language and story.” —Los Angeles Times