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The only substantial text of a series of lectures on Shakespeare by S T Coleridge is that provided by J P Collier's Seven Lectures on Shakespeare and Milton. This edition is based on hitherto unpublished transcripts of these lectures.
Filling a gap in the study of early modern literature, Massimiliano Morini here exhaustively examines the aims, strategies, practice and theoretical ideas of the sixteenth-century translator. Morini analyzes early modern English translations of works by French and Italian essayists and poets, including Montaigne, Castiglione, Ariosto and Tasso, and of works by classical writers such as Virgil and Petrarch. In the process, he demonstrates how connected translation is with other cultural and literary issues: women as writers, literary relations between Italy and England, the nature of the author, and changes in the English language. Since English Tudor writers, unlike their Italian contemporaries, did not write theoretical treatises, the author works empirically to extrapolate the theory that informs the practice of Tudor translation - he deduces several cogent theoretical principles from the metaphors and figures of speech used by translators to describe translation. Employing a good blend of theory and practice, the author presents the Tudor period as a crucial transitional moment in the history of translation, from the medieval tradition (which in secular literature often entailed radical departure from the original) to the more subtle modern tradition (which prizes the invisibility of the translator and fluency of the translated text). Morini points out that this is also a period during which ideas about language and about the position of England on the political and cultural map of Europe undergo dramatic change, and he convincingly argues that the practice of translation changes as new humanistic methods are adapted to the needs of a country that is expanding its empire.
Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink
"Volume one attends to questions of style and genre. The first three chapters examine the longstanding debate about Milton's grand style and the question of whether it forfeits the native resources of English. Early critics saw Milton as the pre-eminent poet of 'apt Numbers' and 'fit quantity', whose verse is 'apt' in the specific sense of achieving harmony between sound and sense; twentieth-century anti-Miltonists faulted Milton for divorcing sound from sense; late twentieth-century theorists have denied the possibility that sound can 'enact' sense. These are extreme changes of critical perception, and yet the story of how they came about has never been told. These chronological chapters explain the roots of these changes and, in doing so, engage with the enduring theoretical question of whether it is possible for sound to enact sense"--