A student, Leta Sundet, gave a presentation today about gratitude in Isak Dinesen’s story, Babette’s Feast . One of the things that hit home was the fact that the disaffected members of the little religious community are reconciled when by a bodily act - by beginning to use their taste . . . . Continue Reading »
Shylock has been played for sympathy frequently in the past century. But the sense that his character fits badly in a comedy is an old one. Already in 1709, Nicholas Rowe wrote, “Tho’ we have seen that Play Receiv’d and Acted as a Comedy, and the Part of the Jew performed by an . . . . Continue Reading »
In an old article in the Shakespeare Quarterly , Barbara Lewalski suggests that Merchant of Venice is a moralistic allegory depicting the character of Christian love. In the play, Christian love involves “giving and forgiving: it demands an attitude of carelessness regarding the things of . . . . Continue Reading »
Mahood again ( The Merchant of Venice (The New Cambridge Shakespeare) ), describing Shakespeare’s and Shylock’s use of the gospels in the play (p. 198-9). “On Shylock’s first meeting with Bassanio, his detestation of the Christians breaks out in the dactylic rhythm and harsh . . . . Continue Reading »
In an appendix to his edition of The Merchant of Venice (The New Cambridge Shakespeare) (pp. 197-8) , M. M. Mahood explores Shakespeare’s use of the Bible in the play. He notes the extensive echoes of the Jacob narrative, some explicit some not so much. “Shakespeare is unlikely ever to . . . . Continue Reading »
Paul Fiddes ( The Promised End: Eschatology in Theology and Literature (Challenges in Contemporary Theology) , 7) repeats a truism when he writes, “Poetic metaphor and narrative rejoice in ambiguity and the opening up of multiple meaning; doctrine will always seek to reduce to concepts the . . . . Continue Reading »
Louis Markos packs an awful lot into the 130 pages of his new Literature: A Student’s Guide (Reclaiming the Christian Intellectual Tradition) . The book is an introduction to poetry, with a chapter on metrics and rhyme and another on poetic tropes and imagery. Halfway through, it turns into a . . . . Continue Reading »
My tribute to the late Ray Bradbury is up at http://www.firstthings.com/ this morning. . . . . Continue Reading »
I had a fairly bookish childhood. I don’t mean that I was a sedentary youth; I spent a greater portion of my days out of doors than is normal for most children in our culture today, given our dread of strangers, our ignorance of our neighbors, and our bizarre belief that sports are things one . . . . Continue Reading »
In his Between Earth and Heaven: Shakespeare, Dostoevsky, and the Meaning of Christian Tragedy , Roger Cox analyzes the Aristotelian theory of tragedy and finds it, shall we say, wanting: “The Aristotelian doctrine of hamartia is completely misleading.” Cox doesn’t think it fits . . . . Continue Reading »
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