In Natural Supernaturalism , M. H. Abrams notes the influence of the Bible on Romanticism: “A conspicuous Romantic tendency, after the rationalism and decorum of the Enlightenment, was a reversion to the stark drama and suprarational mysteries of the Christian story and doctrines and to the . . . . Continue Reading »
All the English Romantics were admirers of Milton. Blake wrote a quasi-epic poem in which Milton was the title character. Wordsworth took up Milton’s prophetic mantle, and was regarded by Coleridge as the Milton of his day. Keats conceived his own poetic mission as one of surpassing Milton, . . . . Continue Reading »
Hazlitt defends Helena’s ( All’s Well ) virtue in a gentlemanlike way: “The character of Helen is one of great sweetness and delicacy. She is placed in circumstances of the most critical kind and has to court her husband both as a virgin and a wife: yet the most scrupulous nicety . . . . Continue Reading »
Coleridge, on the other hand, stood up for Bertram: “I cannot agree with the solemn abuse which the critics have poured out upon Bertram in All’s Well that ends Well . He was a young nobleman in feudal times, just bursting into manhood, with all the feelings of pride of birth and . . . . Continue Reading »
Samuel Johnson said of Bertram in Shakespeare’s All’s Well that Ends Well : “I cannot reconcile my heart to Bertram, a man noble without generosity, and young without truth, who marries Helena as a coward and leaves her as a profligate; when she is dead by his unkindness, sneaks . . . . Continue Reading »
Belated help for a friend: Pastor Ralph Smith of the Mitaka Evangelical Church in Tokyo has produced an course entitled “Shakespeare the Christian.” The lectures cover Shakespeare’s debts to Christianity and his use of the Bible, and then analyze 10 of the plays in detail. Ralph . . . . Continue Reading »
It’s GKC, so who can argue? “It is difficult to approach critically so great a figure as that of Bottom the Weaver. He is greater and more mysterious than Hamlet, because the interest of such men as Bottom consists of a rich subconsciousness, and that of Hamlet in the comparatively . . . . Continue Reading »
In his most recent novel (really a short novella), On Chesil Beach , Ian McEwan returns to some of the concerns of his recent work: Arnold’s Dover Beach , the way “the entire course of a life can be changed” in an instant, coitus interruptus . McEwan’s writing is always . . . . Continue Reading »
Nuttall describes Love’s Labour’s Lost as manifesting an “hysteria of style” like the hysteria of Titus , but with a concentration on a “feast of languages.” The setting for the play is a humanist academy, but one that also follows a medieval rule of renunciation . . . . Continue Reading »
Patterson provides a neat summary of three popular theories of festive comedy. All attempt to locate the play socially, in some setting of festivity. First, some suggest that Shakespeare paid a compliment to Elizabeth since she was in the original audience, an audience for a noble wedding, alluded . . . . Continue Reading »
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