A historicist angle comes out in Patterson’s discussion of the passage in 2.1.155-64, where Theseus describes the origin of the flower that Puck squeezes into the eyes of the lovers. Since the late 19 th century, critics have seen here a veiled reference to Elizabeth, who escaped . . . . Continue Reading »
In an essay on MSND entitled “Bottom’s Up: Festive Theory,” Annabel Patterson lays a historicist treatment of the play that relies in equal parts on Barber’s theory of festive comedy, Victor Turner’s studies of ritual, and Bakhtin’s theory of comedy and . . . . Continue Reading »
Pamuk again, summarizing a comment from Proust concerning reading: “There is, he said, a part of us that stays outside the text to contemplate the table at which we sit, the lamp that illuminates the plate, the garden around us, or the view beyond. When we notice such things, we are at the . . . . Continue Reading »
In an essay on Notes from Underground , the Turkish novelist Orhan Pamuk suggests that Dostoevsky’s “anger was not a simply expression of anti-Westernism or hostility to European thinking: What Dostoyevsky[his spelling] resented was that European thought came to his country at second . . . . Continue Reading »
Notes on Comedy of Errors . 1) Garber points out that the play begins with a legal threat, a death sentence hanging over Egeon of Syracuse because of his visit to Ephesus. This is the crux of the problem in many of the comedies, and like other comedies, Comedy ends with the relief of the penalty of . . . . Continue Reading »
Some notes on Shakespeare’s Two Gentlemen of Verona . 1) Garber has a long helpful list of the devices first used in Two Gentlemen and repeatedly used in later plays: a love triangle that leads one heroine to find refuge with a friar; a second heroine who disguises herself as a boy to pursue . . . . Continue Reading »
In the Poetics , Aristotle gives a brief description of the character and history of comedy: ” Comedy is, as we have said, an imitation of characters of a lower type - not, however, in the full sense of the word bad, the ludicrous being merely a subdivision of the ugly. It consists in some . . . . Continue Reading »
It is often assumed that G. K. Chesterton and J. R .R. Tolkien were reactionary, antimodern writers. In a certain sense they were. Tolkien regarded nearly everything worthy of praise in English culture to have ended in 1066. He scorned the imposition of Norman culture on a vibrant English tradition . . . . Continue Reading »
According to Paul Quinn (in the TLS), Alexander Theroux’s 700-page Darconville’s Cat was a product of jilted love. “Do your worst,” she had said when Theroux threatened to expose her in fiction, and he did: Theroux “encrypted his former lover’s name in acrostics . . . . Continue Reading »
During one scene of King Lear, Edgar, disguised as Mad Tom, leads his father, Gloucester to the cliffs of Dover, where his father intends to throw himself down to his death. Only Edgar doesn’t go to Dover. He tells his father that he has reached Dover, and Gloucester ceremoniously . . . . Continue Reading »
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