Some notes toward a lecture on Hamlet. When Shakespeare put the story of Hamlet on stage in the early seventeenth century, the story was already an old one. Saxo Grammaticus, a 12th-century monk, told the story of Amleth, Prince of Jutland in his Historiae Danicae. According to Saxo’s version . . . . Continue Reading »
Dickens’ Tale of Two Cities rings the changes on the Girardian dynamic of mimetic violence. Blood evokes and demands more blood, until an oppressive and disordered ancien regime collapses into chaos. And the only path out of the game of violence and counter-violence is through Sidney . . . . Continue Reading »
AC Bradley’s 1904 lectures on Shakespearean tragedy are deservedly regarded as classics of criticism. His analysis of Hamlet is deservedly famous, particularly his discussion of the famed problem of Hamlet’s delay. He classifies theories of the delay into several large categories. First . . . . Continue Reading »
Coleridge wrote, “Shakespeare knew the human mind; and its most minute and intimate workings, and he never introduces a word, or a thought, in vain or out of place: if we do not understand him, it is our own fault or the fault of copyists and typographers; but study, and the possession of . . . . Continue Reading »
The following assembles raw material for a lecture on the uses and influence of Hamlet in Western thought over the last two centuries. I was greatly assisted by an essay by Margreta de Grazia, referenced several times in the following and available at eserver.org/emc/1-2/gdegrazia.html. . . . . Continue Reading »
In his history of Russian culture, James Billington notes the influence of Shakespeare’s Hamlet on modern Russian thought and drama. It was “one of the first plays to be regularly performed on the Russian stage,” so that “Hamlet became a kind of testing ground for the . . . . Continue Reading »
The influence of Hamlet, the play and the character, on modern literature is vast. Consider Hamlet as model for Prufrock: Zulfikar Ghose says the “I am not Hamlet” in Eliot’s Prufrock may be literal or ironic, but then adds: “the more one ponders the language of . . . . Continue Reading »
Herman Melville’s Pierre (1852) was, to put it mildly, not warmly received by critics. One newspaper headlined its review with “HERMAN MELVILLE CRAZY” and another reviewer complained that Melville’s fancy was diseased. Critics are divided over whether it is a grand failure . . . . Continue Reading »
At the climactic moment of reversal in the court scene in Merchant of Venice , Portia tells Shylock: “This bond doth give thee here no jot of blood.” “Jot” comes to English through the Greek iota , which is linked to the Hebrew YOD through Jesus’ usage in Matthew 5. At . . . . Continue Reading »
Philip Hardie argues that the shield of Aeneas in Virgil’s Aeneid makes significant use not only of the Homeric description of the shield of Achilles but of ancient allegorizations of Homer’s description: “The central feature of ancient exegesis is its insistence that the great . . . . Continue Reading »
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