Dana Gioia has a very sensible and positive review of Garrison Keillor’s Good Poems in the April 2004 issue of Poetry . Gioia admits that he at first reacted sniffily at the title and the editor of this anthology, but he says that over several months of reading the poetry he came to . . . . Continue Reading »
A student points out a weakness in Stanley Fish ‘s reader-response treatment of Milton’s Satan, the notion that Milton deliberately makes Satan attractive and powerful not because Milton is of the devil’s party but because he is trying to run the reader through the same experience . . . . Continue Reading »
Sir Reginald Piddleby-Squeak was in a pickle. The pickle he was in was no ordinary pickle, but a pickle of the most unusual size and sourness, a pickle from which he had no prospects of being rapidly extracted. He expected at any moment that he would begin turning green and breaking out in small garlicky lumps. It all started a week ago Monday, Monday of course being the day when Sir Reginald met at the golf club with his schoolfellows, Sir Allan Pennymain and the Right Rev. Harold Puffmelon. Harold was wearing his clerical collar under a worn wool sweater, and Sir Allan was questioning him closely about his attire. ?Why must you wear that holy shirt when we?re on the golf course? Does the Archbishop forbid you to remove it??E Continue Reading »
Elizabethans viewed Rome through two historical lenses. On the one hand, Rome was for Elizabethans the great civilization of antiquity. They knew less of Greece than we do, and almost nothing of ancient Egypt or Babylon, much less China. When they traced their cultural genealogy, they traced it back to Rome rather than Athens. As Dartmouth scholar Peter Saccio has pointed out, Rome was more than a historical artefact for Englishmen. Ancient Roman history provided examples of morality and immorality, illustrations of honor and dishonor, parables of political triumphs and political catastrophes. Learning about Rome was part of an educated Elizabethan’s moral and political education. It is no accident that American descendants of Elizabethans studded Washington, D.C., with Roman architecture, nor that Madison, Hamilton, and Jay adopted the Latin pen name Publius when they wrote the Federalist Papers. Continue Reading »
Watching the closing courtroom scene of The Merchant of Venice , I was struck by how allegorical it is. First, there’s Antonio, threatened with death for a debt that really was incurred by Bassanio. Second, he’s threatened by a Jew. Third, Shylock says something like “his blood be . . . . Continue Reading »
Further reflection on Scott: His anti-romanticism, as I suggested, is a common theme in early novel-writing. Defoe furnishes another example. Robinson Crusoe is warned by his father against running off to sea and seeking adventure, but Robin is unwilling to settle down to a boring middle-class . . . . Continue Reading »
Scott is the romantic’s romantic, and yet his novels display the struggle against romance that is common in early novel-writing ( Don Quixote ; Northanger Abbey ). Edward Waverley , the “hero” of the first of Scott’s novels, goes through various adventures with the Jacobite . . . . Continue Reading »
As I’ve thought more about the issues of comedy and tragedy, it has become clear that Christianity not only brings “deep comedy,” but also produces a deepening of tragic sensibility. In one sense, Christianity is utterly opposed to tragedy and its outlook: the religious world of . . . . Continue Reading »
Malvolio, the steward of Olivia’s house in Twelfth Night , has been a problematic figure for many readers and critics. Charles Lamb, who with his wife wrote a book of narrative versions of the plays, saw Malvolio as a tragic figure: “Malvolio is not essentially ludicrous. He becomes . . . . Continue Reading »
From Eugene Vinaver, on the development of Romance literature in the high middle ages: In the third quarter of the twelfth century, some ten or fifteen years after the disaster of the Second Crusade, a remarkable event occurred on the European literary scene . . . . A series of French verse . . . . Continue Reading »
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