William Allan Oram in a book on Spenser writes that “one of the fruitful false etymologies of the Renaissance was the derivation of HERO from EROS: by this understanding, love does not hinder noble deeds but spurs them on.” . . . . Continue Reading »
Also in the November 7 TLS (belatedly on my desk) is a review of Lukas Erne’s Shakespeare as Literary Dramatist , in which Erne challenges the popularly accepted notion that Shakespeare was writing for viewers rather than readers. He shows that plays were being written for publication in . . . . Continue Reading »
A review of Jeffrey Knapp’s Shakespeare’s Tribe in the November 7 TLS begins with the comment that Elizabethan dramatists approached their work with a missionary aim: “Countering the fears of religious commentators who believed acting to be nothing more than hypocrisy, this . . . . Continue Reading »
An interesting summary of the work of Nobel-prize winner J.M. Coetzee in the December 8 issue of The Weekly Standard . The reviewer, Michael Kochin, suggests that Coetzee, who is both an academic critic and a novelist, poses unique challenges to Western intellectuals, whether postmodern . . . . Continue Reading »
Exum quotes Arthur Miller on tragedy, and Miller I think gets things quite right: “It matters not at all whether a hero falls from a great height or a small one, whether he is highly conscious or only dimly aware of what is happening, whether his pride brings the fall or an unseen pattern . . . . Continue Reading »
Another student on Sir Gawain suggests that it represents a sort of Platonized protest against courtly love. Gawain lies passively in bed while the woman tries to seduce him, yielding only a chaste kiss. And his great fault was his love of physical, earthly life. A very plausible thesis. . . . . Continue Reading »
Another student suggests that the three temptations at the center of Sir Gawain show that Gawain is a Christ figure, tempted in bed as Jesus was tempted in the wilderness. Perhaps the analogies could be pressed, but it looks doubtful. Gawain as a Christ figure is less obvious than Gawain as a . . . . Continue Reading »
A student paper on Sir Gawain and the Green Knight suggests that in accepting the green girdle from the lady of the castle, Sir Gawain is changing his “lady” from the Virgin Mary to the green lady. That works at several levels: Sir Gawain has Mary’s portrait on the inside of his . . . . Continue Reading »
There’s a pretty devastating review of A.S. Byatt’s latest novel in the current issue of The New Republic . I’ve not kept pace with Byatt since I read Possession years ago, but I remember being impressed with Byatt’s erudition and range as a writer. The TNR reviewer, though, . . . . Continue Reading »
To what extent is modernity merely a recovery of the tragic? Tragedy, to my knowledge, simply didn’t exist in the medieval world. Drama revived late in the medieval period, but tragedy was reintroduced by the Renaissance. In Shakespeare, the tragic is set in a larger Christian comic setting, . . . . Continue Reading »
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