DOCSLIB.ORG

Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction Notes Introduction 1. Act, scene, and line numbers are, unless otherwise indicated, keyed to The RSC Shakespeare: Complete Works, ed. by Jonathan Bate and Eric Rasmussen (London: Palgrave, 2007). 2. Lytton Strachey, ‘Shakespeare’s Final Period’, in Book and Characters, French and English (London: Chatto & Windus, 1922), pp. 47–64. Compare Gordon McMullan, Shakespeare and the Idea of Late Writing: Authorship in the Proximity of Death (Cambridge: Cambridge University Press, 2007), p. 54, p. 96, and p. 162. 3. Frank McGuinness, ‘Foreword’, in Shakespeare and Ireland: History, Politics, Culture, ed. by Mark Thornton Burnett and Ramona Wray (London: Macmillan, 1997), pp. xi–xii (p. xi). 4. Mark Thornton Burnett, ‘Introduction’, in ibid., pp. 1–5 (p. 1). 5. Janet Clare and Stephen O’Neill, ‘Introduction: Interpreting Shakespeare in Ireland’, in Shakespeare and the Irish Writer, ed. by Janet Clare and Stephen O’Neill (Dublin: University College Dublin Press, 2010), pp. 1–23 (pp. 1 and 2). 6. See Declan Kiberd, Inventing Ireland: The Literature of the Modern Nation (London: Vintage, 1996), pp. 268–85. 7. Robin E. Bates, Shakespeare and the Cultural Colonization of Ireland (New York: Routledge, 2008), p. 33. 8. Ibid., p. 9. 9. Rebecca Steinberger, Shakespeare and Twentieth-Century Irish Drama: Conceptualizing Identity and Staging Boundaries (Aldershot: Ashgate, 2008), p. 1. 10. See Yeats, ‘The Celtic Element in Literature’, in Early Essays (2007), ed. by George Bornstein and Richard J. Finneran, The Collected Works of W.B. Yeats, ed. by George Mills Harper and George Bornstein, 14 vols (New York: Scribner, 1990–2008), IV, pp. 128–38, for an early defence. See Ben Levitas, The Theatre of Nation: Irish Drama and Cultural Nationalism 1890–1916 (Oxford: Clarendon, 2002), for a discussion of his ongoing antagonism with D.P. Moran in this context. Moran established his weekly review in 1900 with the help of Irish economist Father Thomas Finlay and a dissident fac- tion of the Gaelic League in Dublin to serve as a clericalist rival to Arthur Griffith’s secularist newspaper, United Irishman. 11. ‘Hamlet among the Celts’, The Leader, 2 July 1904, pp. 300–2. 12. Patrick Maume, ‘Introduction’, in D.P. Moran, The Philosophy of Irish Ireland, ed. by Patrick Maume (Dublin: University College Dublin Press, 2006), pp. vii–xxxi (p. xvi). 13. ‘The Bigots of the Wood’, The Leader, 29 October 1904, pp. 152–3. 14. Moran, Irish Ireland, pp. 100–1. 15. Ibid., p. 102. 16. Ibid., pp. 102–3. 175 176 Notes 17. Ibid., p. 103. 18. Ibid., p. 79. 19. Ibid., pp. 21–2. 20. Ibid., p. 22. 21. See Matthew Creasy, ‘“Hamlet among The Celts”: Shakespeare and Irish Ireland’, in Clare and O’Neill, Shakespeare and the Irish Writer, pp. 79–94. Creasy points out that these initials stand for ‘A Man Who Was There’, the pseudonym used by the satirist John Swift (p. 83). He also provides a more complete account of Swift’s contributions to The Leader’s regular series of political travesties than those discussed here. 22. Michel Foucault, ‘What is an Author?’, in The Foucault Reader, ed. by Paul Rabinow and trans. by Josué Harari (New York: Pantheon Books, 1984), pp. 101–20 (p. 108). 23. Jean I. Marsden, ed. The Appropriation of Shakespeare: Post-Renaissance Reconstructions of the Works and the Myth (London: Harvester Wheatsheaf, 1991), p. 8. 24. Graham Holderness, ‘“Dressing Old Words New”: Shakespeare, Science, and Appropriation’, Borrowers and Lenders 1.2 (Fall/Winter, 2005), § II. This discussion owes a great deal to his section on the many recent studies of Shakespeare and appropriation that I have also referenced here. 25. Christy Desmet, ‘Introduction’, in Shakespeare and Appropriation, ed. by Christy Desmet and Robert Sawyer (London: Routledge), pp. 1–12 (p. 4). 26. Ibid., p. 12. 27. Holderness, ‘“Dressing Old Words New”’, § III. 28. Desmet, ‘Introduction’, pp. 3 and 10. 1 Matthew Arnold 1. See the ‘Preface’ to The Afternoon Lectures on English Literature, 1st series, ed. by Robert Henry Martley and Richard Denny Urlin (London: Bell and Daldy; Dublin: Hodges, Smith and McGee, 1863). 2. See James Byrne, ‘On the Influence of the National Character on English Literature’, in The Afternoon Lectures on English Literature, 1st series, pp. 3–40. 3. Ibid., p. 24. 4. Ernest Renan, Poetry of the Celtic Races and Other Essays, trans. by William G. Hutchinson (London: W. Scott, 1896), p. 8. 5. As Roy Foster has observed, the Fenians’ ‘importance was to sustain repub- lican separatism as part of the political language of mid-nineteenth-century Ireland; and, in a sense, to make it respectable’. See Foster, Modern Ireland 1600–1972 (Harmondsworth: Penguin, 1988), p. 395. 6. See Richard English, Irish Freedom: The History of Nationalism in Ireland (London: Macmillan, 2006), pp. 179–92. 7. The Irish People, 20 January 1866. Quoted in ibid., p. 180. 8. ‘The Ancient Fenians and Fenian Literature’, Cornhill Magazine, January 1866, pp. 121–8 (pp. 121 and 125). 9. The Letters of Matthew Arnold, ed. by Cecil Y. Lang, 6 vols (Charlottesville, VA: University Press of Virginia, 1996–2001), III, p. 55. Notes 177 10. Matthew Arnold, On the Study of Celtic Literature, in Lectures and Essays in Criticism, The Complete Prose Works of Matthew Arnold, ed. by R.H. Super, 11 vols (Ann Arbor: University of Michigan Press, 1960–77), III, pp. 291–386 (p. 386). Indeed, these are the last words of Arnold’s lectures to his Oxford audience. 11. In 1965, Rachel Bromwich identified ‘two separate forms’ that Arnold’s influence took. The first she developed out of the immediate impact that Arnold’s ideas registered ‘upon critics and poets writing in English’, an influence that Yeats would qualify with his essay on ‘The Celtic Element in Literature’ (1897, 1902). ‘The second, and the more fruitful and permanent result of his lectures’, she argued, ‘was that he inaugurated in this country [England] a dispassionate and scholarly attitude towards Celtic Studies, which made possible their acceptance here as a serious academic discipline.’ See Rachel Bromwich, Matthew Arnold and Celtic Literature: A Retrospect, 1865–1965 (Oxford: Clarendon, 1965), p. 1. 12. Joep Leerssen, ‘Englishness, Ethnicity and Matthew Arnold’, European Journal of English Studies, 10.1 (2006), 63–79 (p. 74). 13. As Seamus Deane observes, ‘Gaelic poetry was widely thought to be in itself a guarantee of authentic feeling with the corollary, felt since the 1760s, that English literature could well do with a new access of “primitive” energy to restore to it a lost, pristine vigour’. See Deane, Celtic Revivals: Essays in Modern Irish Literature, 1880–1980 (London: Faber and Faber, 1985), p. 14. 14. Arnold, ‘Introduction to On the Study of Celtic Literature’, The Complete Prose Works of Matthew Arnold, III, pp. 387–95 (p. 393). 15. Arnold, Letters, III, p. 29. 16. Willy Maley, ‘British Ill Done? Recent Work on Shakespeare and British, English, Irish, Scottish and Welsh Identities’, Literature Compass 3.3 (2006), 487–512 (p. 493). 17. Leerssen, ‘Englishness, Ethnicity and Matthew Arnold’, p. 65. 18. Arnold, On the Study of Celtic Literature, p. 378. 19. Arnold, ‘Introduction to On the Study of Celtic Literature’, p. 393. See Deane, ‘Arnold, Burke and the Celts’, in Celtic Revivals (pp. 21–7) for a discussion of how Arnold drew on Edmund Burke’s political writings in these lectures and his Irish Essays (1882). 20. Arnold, On the Study of Celtic Literature, pp. 339–49. 21. Ibid., p. 344. 22. Ibid., 379. 23. Ibid., p. 378, p. 379. 24. Ibid., p. 383. 25. Philip Edwards, ‘Shakespeare and the Politics of the Irish Revival’, in The Internationalism of Irish Literature and Drama, ed. by Joseph McMinn, Irish Literary Studies Series 41 (Gerrards Cross: Colin Smythe, 1992), pp. 46–62 (p. 51). 26. Quoted in Arnold, On the Study of Celtic Literature, p. 340–1. 27. Leerssen, ‘Englishness, Ethnicity and Matthew Arnold’, p. 69. 28. Arnold, On the Study of Celtic Literature, p. 299, note. 29. Ibid., p. 376. 30. Ibid., p. 363. 31. Reproduced from Arnold’s lectures, p. 379. 178 Notes 32. Arnold, On the Study of Celtic Literature, p. 380. 33. Ibid., p. 379. Arnold’s italics. 34. These references pile one ‘and’ on another, as Terence Hawkes might have argued, building up to the present ‘and’ of Jessica’s escape into the night with her ‘unthrift love’. As Hawkes has argued in Meaning by Shakespeare, ‘repetition, or the generation of more of the same, itself becomes the basis for change and the construction of difference’. See Hawkes, Meaning by Shakespeare (London: Routledge, 1992), p. 22. 35. Arnold, On the Study of Celtic Literature, p. 380. 36. Ibid., p. 358. 37. To distinguish between Thomas Arnold (1795–1842) and his son Matthew (1822–88), I refer to the former as Dr Arnold – he had his doctorate in divinity – and the latter as simply Arnold. 38. Thomas Hughes, Tom Brown’s Schooldays (London: Dent, 1957), p. 65. 39. John Honey, Does Accent Matter? The Pygmalion Factor (London: Faber and Faber, 1991), p. 26. 40. Ibid., p. 27. 41. Arnold, Letters, II, p. 329. 42. Arnold, On the Study of Celtic Literature, p. 347. 43. Kiberd, Inventing Ireland, p. 30. 44. Arnold, Letters, I, p. 105. 45. Arnold, Culture and Anarchy, in The Complete Prose Works of Matthew Arnold, V, passim. 46. Leerssen in ‘Englishness, Ethnicity and Matthew Arnold’ (p. 71) has sug- gested the same, but places the inflection on the conflict between Arnold and his father. Therefore, the balance tilts towards the Teutonic in Leerssen’s estimation of Arnold’s ancestry. 47. E.H. Coleridge, Life and Correspondence of John Duke Lord Coleridge, Lord Chief Justice of England, 2 vols (London: Heinemann, 1904), I, p.
Load more

Recommended publications
  • Non-Traditional Authorship Attribution Studies of William Shakespeare’S Canon: Some Caveats
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Firenze University Press: E-Journals Journal of Early Modern Studies, n. 5 (2016), pp. 307-328 DOI: http://dx.doi.org/10.13128/JEMS-2279-7149-18094 Non-Traditional Authorship Attribution Studies of William Shakespeare’s Canon: Some Caveats Joseph Rudman Carnegie Mellon University (<[email protected]>) Abstract The paper looks at the problems in conducting non-traditional authorship attribution studies on the canon of William Shakespeare. After a short introduction, the case is put forth that these studies are ‘scientific’ and must adhere to the tenets of the scientific method. By showing that a complete and valid experimental plan is necessary and pointing out the many and varied pitfalls (e.g., the text, the control groups, the treatment of errors), it becomes clear what a valid study of Shakespearean non-traditional authorship attribution demands. I then come to the conclusion that such a valid study is not attainable with the limits of present-day knowledge. Keywords: Attribution, Authorship, Shakespeare, Statistics, Stylistics It is not possible, in the compass of a single essay, to deal with very many – let alone all – of the tests by which investigators in their wisdom or folly have sought to prove authorship by style. (Schoenbaum 1966, 197) 1. Introduction There are a few ‘givens’ framing this paper: 1) William Shakespeare was an actor and playwright – exactly who he was is not relevant here. 2) The First Folio constitutes the basis of what has come down to us as Shakespeare’s canon.1 1 Non-traditional authorship attribution studies are those that make use of stylistics, statistics, and the computer.
    [Show full text]
  • ROMANTIC CRITICISM of SHAKESPEARIAN DRAMA By
    ROMANTIC CRITICISM OF SHAKESPEARIAN DRAMA By JOHN g,RAWFORD Associate of Arts Texarkana College Texarkana, Texas 1956 Bachelor of Science in Education Ouachita Baptist University Arkadelphia, Arkansas 1959 Master of Science in Education Drake University Des Moines, Iowa 1962 Submitted to the faculty of .the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION May, 1968 OKLAHOMA STATE UNIVERSITY LIBRARY OCT 24 1968 ROMANTIC CRITICISM OF SHAKESPEARIAN DRAMA Thesis Approved: Thesis Adviser \ f ,A .. < \ Dean of the Graduate College ii ACKNOWLEDGMENTS I should like to· thank anumber·of people who helped me in many different ways during· the·preparation· of .this dissertation, notably Dr. David· S. Berkeley,·major adviser, who-lent words of encouragement, guidance, understanding, and patience; but also my committee members, Dr. Darrel Ray·, Pr~ Judson Milburn, and· .Dr~- Loyd Douglas; and. the Oklahoma State University library staff, especially Miss Helen Donart and Mrs • .:fosephine Monk. iii TABLE-OF CONTENTS Chap tel' Page. I. INTRODUCTION •••• 1 II. HAMLET .••• . ' . .. ... 29 III. ANTONY -~ CLEOPATRA • • • • . • • . • • • It • . • • . • .• • a1 ·IV. HENRYV· . ,. ". .• . 122 V. THE· MERCHANT ·QE. VENICE .- . "' . 153 VI. CONCLUSION • • ' . -. ,. 187 BIBLIOGRAPHY • • • • · • . .. 191 iv CHAPTER I INTRODUCTION Of all the so-called schools of Shakespearian criticism, the Romantic has been and continues to be one of the most influential. Per- haps this is true merely because of the impor~ance which the Romantic School places upon the genius of the subj~ct, for all schools of criti- cism recognize Shakespeare's ability at creating effective drama. A more accurate answer, however, probably lies in the fact that "romanti- cism" has a broad base and encompasses so very much.
    [Show full text]
  • The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
    The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved.
    [Show full text]
  • CYMBELINE" in the Fllii^Slhi TI CENTURY
    "CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production.
    [Show full text]
  • The Picture of Nobody: Shakespeare's Anti-Authorship
    The Picture of Nobody: Shakespeare’s anti-authorship RICHARD WILSON Contributor: Richard Wilson is the Sir Peter Hall Professor of Shakespeare Studies at Kingston University, London. His books include Will Power, Secret Shakespeare, and Shakespeare in French Theory. He is the author of numerous articles in academic journals, and is on the editorial board of the journal Shakespeare. 1. Bare life At the end, ‘his nose was as sharp as a pen’ as he ‘babbled of green fields’ (Henry V, 2,3,15). In September 1615, a few weeks before Shakespeare began to make his will and a little over six months before his death, Thomas Greene, town clerk of Stratford, wrote a memorandum of an exchange biographers treasure as the last of the precious few records of the dramatist’s spoken words: ‘W Shakespeares tellyng J Greene that I was not able to beare the enclosinge of Welcombe’.1 John Greene was the clerk’s brother, and Shakespeare, according to previous papers, was their ‘cousin’, who had lodged Thomas at New Place, his Stratford house. So the Greenes had appealed to their sharp-nosed kinsman for help in a battle that pitted the council against a consortium of speculators who were, in their own eyes, if ‘not the greatest… almost the greatest men of England’.2 The plan to enclose the fields of Welcombe north of the town was indeed promoted by the steward to the Lord Chancellor, no less. But the predicament for Shakespeare was that it was led by his friends the Combes, rich money-lenders from whom he had himself bought 107 acres adjacent to the scheme.
    [Show full text]
  • Pound/Stevens: Whose Era? Author(S): Marjorie Perloff Source: New Literary History, Vol
    Pound/Stevens: Whose Era? Author(s): Marjorie Perloff Source: New Literary History, Vol. 13, No. 3, Theory: Parodies, Puzzles, Paradigms (Spring, 1982), pp. 485-514 Published by: The Johns Hopkins University Press Stable URL: https://www.jstor.org/stable/468795 Accessed: 05-05-2019 13:21 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/468795?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to New Literary History This content downloaded from 174.203.1.64 on Sun, 05 May 2019 13:21:31 UTC All use subject to https://about.jstor.org/terms Pound/Stevens: Whose Era? Marjorie Perloff O N 26 October 1955 William Carlos Williams wrote to Ezra Pound at St. Elizabeth's, asking him if he would care to com- ment on the obituary essay he had just written on Wallace Stevens, then two months dead, for Poetry magazine. Pound replied: ... as to yr/ pal/ Wally S/....it wd/ be highly improper for me to have opinions of yr/ opinion of a bloke I haven't read and DOUBT like all hell that yu will be able to PURR-suade me to venture on with such a hellUVAlot I don't know and WANT to find out.1 If this sounds unnecessarily dismissive, compare it to Stevens's curi- ously similar response to Pound.
    [Show full text]
  • Review of Literary Records
    Shakespearean Biografiction: How modern biographers rely on context, conjecture and inference to construct a life of the Bard A thesis submitted for the degree of Doctor of Philosophy Department of Arts and Humanities Brunel University By Kevin Gilvary November 2014 ii Candidate Kevin Gilvary (1955- ) B.A. (Hons), Classics, Southampton, 1976 M.A., Classics, Southampton, 1978 M.A. (Ed), Language in Education, Southampton 1996 P.G.C.E., Institute of Education, London, 1980 Doctoral Study 2007-2014 (part-time), Brunel University Supervisor 1 Professor William Leahy, School of Arts, Brunel University Supervisor 2 Dr. Sean Gaston, School of Arts, Brunel University Examiner 1 Professor Tom Betteridge, School of Arts, Brunel University Examiner 2 Professor Tom Healey, University of Sussex iii Abstract Modern biographies of William Shakespeare abound: new studies appear almost every year, each claiming new research and new insights, while affirming that there are enough records for a documentary life. In this thesis, I argue that no biography of Shakespeare is possible due to insufficient material, that most of what is written about Shakespeare cannot be verified from primary sources, and that Shakespearean biography did not attain scholarly or academic respectability until Samuel Schoenbaum’s Documentary Life (1975). The thesis therefore is concerned with demythologising Shakespeare by exposing numerous “biogra-fictions.” I begin by reviewing the history and practice of biography as a narrative account of a person’s life based on primary sources. Next I assess the very limited biographical material for Shakespeare identifying the gaps, e.g. there is no record that he spent any of his childhood in Stratford or ever attended school.
    [Show full text]
  • The Cea Forum 2013
    Summer/Fall THE CEA FORUM 2013 Book Review Gordon Bowker, James Joyce: A New Biography New York: Farrar, Straus and Giroux, 2011. ($35.00) Lee Brewer Jones Georgia Perimeter College Online Regarding Gordon Bowker’s new James Joyce biography, one question immediately springs to mind: why? Herbert Gorman’s 1939 biography was authorized, and Richard Ellman’s 1959 work, although hoary, is still venerated. Bowker begins by acknowledging he must “stand on the shoulders of these and other books” (xi). Then, he asserts he “will attempt to go beyond the mere facts and tap into Joyce’s elusive consciousness” (8). Bowker’s biography, furthermore, “is informed by the belief that it is enlightening to view the work of a highly autobiographical writer like Joyce in the context of his life” (8). What Bowker does not state is that Gorman’s biography, overseen by the author himself, borders on hagiography. Ellman, too, labored at a time when members of Joyce’s family and some of his fiercest protectors survived. Both the passing of these individuals and the wealth of material discovered since Ellman revised his book in 1982 justify a writer with Bowker’s perspective reexamining the “riverrun” (5) that constitutes Joyce’s life and work. Bowker divides the 540 pages of James Joyce: A New Biography purely by chronology into 35 chapters, some covering only a few months of a capstone year, such as 1904. Each chapter receives its own title; one memorable choice is “Ulysses: Inside the Dismal Labyrinth 198 www.cea-web.org Summer/Fall THE CEA FORUM 2013 (1920 – 1921).” Writing in a straightforward style, Bowker plumbs both the shallows and the depths of the Liffey, the river that meanders throughout Joyce’s works even though he rarely saw it after 1904, when he was in his early twenties, and never at all after 1912.
    [Show full text]
  • 6 X 10.5 Long Title.P65
    Cambridge University Press 978-0-521-63069-6 - The Cambridge Introduction to Ezra Pound Ira B. Nadel Frontmatter More information The Cambridge Introduction to Ezra Pound Ezra Pound is one of the most visible and influential poets of the twentieth century. He is also one of the most complex, his poetry containing historical and mythical allusions, experiments of form and style and often controversial political views. Yet Pound’s life and work continue to fascinate. This Introduction is designed to help students reading Pound for the first time. Pound scholar Ira B. Nadel provides a guide to the rich webs of allusion and stylistic borrowings and innovations in Pound’s writing. He offers a clear overview of Pound’s life, works, contexts and reception history and of his multidimensional career as a poet, translator, critic, editor, anthologist and impresario, a career that placed him at the heart of literary modernism. This invaluable and accessible introduction explains the huge contribution Pound made to the development of modernism in the early twentieth century. irab.nadelis Professor of English at the University of British Columbia. He is the editor of The Cambridge Companion to Ezra Pound (1999). © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63069-6 - The Cambridge Introduction to Ezra Pound Ira B. Nadel Frontmatter More information Cambridge Introductions to Literature This series is designed to introduce students to key topics and authors. Accessible and lively, these introductions will also appeal to readers who want to broaden their understanding of the books and authors they enjoy. r Ideal for students, teachers, and lecturers r Concise, yet packed with essential information r Key suggestions for further reading Titles in this series: Eric Bulson The Cambridge Introduction to James Joyce John Xiros Cooper The Cambridge Introduction to T.
    [Show full text]
  • Reading the Margins of Joyce's Dubliners
    Colby Quarterly Volume 18 Issue 2 June Article 6 June 1982 "Chronicles of Disorder": Reading the Margins of Joyce's Dubliners Joseph C. Voelker Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 18, no.2, June 1982, p.126-144 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Voelker: "Chronicles of Disorder": Reading the Margins of Joyce's Dubliner "Chronicles of Disorder": Reading the Margins of Joyce's Dubliners by JOSEPH C. VOELKER lIKE Flaubert's Madame Bovary, Joyce's Dubliners is a book which L derives its power from ambivalence. Of the two writers, Joyce is perhaps the more generous, for while Flaubert could qualify his hatred only in the case of his heroine, Joyce found himself to be of two minds toward an entire city. All his life, Joyce oscillated between injured rage at the parochial closed-mindedness of Dublin and a grudging fondness for its inexplicable and unsteady joie de vivre. It is strange, therefore, that even sensitive readers of Dubliners have agreed to see a very singleminded Joyce lurking behind the realism of his narrative. Perhaps because of the shrillness of his letters at the time, we have come to envision the young Joyce as a nlalignant artist, crafting maledictory leitmotivs out of coffins, priests, books, and gold florins. In such a view, the book is a clinically detailed diagnosis of hemiplegia, and all conclusions concerning the quality of actions within its pages are necessarily foregone.
    [Show full text]
  • On Kenner's Wyndham Lewis Geoffrey Wagner
    New Mexico Quarterly Volume 24 | Issue 4 Article 17 1954 On Kenner's Wyndham Lewis Geoffrey Wagner Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Wagner, Geoffrey. "On Kenner's Wyndham Lewis." New Mexico Quarterly 24, 4 (1954). https://digitalrepository.unm.edu/nmq/ vol24/iss4/17 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. Wagner: On Kenner's Wyndham Lewis Geoffrey Wagner )' ON KENNER'S WYNDHAM LEWIS1 I " SA CRITIC Hugh Kenner is alway.s interesting-perhaps provocative would be the better word-and he has fol­ A lowed his study of the poetry of Ezra Pound with a needed ~ssay on Wyndham Lewis. Admirable in intention this essay is extremely limited, however. It considers ~ewis's literary achievement-less any mention of the reception of his works (the castigations his political books got in the 1920'S being dismissed as "sensationally good reviews")-and it charitably avoids refer- ence to his comparative importance. " Lewis is the English representative of contemporary neo-classi­ cism. Nearly all his criticism may be found in French predecessors like Massis, Seilliere, Fernandez, Lasserre, to some extent Mau~­ ras, and especially Benda.-What is valuable is that Lewis gives a fictional infterpretation of this anti-romanticism which we do n<?t find in Fra!1ce, partly because, on one hand, the great French writ­ ers of this :century have raised themselves above immediate par­ tisanship {already in Jean Barois Roger Martin du Gard shows an enviably "classical" detachment on this score) , and partly be­ cause, on the other ltand, the French neo-classical critics were not great writers.
    [Show full text]
  • FALL 2019 “Make It a Rule Never to Give a Child a Book You Would Not Read Yourself.” GEORGE BERNARD SHAW
    FALL 2019 “Make it a rule never to give a child a book you would not read yourself.” GEORGE BERNARD SHAW Nothing fosters children’s imaginations better than a book. They help us understand the world, pique our natural curiosity, impart knowledge, and hearten us to be empathetic and brave. Meet a dog who is caring for his friends on the streets in Garbage Dog—a story about kindness which perfectly suits the colder seasons—or dive into new pop-up book about an acrobat family having fun together. Let’s Go to Italy! kicks off a new book series about exploring different countries, and this first instalment takes you across the country via your belly, and through historical highlights, giving a fun overview on la dolce vita. Last but not least, we are edu- cating the new generations through Precious Planet, which details how to take better care of Earth. Little Gestalten celebrates today’s most innovative authors and illustrators by bringing their work to life through pop-ups, charming picture books, classic fairytales with a contemporary twist, and original works of non-fiction. Thoughtfully designed, diligently printed and bound, our books are pushing the boundaries of tradi- tional storytelling. We hope you enjoy discovering our new titles. Little Gestalten Contents Frontlist FALL 2019 Garbage Dog 4 Let’s Go to Italy! 6 The Acrobat Family 8 Precious Planet 10 Recent Easy Peasy 12 A Taste of the World 13 Six Little Birds 14 Goliath, The Boy Who Was Different 15 Backlist Recordmania: Atlas of the Incredible 17 The Illustrated Atlas of Architecture
    [Show full text]