DOCSLIB.ORG

Global Milton and Visual Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Global Milton and Visual Art Additional Web Figures Global Milton and Visual Art Edited by Angelica Duran and Mario Murgia Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Chapter 2 “More Worlds . Other Worlds . New Worlds”: Translations / Illustrations / Paradise Lost Joseph Wittreich Web-Figure 2.A. Roman Catholic Church, Milton entry (Miltonus Joannes), from Index librorum prohibitorum (1758), p. 163. Courtesy of The HathiTrust. PRo h 1 B 1 r o R u M. I 63 - goire VII. Brevi Benediéii XIII. 8. Oítobris 1729. le Meurjofephus. Sorbonicorum Patronæ. Quæftio Theologica. guam fponfavit fibi Chriftus in fem piternum TOfee 2. Thefes quas pro pugnabit Joannes le Boucher die 27. Maii 1713. Decr.2 I. Aug. I7I4. Meurfius Joannes. Athenae Batavæ, five de Urbe Leidenfi & Acade m ia, virifque claris, qui utram que illuftrarunt, Decr. libri- duo. 26. °jan. I 633. Meurfius Joannes. Elegantiæ Latini ferm onis. Decr.7. Febr. I7I8. - Meuslin Wolfgangus. Vide Mufculus. l Meyer Joannes. I. C Ind. Trid. l . I Meyer Sebaftianus. C Ind. Trid. Meyer Sim on. I Cl. App. Ind. Trid. Meyrer Herm annus. De Præferentiis Creditorum libri tres, Decr. 3 - £julii I 623. Michelini Hieronym us . Affertum refponfivum pro defenfione caftita s i t conjugalis. Donec corrigatur. Decr. I7. 7am . I7o3. Micraelius Johannes. Ethnophronius , tribus Dialogorum libris con e tra Gentiles d principiis Religionis Chriftianæ dubitationes. - Decr. Io. °funii I 658. Microfynodus Noribergenfis. Ind. Trid. Micyllus Jacobus. I Cl. Ind. Trid. e De r m etrica libri tres. App. Ind. Trid. , MIKPom PEZBYTIKON : Veterum quorum dam brevium Theologorum five Epifcoporum , five Presbyterorum Elenchus. App. Ind. Trid. - Milichius Jacobus. I Cl. Ind. Trid. - Millerus Jo. Petrus. Vide Moshem ius. u u , & o d Milletot Benigne. Traiété deli&t com m un cas privilegié : s e a e l l d puiffance legitim e des Juges feculiers fur perfonnes Ec . - clefiaftiques. Decr. 3 7ulii 1323. NMiltonus Joannes. Literæ Pfeudo-Senatus Anglicani, Crom wellii , c reliquorum que perduellium , a juffu confcriptæ. Decr-. 22. Decem b. I7oo. nom is - n , Paradifo perduto. Poem a Inglefe tradotto i noftra lingua - -- - -Il . da Paolo Rolli. Decr.2 I °fan. 1732. x Mini Bonaventura. Decifiones Theologicæ, e quatuor Sententia rum libris Joannis Duns Scoti feleétæ. Decr.7. Septem b. I 695. , , Μirabilis liber , qui Prophetias revelationefque nec non res m i , , praeteritas præfentes & aperte randas - - futuras de^ onftrat. - Hiad. Trid. e deMirepoix Evêque. Mandam ent aux Fideles d fon Diocéfe 1714. Cu X 2 jus Back-story in brief. The religiously transgressive character of Milton’s oeuvre is ! attested to by the inclusion of his name in the Holy Office’s Index. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Chapter 3 Doré’s Paradise Lost and Ukiyo-e Prints Hiroko Sano Web-Figure 3.A. Strasbourg Cathedral Tower (2020), color photo. Photo by Mario Murgia. Back-story in brief: The single-towered profile of Strasbourg Cathedral constitutes an architectural peculiarity in the Grand Est region of France, the birthplace of Gustave Doré. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 3.B. Gustave Doré, “A Group of Austrian Guards” (1859), lithograph in black on light gray China paper laid down on ivory woven paper. Courtesy of the Art Institute of Chicago (1948.23). Back-story in brief: As a lithographer, Gustave Doré was very much concerned with the representation of figuratively accurate images of his surroundings through innovative printing techniques. Dore’s use of “near and far” techniques described in Chapter 3 is on display in this and many other of his illustrations. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 3.C. Félix-Hilaire Buhot, “Japonisme: Dix Eaux-Fortes” [Ten Etchings] (Paris: M. Edmond Sagot, 1885), portfolio, 17 1/2 in. x 12 1/2 in. Prints and Photographs Division, Library of Congress (LC-USZC4-8497). Back-story in brief: Early nineteenth-century printmaking in France was very much influenced by Eastern motifs, especially those from Japanese aesthetics and art. Japonisme soon became an artistic trend among the Impressionists. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 3.D. Gustave Courbet, “The Wave” (1869), oil on canvas. Courtesy of the Brooklyn Museum. Back-story in brief: The influence of Japanese printmakers like Katsushika Hokusai, whose “Under the Wave off Kanagawa” (c. 1831) is featured in Chapter 3, on French pictorial realism can be traced in Gustave Courbet’s many seascapes. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 3.E. Édouard Manet, “Raven Head” (1875), lithograph. Courtesy of the Art Institute of Chicago. Back-story in brief: The topical and technical affinities between Gustave Doré and other visual artists of his time, like Édouard Manet, is evident in their pictorial re-workings of Anglophone poetical works, like Edgar Allan Poe’s poem “The Raven.” Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Chapter 4 Doré’s Illustrations with Cromos in El Paraíso perdido Angelica Duran Web-Figure 4.A. Unknown artist, Jesus, cromo drawing, from a 2020 calendar in Mexico. Photo by Mario Murgia. Back-story in brief: Cromos continue to constitute a ubiquitous expression of popular, even somewhat “kitschy,” art in Mexico. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 4.B Unknown artist, the Virgin Mary and Jesus with an onlooking John the Baptist, colored and gilt cover, from La Sagrada Biblia (1958). From the library of Angelica Duran. Back-story in brief: The featuring of familiar, often uncredited, biblical scenes on the cover of religious publications ensures an immediate visual rapport between faithful readers and the holy texts in Mexico and other Hispanoamerican countries. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 4.C. Unknown artist, Old Testament scenes, inset cromo illustrations, from La Sagrada Biblia (1958), fp. 273. From the library of Angelica Duran. Back-story in brief: The comparatively simple pictorial techniques used in cromo illustrations, like these of the Book of Kings, promote a sense of accessibility and familiarity in Mexican Bibles. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 4.D. Gustave Doré, Plate 32 (PL 7.415, 416), black-and-white engraving, from Paradise Lost (1866). Courtesy of The HathiTrust. Web-Figure 4.E. Gustave Doré and Miguel Fernández de Lara, “Tiene por boca,” color drawing, from El Paraíso perdido (1967), fp. 182. Photo by Angelica Duran. Back-story in brief: A tadpole-like Leviathan becomes the epitome of sublime enormity in Gustave Doré’s rendition of God’s marine creation. Miguel Fernández de Lara’s cromo-like colorization of Doré’s engraving is good example of aesthetic re-appropriation of Milton-inspired pictorial art in Hispanophone contexts. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Chapter 5 Paradise Lost in Music Videos Ana Elena González-Treviño Web-Figure 5.A. Frans Floris I, The Fall of the Rebel Angels (1554), oil on panel. Photo: Rik Klein Gotink (CC0). Courtesy of Koninklijk Museum voor Schone Kunsten Antwerpen (K3.BMSKA). Back-story in brief: Along with Pieter Bruegel the Elder’s spectacular oil on panel of the same title (Figure 5.1), Frans Floris’s rendition remains a salient reference in Renaissance representations of the angelic fall from grace. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 5.B. Gustave Doré, “Bertran de Born,” black-and-white engraving, from Dante’s Inferno (n.d.). Courtesy of the Pitts Theology Library, Candler School of Theology, Emory University. Back-story in brief: The figure of Bertran de Born is representative of vicious duality in an individual, which Gustave Doré depicts in his illustration for Canto 28 of Dante’s Inferno. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 5.C. Otto Dix, Dead Horse, from War (1924), etching on cream laid paper. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Courtesy of the Art Institute of Chicago (1999.356.5). Back-story in brief: Chapter 5 mentions David Gilmour’s allusions to Doré’s works. Otto Dix’s Dead Horse is one of the many works of art that appear in Gilmour’s video. Dix’s image of the horse’s carcass is a captivating visual metaphor for the decay that war causes and represents an anguishing memento mori amid the horrors of violence.
Load more

Recommended publications
  • Proem Shakespeare S 'Plaies and Poems"
    Proem Shakespeare s 'Plaies and Poems" In 1640, the publisher John Benson presents to his English reading public a Shakespeare who is now largely lost to us: the national author of poems and plays. By printing his modest octavo edition of the Poems: Written By Wil. Shake-speare. Gent., Benson curiously aims to complement the 1623 printing venture of Shakespeare's theatre colleagues, John Heminge and Henry Condell , who had presented Mr. William Shakespeares Comedies, Histories, & Tragedies in their monumental First Folio. Thus, in his own Dedicatory Epistle "To the Reader," Benson remarks that he presents "some excellent and sweetly composed Poems," which "had nor the fortune by reason of their lnfancie in his death, to have the due accommodation of proportionable glory, with the rest of his everliving Workes" (*2r). Indeed, as recent scholarship demonstrates, Benson boldly prints his octavo Poems on the model ofHeminge and Condell 's Folio Plays. ' Nor simply does Benson's volume share its primer, Thomas Cores, wirh rhe 1632 Folio, bur both editions begin with an identical format: an engraved portrait of the author; a dedicatory epistle "To the Reader"; and a set of commendatory verses, with Leonard Digges contributing an impor­ tant celebratory poem to both volumes. Benson's engraving by William Marshall even derives from the famous Martin Droeshout engraving in the First Folio, and six of the eight lines beneath Benson's engraving are borrowed from Ben Jonson's famed memorial poem to Shakespeare in char volume. Accordingly, Benson rakes his publishing goal from Heminge and Conde!!. They aim to "keepe the memory of such worthy a Friend, & Fellow alive" (Dedicatory Epistle to the earls ofPembroke and Montgomery, reprinted in Riverside, 94), while he aims "to be serviceable for the con­ tinuance of glory to the deserved Author" ("To the Reader," *2v).
    [Show full text]
  • 2011 As You Like It
    AS YOU LIKE IT Study Guide - 2011 Season Production E DIRECT AT SPEAK MACBETH THAISAGROW PROSPERO TOUCHSTONE JULIET CRE VIEW TEACH SEE CREATE HAMLET DISCUSS CLEOPATRA SEE LISTEN LAUGHROSALIND PLAY DIRECT SHYLOCKCRE LEARN CAESAR A AT ACT TEACH E OTHELLO OPHELI A Message from the Director are transformed by encountering what is “down the rabbit hole.” stark contrast to Hamlet, As IN You Like It is a play about The forest in Shakespeare’s plays is the metamorphosis of the self. always a place of transformation, a A young woman, Rosalind, is able freeing of the self from rigid societal to discover what love truly is by and parental bonds in order to pretending to be someone else, the find an authentic self. With that boy Ganymede. Through playing in mind, we have made our forest she becomes more and more into a whimsical playground where expansive, bolder and more fully objects, clothes, sound, light and herself. color are literally transformed from what they are in the court. Through Inspiration for the physical imaginative play, the characters production of As You Like It came transform themselves. from stories like The Chronicles of Narnia, Through the Looking Glass, Thank you for celebrating the and Coraline. A door is opened into human spirit with us! another world and the characters 2 Contents Shakespeare’s Life and Times ..................................................4 What Did Shakespeare Look Like? ...........................................4 Shakespeare Portrait Gallery ....................................................5 The
    [Show full text]
  • Secrets of the Droeshout Shakespeare Etching
    For every reader of the First Folio, from Sir George Greenwood and W.W. Greg to Leah Marcus, the Droeshout Portrait has been an unsolved puzzle, symbolic of the disturbing mystery, who wrote the canon of plays? Emerson considered this “the first of all literary questions.” Nor have we solved the riddle, “To the Reader”, on the facing page. Without an understanding of these blatant challenges, the most knowledgeable follower of “Shakespeare” is kept from the author and how he lived, essential to appreciating any work of art. The key that turns the lock opens the door. All Rights Reserved – Copyright © 2013 WJ Ray 1 Preface THE GEOMETRY OF THE DROESHOUT PORTRAIT I encourage the reader to print out the three graphics in order to follow this description. The Droeshout-based drawings are nominally accurate and to scale, based on the dimensions presented in S. Schoenbaum’s ‘William Shakespeare A Documentary Life’, p. 259’s photographic replica of the frontispiece of the First Folio, British Museum’s STC 22273, Oxford University Press, 1975. The Portrait depictions throughout the essay are from the Yale University Press’s facsimile First Folio, 1955 edition. It is particularly distinct and undamaged. In the essay that follows, a structure behind the extensive identification graphics is implied but not explained. The preface explains the hidden design. The Droeshout pictogram doubles as near-hominid portraiture, while fulfilling a profound act of allegiance and chivalric honor to Edward de Vere, 17th Earl of Oxford, by repeatedly locating his surname and title in the image. The surname identification is confirmed in Jonson’s facing poem.
    [Show full text]
  • William Shakespeare 1 William Shakespeare
    William Shakespeare 1 William Shakespeare William Shakespeare The Chandos portrait, artist and authenticity unconfirmed. National Portrait Gallery, London. Born Baptised 26 April 1564 (birth date unknown) Stratford-upon-Avon, Warwickshire, England Died 23 April 1616 (aged 52) Stratford-upon-Avon, Warwickshire, England Occupation Playwright, poet, actor Nationality English Period English Renaissance Spouse(s) Anne Hathaway (m. 1582–1616) Children • Susanna Hall • Hamnet Shakespeare • Judith Quiney Relative(s) • John Shakespeare (father) • Mary Shakespeare (mother) Signature William Shakespeare (26 April 1564 (baptised) – 23 April 1616)[1] was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.[2] He is often called England's national poet and the "Bard of Avon".[3][4] His extant works, including some collaborations, consist of about 38 plays,[5] 154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain. His plays have been translated into every major living language and are performed more often than those of any other playwright.[6] Shakespeare was born and brought up in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later.
    [Show full text]
  • Part II the Plays 97
    WHO WAS WILLIAM SHAKESPEARE? WHO WAS WILLIAM SHAKESPEARE? An Introduction to the Life and Works DYMPNA CALLAGHAN �WILEY-BLACKWELL A John Wiley & Sons, Ltd., Publication CONTENTS Note on the Text lX Acknowledgments Xl Part I The Life 1 1 Who was William Shakespeare? 3 2 Writing 23 3 Religion 47 4 Status 61 5 Theatre 79 Part II The Plays 97 6 Comedies: Shakespeare's Social Life 99 The Comedy of Errors 99 Ihe Taming of the Shrew 108 Love)s Labour)s Lost ) 119 A Midsummer Night s Dream 125 The Merchant of Venice 132 Much Ado About Nothing 138 As You Like It 146 Twelfth Night, Or What You Will 153 Measure for Measure 159 7 English and Roman Histories: Shakespeare's Politics 177 Richard II 177 1 Henry IV 182 HenryV 192 Richard III 198 Julius Caesar 204 Coriolanus 210 ACKNOWLEDGMENTS irst and foremost I want to thank the very best of editors, Emma Bennett Fat Blackwell, for her faith in me and in this project. She made a world of difference. Ben Thatcher also has my heartfelt thanks for seeing it through the press. I am very grateful for the indefatigable labors of my copy editor Felicity Marsh who has been a joy to work with. I have incurred many debts of gratitude along the way, especially to Gail Kern Paster, Georgianna Ziegler and the staff of the reading room at the Folger Shakespeare Library. Denise Walen kindly lent her expertise to the chapter on theatre, and David Kathman was a wonderfully generous resource for matters pertaining to the geography and organization of theatre in early modern London.
    [Show full text]
  • What's in a Name?
    Brief Chronicles Vol. II (2010) 1 What’s in a Name? Hugh Trevor-Roper From Réalités (English Edition), November 1962 We reprint this essay by historian Hugh Trevor-Roper for its perspective on a topic that has generated very little scholarly effort in 400 years—determining Shakespeare’s philosophy and character from the contents of the canon. His methodology, in fact, is that of J.T. Looney, the man who proposed the Earl of Oxford as the man behind the name William Shakespeare. Looney analyzed the plays and poetry of Shakespeare for consistency in theme, plot and characterization and found that the author evinced the following general characteristics: Shakespeare was a matured man of recognized genius, eccentric and unconventional in behavior with an intense sensibility, an enthusiast of drama, a lyric poet of recognized talent who also possessed a superior education classical in foundation, and was the habitual associate of educated people. Looney further proposed that Shakespeare’s particular characteristics included having feudal connections as a member of the higher aristocracy, to be a supporter of the Lancastrian faction, an enthusiast for Italy, a follower of sport (including falconry), a lover of music, loose and improvident in money matters, doubtful and somewhat conflicting in his attitudes to women, and of probable Catholic leanings, Brief Chronicles Vol. II (2010) 2 but touched with skepticism. Trevor-Roper used a variant of this methodology to uncover Shakespeare’s personality and philosophy. Examining the works from the inside, he looked, first, to the range and limitations of Shakespeare’s conscious knowledge and thought; secondly, to the underlying assumptions which are taken for granted by all his characters; thirdly, to the world from which he draws his customary images.
    [Show full text]
  • First Folio Fraud 69
    Chiljan - First Folio Fraud 69 First Folio Fraud Katherine Chiljan n e of the greatest events in literary history was the publication of Mr William Shakespeare’s Histories Comedies and Tragedies in 1623. Today called the “First F‌‌o lio,” the book contained thirty-six Shakespeare plays, twenty of which had Onever been printed. It was reissued nine years later, and two times after that. The first sixteen pages of the Folio – the preface – are extremely important to the Shakespeare professor because they contain his best evidence for the Stratford Man as the great author, so much so that had the First Folio never been published, few or none would have connected the great author with the Stratford Man. These preliminary pages, therefore, merit close and careful examination – what is said and what is not said. Prior to the First Folio, the great author’s person was undefined. “William Shakespeare” was only a name on title pages of his printed works or a name noted by literary critics regarding his works. This fostered the belief among some that the name was a pseudonym, and it seems that the First Folio preface tried to dispel that notion and to fill the personality void. William Shakespeare emerges in the opening pages as a person born with that name and a hint at his origins. He was a natural genius, the fellow of actors, and strictly a man of the theater. The “news” that he was dead was also given, but when or how long ago this had occurred remains obscure. On the surface, there seemed no reason to suspect the book.
    [Show full text]
  • The JOURNAL of the RUTGERS UNIVERSITY LIBRARIES
    The JOURNAL OF THE RUTGERS UNIVERSITY LIBRARIES VOLUME XLI JUNE 1979 NUMBER I WHAT SHAKESPEARE LOOKED LIKE The Spielmann Position and the Alternatives BY PAUL BERTRAM Mr. Bertram teaches English at Rutgers University NYONE looking into the subject of authentic Shakespeare por- traiture will soon find his attention drawn to the expert con- Atributions of Marion H. Spielmann (1858-1948). Spielmann's first essay on the portraits appeared in 1907, his Encyclopœdia Britan- nica article appeared in 1911, and his final published word on the sub- ject, The Title-Page of the First Folio of Shakespeare's Play s, appeared in 1924. The copy in the Alexander Library at Rutgers University is in a sense more final than others, since it is a presentation copy—with a signed inscription "To Sir Bernard Partridge," who was knighted in 1925—bearing marginal corrections and revisions in the author's hand. The subtitle of Spielmann's book, A Comparative Study of the Droes- hout Portrait and the Stratford Monument, refers to the two images of Shakespeare against which the claim to authenticity of all others is normally measured. The engraved portrait on the title-page of the Folio, signed at the lower left by Martin Droeshout, was presumably com- missioned by John Hemmings and Henry Condell (the overseers of the edition) and since 1623 has probably been the most widely repro- duced of all pictures of Shakespeare. The other portrait is the painted limestone bust in the Stratford funeral monument, attributed to Gerard Johnson II, showing an older and puffier-faced man than in the Droes- hout picture.
    [Show full text]
  • “Small Latine and Lesse Greeke”
    “Small Latine and Lesse Greeke” Anatomy of a Misquotation (Part 1: Setting the Stage) by Roger Stritmatter s every English literature undergraduate knows, on the testimony of the bard’s friend and colleague Ben Jonson in the 1623 First Folio, William Shake- Aspeare had “small Latin and less Greek.” Indeed, the idea of a bard barely schooled in the classics, at least by 16th century standards, is not only consistent with the established postulates of Shakespearean biography but is reinforced by copious early testimony to the essentially sui generis character of Shakespeare’s literary achieve- ment, as well as his much-celebrated disassociation from the real world of Elizabe- than and Jacobean society. I am being ironic, of course – this paper was originally written for presentation at a 2014 University of Massachusetts Conference on Shakespeare and Translation, spon- sored by the Department of Comparative Literature and the University of Massachusetts Renaissance Center. Since a truly informed discussion of Jonson’s Folio encomium requires a significant effort at historical contextualization, what originated in a 45-minute presentation at the 2014 Umass Conference will here be presented in two articles, the first of which appears in this issue of The Oxfordian. The belief that Jonson’s “small Latin” clause represents an accurate assessment of the educational basis for the works is an unfortunate legacy of traditional beliefs about Shakespeare and a linchpin of the orthodox biographical tradition. While there is no record of Shakespeare’s university attendance, which would presumably have involved advanced studies in languages, rhetoric, theology, and philosophy, we are reliably assured that Shakespeare must have attended the Stratford grammar school, where, according to this theory, he obtained a sufficient preparation for the minimal educational attainments manifested in the plays and narrative poems published under his name.
    [Show full text]
  • Copyrighted Material
    PART I THE LIFE COPYRIGHTED MATERIAL 1 WHO WAS WILLIAM SHAKESPEARE? n 1841 a canon of Cologne Cathedral, Count Francis von Kesselstadt, died. IHis passing promised to answer defi nitively the question that is the subject of this book: Who was William Shakespeare? This was because among the count ’ s dispersed possessions was a death mask bearing the label “ Traditionen nach Shakespeare, ” 1 and marked on the reverse “ Ao Dm. 1616, ” the year of Shakespeare ’ s death (see Figure 1.1 ). Believed to have been purchased in England by one of the count ’ s ancestors, who had been attached to an embassy at the court of James I, the curiosity was recovered in 1849 from a secondhand shop in Darmstadt and brought from Germany to the British Museum by a man named Dr Ludwig Becker as the death mask of none other than England ’ s national poet. 2 Unfortunately, the unpainted death mask is not an image of Shakespeare, but the belief that it was such epitomizes the persistent desire to capture Shakespeare’ s identity. The death mask is perhaps what Shakespeare ought to look like, unlike the fi gure mounted on the north wall of the chancel in Holy Trinity Church at Stratford - Upon - Avon in 1622, pen and paper in hand (see Figure 1.2 ). Apart from the engraving executed by Martin Droeshout on the First Folio (the col- lection of Shakespeare ’ s plays compiled in 1623), this unprepossessing fi gure is the only reliably authentic image of Shakespeare left to posterity. It is singularly unfortunate, then, that the fi gure on the funeral monument in Holy Trinity, as the critic Dover Wilson once remarked, looks “ like a self - satisfi ed pork butcher.
    [Show full text]
  • Homeless Shakespeare His Fabricated Life from Cradle to Grave
    “The biographers must re-write their Lives of Shakespeare.” — An Eighteenth Century Critic Homeless Shakespeare His Fabricated Life from Cradle to Grave By E. M. Dutton ―The biographers must re-write their Lives of Shakespeare.‖ —A Critic Homeless Shakespeare His Fabricated Life from Cradle to Grave By E. M. Dutton 1 The Idol By Dr. Holmes An idol? Man was born to worship such. An idol is the image of his thoughts; Sometimes he carves it out of gleaming stone, And sometimes moulds it out of glittering gold. Or rounds it in a mighty frescoed dome, Or lifts it heavenward in a lofty spire. Or shapes it in a cunning frame of words. Or pays his priest to make it, day by day. For sense must have its god as well as soul. The time is racked with birth pangs. Every hour Brings forth some gasping truth; and truth new born Looks a misshapen and untimely growth; The terror of the household and its shame, A monster coiling in its nurse‘s lap That some would strangle, some would only starve; But still it breathes, and passed from hand to hand. And suckled at a hundred half-clad breasts. Comes slowly to its stature and its form; Welcomed by all that curst its hour of birth, And folded in the same encircling arms That cast it like a serpent from their hold. ―Be sure and smash the idol, Shakespere, if you can, with the powerful weapons of fact, before you attempt to set up any poetical divinity in his place.‖ —John H.
    [Show full text]
  • 1950 Baconiana No. 134 Images
    BACOMANA VOL. XXXIV fi5th YEAR I95<> Xo. 134 Coat of Arm* u*c<l by Francis Huron PRINCIPAL FEATURES OF THIS ISSUE Rose in Symbolism By R. J. A. Burnett, F.S.A. The Royal Birth of Francis Bacon Confirmed Historically By Comyns Beaumont Shakespeare's "Schoolboy Howlers" By Stewart Robb Merchant of Venice By M. Sennett Editorial Commentary Correspondence The Francis Bacon Society (INCORPORATED.) President: SIR KENNETH MURCHISON The objects of the Society are expressed in the Memorandum of Association to be:— 1. To encourage study of the works of Francis Bacon as philosopher, lawyer, statesman and poet; his character, genius and life; his influence on his own and succeeding times and the tendencies and results of his work. 2. To encourage study of the evidence in favour of his author¬ ship of the plays commonly ascribed to Shakspcre, and to investigate his connection with other works of the period. Annual Subscription: By members who receive, without further payment, two copies of Baconiana (the Society's quarterly Magazine)'and arc entitled to vote at the Annual General Meeting, one guinea; By Associates, who receive one copy, half-a-guinea per annum. All subscriptions payable on January ist. Editor: Mr. Comyns Beaumont. Hon. Treasurer: Mr. L. Biddulph, 32, Hathcrlcy Road, Sidcup, Kent. ORDER FORM I desire to become a Full Membcr/or Associate of the Bacon Society (Inc.) and enclose £1 is. as Full Member, or as an Associate, 10/O Name . Address.-. Subscriptions are payable on January ist each year, but those joining later in the year can receive the back numbers to date.
    [Show full text]