By Auden, Wystan Hugh; Beckett, Samuel; Eliot, Thomas Stearns; Joyce, James; Shakespeare, William; Auden, Wystan Hugh; Joyce, James; Eliot, Thomas Stearns; Beckett, Samuel; Poole, Adrian; Shakespeare, William
Nice Shakespeareans deals a scientific account of thosefigures who've had the best impact at the interpretation, realizing and cultural reception of Shakespeare, either nationally andinternationally. during this quantity, major students examine the contribution ofJames Joyce, T.S. Eliot, W.H. Auden and Samuel Beckett to the afterlife andreception of Shakespeare and his works. each one essay assesses the double Read more...
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Extra resources for Joyce, T. S. Eliot, Auden, Beckett: Great Shakespeareans: Volume XII
Example text
31 As Stephen reminds his audience, the young girls in the late plays stand for Shakespeare’s grand-daughter, while the temptresses Cleopatra, Cressida, and Venus stand for Shakespeare’s unfaithful wife, or for his equally false mistress. Building up the suspense, Stephen reserves his trump card for the end of this passage, when he names the supposed co-respondents to Ann Hathaway’s adultery, Edmund and Richard Shakespeare. 484). For an amusing interlude, reminiscent of Shakespeare’s bawdy subplots, Stephen himself becomes a character in a play scripted by a hidden arranger.
Among the greatest of these exemplars is Othello, but Father Butt’s protégés are forbidden to see the play performed because of its ‘many coarse expressions’. In another scene, the priest reads Twelfth Night to his pupils but omits Feste’s songs, presumably because of their amorous innuendos. Stephen Daedalus (not Dedalus until James Joyce 15 the Portrait) objects to the censorship. 12 Here Joyce allows his readers to imagine Stephen’s indignation, rather than presenting it directly. This authorial restraint looks forward to Stephen’s aesthetic theory in the Portrait, which argues that the ‘artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails’ (P 233).
Shakespeare? he said. I seem to know the name. A flying sunny smile rayed in his loose features. —To be sure, he said, remembering brightly. The chap that writes like Synge. 488, 507–10) Stephen, whose sense of humour is largely restricted to his own jokes, is not amused. Nonetheless, Mulligan’s materialism provides the necessary antithesis to Æ’s idealism. As a Brunonian, Stephen strives to unify these antitheses in his portrait of Shakespeare, and to reconcile the body (‘gaseous vertebrate’) with the soul (‘formless spiritual essences’).