By Christopher Moore
Manhattan occasions bestselling writer Christopher Moore channels William Shakespeare and Edgar Allan Poe within the Serpent of Venice, a satiric Venetian gothic that brings again the Pocket of puppy Snogging, the eponymous hero of idiot, with his sidekick, Drool, and puppy monkey, Jeff.
Venice, many years in the past. 3 renowned Venetians anticipate their so much loathsome and foul dinner visitor, the erstwhile envoy of england and France, and widower of the murdered Queen Cordelia: the rascal idiot Pocket.
This trio of crafty plotters - the service provider, Antonio; the senator, Montressor Brabantio; and the naval officer, Iago - have lured Pocket to a depressing dungeon, promising a night of spirits and debauchery with an extraordinary Amontillado sherry and Brabantio's appealing daughter, Portia.
But their invitation is, in fact, bogus. The wine is drugged. the lady isn't even within the urban limits. desirous to rid themselves as soon as and for the entire guy who has constantly foiled their grand quest for energy and wealth, they've got lured him to his dying. (How can this type of small guy, be this type of large obstacle?). yet this idiot isn't any idiot . . . and he's bought various tips (and hand gestures) up his sleeve.
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Extra resources for The Serpent of Venice: A Novel
Sample text
The Gentleman reports the piteous, weeping Cordelia as “a queen / Over her passion” (13–14), for example, and says “she shook / The holy water from her heavenly eyes” (30–31). As anyone may judge from the full 30-line context, such a representation of Cordelia takes the form of a “narrative prelude” rather than a dramatic action. How to explain it, or explain it away? ”; F: “What shall Cordelia speake? ” Whereas in the quarto Cordelia comes across as an active proponent, in the folio her activities are so far redressed that she becomes passive, a voice; so far from being a power in Q, she turns out to be a subordinate in F.
K. Ogden (associate of I. A. Richards, and the only begetter of the Basic English system): “What it comes to is that the cumulative evidence for shorthand is formidable, if the method is allowed as possible; but that specific evidence is generally uncertain. ”31 In the very month, July 1946, when he inveighed against the scholarly shortcomings of Kirschbaum, Berryman learned that the reputed scholar George Ian Duthie, based in Scotland, was just about to publish a new critical edition of King Lear, together with a separate monograph disallowing the case for stenography.
Furthermore, not only is the folio better printed, it was prepared for the press by Shakespeare’s trusted associates, John Heminge and Henry Condell (who, incidentally, were remembered in Shakespeare’s will), and has therefore been deemed the more “authoritative” —whatever that term may mean. No fewer than three times in their prefatory matter, Heminge and Condell refer to their “care” in presenting the texts. ”4 There is also a second quarto (Q2), printed by William Jaggard for his friend Thomas Pavier in 1619, which is now known to have been a fraud: Jaggard sought to pass off a pirated text as the early quarto from which it was copied.