By Shakespeare, William; Haffenden, John; Berryman, John
Edited by way of John Haffenden
With a Preface by way of Robert Giroux
John Berryman, one in every of America's such a lot gifted glossy poets, was once winner of the Pulitzer Prize for 77 Dream Songs and the nationwide publication Award for His Toy, His Dream, His Rest. He won a name as an innovator whose daring literary adventures have been tempered by way of exacting self-discipline. Berryman was once additionally an energetic, prolific, and perceptive critic whose personal event as a tremendous poet served to his virtue.
Berryman used to be a protégé of Mark Van Doren, the nice Shakespearean pupil, and the Bard's paintings remained considered one of his such a lot abiding passions--he could dedicate an entire life to writing approximately it. His voluminous writings at the topic have now been gathered and edited via John Haffenden.
Read or Download Berryman's Shakespeare : [essays, letters, and other writings] PDF
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Extra resources for Berryman's Shakespeare : [essays, letters, and other writings]
For “bloody-eyed” is from Byron, but its materials for “obvious combinations” were often deficient. Shak. 104. I do not think the anticipation, by more than 40 lines, of “Bless thy sweet eyes, they bleed” is an insuperable objection to the emendation. 7). All in all, it was a creditable first effort, exploiting the resources of his critical reading, which he was to explain more fully in a letter to Mark Van Doren of May 17, 1945 (see text below). But he would not relinquish the problem without deeper reflection; by February 16, 1946, as he told W.
He points out that even the title of the play in Q claims the work at once for historiography, more legendary modes of historiography, folktale and fairy tale, as well as for romance (and restoration). The quarto swallows all modes: history, romance, comedy, tragedy. 19 Yet, as the plot unfolds, this idealized figure proves ineffectual in the face of evil. In the quarto, Cordelia represents “restorative romance”: but the folio evidently decided this scene was entirely out of place. The modern critic, licensed by theories of postmodernism, by polyphony and dialogism, may delight in generic disruptions and inconsistencies; but one may suspect (as an alternative explanation) that it just did not work on the Jacobean stage, where all this trumpeting of Cordelia’s redemptive virtue and saintliness may have evaporated into bathos.
McKerrow (1872–1940), and A. W. 21 The folio may have been established to the satisfaction of Shakespeare’s executors, but it is not without errors, both slight and substantive. Is it Shakespeare’s best final shot, or a playhouse version that falls short of the “ideal” text he must have composed? The quarto is much messier still, but it cannot be dismissed, for it unarguably preserves certain compelling variants—and yet surely it does not approximate to original writ? Does Q therefore stem, directly or indirectly, from F, or do both texts derive from a lost original; or is a stemma, a family tree of texts, just too complicated to reconstruct?