How the Classics Made Shakespeare
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Belletristik / Essays, Feuilleton, Literaturkritik, Interviews
From one of our most eminent and accessible literary critics, a groundbreaking account of how the Greek and Roman classics forged Shakespeare’s imagination
Ben Jonson famously accused Shakespeare of having “small Latin and less Greek.” But he was exaggerating. Shakespeare was steeped in the classics. Shaped by his grammar school education in Roman literature, history, and rhetoric, he moved to London, a city that modeled itself on ancient Rome. He worked in a theatrical profession that had inherited the conventions and forms of classical drama, and he read deeply in Ovid, Virgil, and Seneca. In a book of extraordinary range, acclaimed literary critic and biographer Jonathan Bate, one of the world’s leading authorities on Shakespeare, offers groundbreaking insights into how, perhaps more than any other influence, the classics made Shakespeare the writer he became.
Revealing in new depth the influence of Cicero and Horace on Shakespeare and finding new links between him and classical traditions, ranging from myths and magic to monuments and politics, Bate offers striking new readings of a wide array of the plays and poems. At the heart of the book is an argument that Shakespeare’s supreme valuation of the force of imagination was honed by the classical tradition and designed as a defense of poetry and theater in a hostile world of emergent Puritanism.
Rounded off with a fascinating account of how Shakespeare became our modern classic and has ended up playing much the same role for us as the Greek and Roman classics did for him, How the Classics Made Shakespeare combines stylistic brilliance, accessibility, and scholarship, demonstrating why Jonathan Bate is one of our most eminent and readable literary critics.
Jaques (As You Like It), Iliad, The Comedy of Errors, Allusion, Ovid, Ben Jonson, Suggestion, Muse, The Faerie Queene, S. (Dorst novel), Horace, John Lyly, Classical antiquity, Robert Greene (dramatist), Sophocles, Poetaster, Juvenal, The Merry Wives of Windsor, Terence, Epigram, Troilus and Cressida, Love's Labour's Lost, Lucretia, Puritans, Otium, Literature, Soliloquy, Hippolyta, Petrarch, Satire, Lecture, Christopher Marlowe, Aeneid, Writer, Plutarch, Tragedy, Irony, William Shakespeare, Invective, Plautus, Poetry, Flattery, Timon of Athens, Masculinity, Twelfth Night, King Lear, Quintilian, Thomas Nashe, Leontes, Antony and Cleopatra, The Two Gentlemen of Verona, Writing, Aeschylus, Suetonius, Metre (poetry), Polonius, Metamorphoses, Titus Andronicus, Virgil, Cymbeline, Much Ado About Nothing, Classical tradition, Gertrude (Hamlet), Sonnet, Sensibility, Euphues, George Puttenham, Priam, Livy, Treatise, Lucretius, Narrative, Amores (Ovid), English poetry, The Spanish Tragedy, Heroides, Francis Meres, Malvolio, Rhetoric, English literature, Biography, Cicero, Eloquence, Decorum, Justus Lipsius, Parody, Arden of Faversham, Notion (ancient city), John Florio, Poet, Arthur Golding, Trojan War, Shakespeare's plays, Tacitus, Mark Antony, Apemantus, Elizabethan era, Genre, Shakespeare's sonnets, John Gower