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
ISBN-10: 1280578173
ISBN-13: 9781280578175
ISBN-10: 1441139915
ISBN-13: 9781441139917
ISBN-10: 144118743X
ISBN-13: 9781441187437
ISBN-10: 6820128223
ISBN-13: 9786820128223
Nice Shakespeareans deals a scientific account of thosefigures who've had the best impact at the interpretation, knowing and cultural reception of Shakespeare, either nationally andinternationally. during this quantity, prime students investigate the contribution ofJames Joyce, T.S. Eliot, W.H. Auden and Samuel Beckett to the afterlife andreception of Shakespeare and his works. every one essay assesses the double Read more...
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Sample text
How my Oldfellow chokit his Thursdaymornun. Iagogogo! ] (with paralytic rage) Weda seca whokilla farst. (The face of Martin Cunningham, bearded, refeatures Shakespeare’s beardless face. The marquee umbrella sways drunkenly, the children run aside. Under the umbrella appears Mrs Cunningham in merry widow hat and kimono gown. 3819–58) James Joyce 35 This Shakespeare is the beardless boy ravished by Ann Hathaway, the boldfaced Stratford wench who gave her husband cuckold’s horns, here represented by the antlered hat-rack in the brothel.
How my Oldfellow chokit his Thursdaymornun’ is ‘how my Othello choked his Desdemona’. But Othello also figures as a punitive father – ‘my Oldfellow’ (the term that Mulligan uses of Bloom in ‘Scylla and Charybdis’) – who chokes his ‘Thursdaymornun’, which could refer to either Joyce or Stephen, both of whom were born on Thursday mornings. ‘Thursday’s child has far to go’, warns the old nursery-rhyme, hinting that Joyce and Stephen, as Thursday’s children, are both destined for exile. It is also possible that Joyce himself is the murderous oldfellow or hangman god who chokes all the creatures that he brought into existence on Thursday morning, 16 June 1904 – the morning of Ulysses.
30 In addition to catcalls from the groundlings, ‘Scylla and Charybdis’ is frequently invaded by dramatic elements, as well as by Elizabethan turns of phrase, as if the prose were momentarily ventriloquized by Shakespeare. If Stephen uses criticism to get the better of Shakespeare, this struggle re-enacts itself within the prose where Shakespearean drama often seems to get the better of Joycean narrative. Take this passage, for example, in which Stephen identifies the characters in Shakespeare’s plays with members of their author’s family: —As for his family, Stephen said, his mother’s name lives in the forest of Arden.