Archive for the ‘William Shakespeare’ Category
Entry 1405 — Shakespeare’s Sonnet 18
Thursday, March 27th, 2014
Off-the-top-of-my-head (although I’ve given the matter lots of thought on&off over the years), something I just wrote for the Shaksper Internet discussion group:
A problem I think interesting, and serious, is what should guide a reader of a poem to his reading of a poem (or any work of art). I claim there are four things he should consider: (1) the author’s intention; (2) how closely the poem may follow some fashion in poetry-composition of his time; (3) whether or not the poem is part of a sequence, and how, if that is the case, that affects the reading; and (4) what reading makes the poem best as a work of art for the given reader.
For me, a die-hard new critic, the author’s intention is irrelevant, except insomuch he explicitly reveals it in his work. If known, though, one should certain consult it to see if it helps one discover thing in the poem that one would have missed if not looking for them.
For me, it makes sense to investigate the compositional fashions of the time a poem was composed and use what one finds out about it that can be applied to one’s reading of the poem.
For me, a poem’s being explicitly, or even weakly implicitly, part of a sequence (as well as part of a poet’s ouevre) should also be taken in consideration. I as a poet, for instance, am almost obsessed with celebrating the coming of spring; so it would make sense for someone finding an ever-so-slight connotation of that in a poem I recently wrote about Columbus to accept it as in that poem (if he wants to).
For me as a reader of a poem, though, what is most important is what the poem’s text by itself can plausibly be said to say by itself that will maximize my aesthetic experience of it. If for instance, Milton tells me his poem justifies Jehovah’s treatment of the rebellious Lucifer (or whatever the devil is called in the poem [I haven’t read it for a while and have a lousy memory for names and the like] but I go along with Blake in finding Lucifer justified, and Jehovah a tyrant, I have no trouble ignoring Milton. I don’t find any explicit authorial intent behind Sonnet 18, so have no trouble taking the poem as what it on the surface is–a celebration of summer. (That’s a joke, but only here; in truth, I argue just that in the book I began but left hanging a while ago on Sonnet 18; I accept that the poem is doing other things, but consider them less important in the poem than summer.)
I vaguely know that nutty Platonic allegorical sequences were in vogue when Shakespeare wrote his sonnets, but don’t find inflicting allegor on sonnet 18, which is hard to do, for the most part, without straining worth doing–because, to my taste, the sonnet works much better as a lyrical poem taken for what it is on the surface. Similarly, church steeples work best for me not as glorifications of some god, or as avenues to Heaven–or as phallic symbols–but as celebrations of mountains or simple height and of Man’s ability to create.
I find Ian Steere’s reading of the first 126 sonnets as a sequence easy to go along with, I don’t find it a smooth sequence. It does near-certainly make the addressee male. But I don’t care. The plausibility of the sonnets as a sequence (or haphazardly organized collection) about the poet’s relationship (when it was worshipful) with a young XY-chromosome girl simply indicates authorial intention. But when what he wanted to say conflicts with what his poem just as plausibly can say (the celebration a a poet’s female opposite for her feminine physical beauty and feminine temperance, etc.), I grant the reader the right, again, to ignore authorial intent.
Conclusion: there’s nothing wrong with trying to determine how the poet wanted his poem read, nor with determining how fashion may have influenced it, nor with fitting it to a sequence with a view of finding the author’s intentions for the over-all sequence, or finding what one can plausibly interpret the sequence to best mean. But these ways of involvment with Sonnet 18, or any work of art should not keep one more interested in what it can do for him aesthetically from taking it only for the pleasure its words, by themselves, can give him.
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Entry 888 — Treatise on the Nature of Mediocrity
Thursday, October 11th, 2012
I love to evaluate things. To do it right, I have to first define extremely rigorously what it is I’m evaluating, including their evaluatable attributes. I must also list my criteria, also meticulously defined, but also with my reasons for using them. It was a post to HLAS, which is where I argue about who wrote the works of Shakespeare with wacks, that yesterday got me thinking about (again) evaluating the culturateurical value of those attempting to contribute to world culture. The post, whose author calls himself “Sneaky O. Possum,” had attacked me for my response to another sub-mediocrity, who had found fault with my praise of a bunch of Shakespeare scholars for permitting “Dave Kathman write something for their book [an upcoming defense of the proposition that Will Shakespeare of Stratford wrote the works attributed to him]. But, who knows, perhaps twenty years after my book on the subject they may come close to equaling it, so far as the authorship argument is concerned.”
The sub-mediocrity bothered by what I’d said, who has often tried to shoot me down, but never with anything but assertions, had said, “Bob, today you believe Will Shakespeare wrote Shakespeare. Based on the above comment, you are as delusional as Art, Paul and the many others who believe it didn’t. You are a legend in your own mind. Your mediocrities comment is a classic example of projection.” My retort, never-answered, needless to say, was, “Ah, Robin, nice to know you’ve read my book and therefore are competent to state that what I wrote about it in comparison to the estabniks’ book is delusional. Nonetheless, if you were a responsible critic of such as I, you really ought to show evidence in support of your contention.
“Oh, unless my delusion was in believing that such mediocrities might equal my book, so far as the authorship debate is concerned.”
Here’s what Mr. Possum said to that: “Robin showed just as much evidence of your delusional state as you showed to demonstrate that Charles Nicholl, MacDonald P. Jackson, Kate McLuskie, Alan Nelson, Carol Rutter et al. are ‘mediocrities.’ But no doubt you’ve read everything they’ve written, yes? You can cite chapter and verse of Nicholl’s work to demonstrate his mediocrity? Please do so.”
My response, “I was expressing an opinion, a polemical opinion. No need to defend it. I suppose I should clarify, though. First off, my definition of mediocrity is not yours, I’m sure. Most of these people are competent, valuable academics. For me, though, a non-mediocrity needs to do more than add a new fact or two to the received understanding of his subject. None has, although I’m not sure how I could ‘prove’ that–except by asking others to tell me what any of them has done that does more than Nicholl does to improve what we know about Marlowe (which I’ve read and enjoyed), for example.
“Secondly, I over-generalized in calling them mediocrities when I really meant they were mediocrities in the authorship question, not one of them coming up with more than one or two very belated contributions to the subject.
“I am alarmingly admiring of my own efforts for some reason, so offer as strong evidence of these people’s mediocrity in the authorship discussion the fact that they completely ignore my contributions to it. I do have absolute evidence that Shapiro is a mediocrity regarding the authorship question: his paltry, superficial ‘theory’ for the existence of anti-Shakespeareans, that Biblical scholars were making the questioning of famous texts fashionable, and that bardolators had turned a lot of people against Shakespeare because he was less than they made him out to be.
“Am I fairly describing his view? Probably not, but I’m close enough. What’s mediocre about it? That it takes us nowhere. It doesn’t explain why some people did not turn against Shakespeare. It doesn’t explain the reasoning of the wacks–why, in particular, they are immune to evidence. Now, I get criticized for saying the anti-Shakespeareans are what they are because they are insane. If I said that, I would be doing what Shapiro does (except perhaps slightly worse). I would be saying they are wrong because they are nuts. Which is true, but takes us nowhere . . . unless we can say in detail in what way they are wrong, and what neurophysiologically sets them up to be wrong.
“I have a detailed theory about that, which makes me NOT mediocre. Even if it’s wrong. Because it indicates I’m after an answer of substance, which Shapiro isn’t (and he’s superior to all the other academics who have tried to say why the wacks are wacks).
“I would add, SOP, that you are clearly a mediocrity. Evidence? That you require me to have read everything these academics have written to be qualified to evaluate them. In other words, you have no idea of non-mediocre thinking, which uses a minimum of empirical academic dwarfery to build large understandings. A key is the ability to generalize, which none of these people these people show much of.”
Eventually, Tom Reedy defended my bok as follows: “Actually Bob’s book, although it has a few holes, is quite good.”
I thanked him for the defense, but said I’d have preferred”an attack that said what the ‘few holes’ were.”
Tom went on to aver that I “could have used the services of a good copy editor (and if he had done so it would have been publishable by a mainstream press).” He was right about the copy editor but absurdly wrong that my book would ever have been publishable by a mainstream press since I’m not an academic, nor a mediocrity repeating standard views.
“That his criticism of mainstream scholars is juvenile,” Tom went on to say, “and obviously motivated by a good deal of resentment and jealousy does nothing to besmirch his work at all–I look at it as the authorship version of Ezra Pound’s idiotic views. . .”
My criticism is certainly not juvenile but no doubt motivated by a good deal of resentment and jealousy; it is much more motivated by the art&science crippling way establishments come about and stay in power.
According to Tom, ” There is nothing mediocre about the work of any of those named above.” And we’re back to the alleged subject of this entry, mediocrity.
I replied to Tom that according to my definition of “mediocre,” my statement wasn’t isn’t all that foolish. I asked him if he could “tell me how any of these people have stepped a significant step away from the received understandings of their field? Can you tell me how any non-mediocrity can be satisfied to write about someone hundreds of books have been written about rather than about someone no books have been written about? Nay, rather than about a school of authors no books have been written about?”
Tom ended by praising my willingness “to call insane thinking what it is”–but added that I “could have left out is his idiosyncratic general theory of human psychology.” He correctly suspected, however, that without that I wouldn’t have written it. Without that, in fact, my book would have been mediocre, at best.
Let me add here that I’ve read several of Stanley Wells’s books with great enjoyment (and he’s one of the crew involved with the upcoming Shakespeare defense); Charles Nicholl has written good books, too, that I’ve read. They and others, but not all, I called mediocrities are not. My problem, and what most got me to start writing this entryis that I’m not sure what to call them. Like I believe many others are, I tend to believe in there being many mediocrities out there, and a few geniuses, and no one in-between. Certainly, there’s no standard name for someone like Wells, who is doing admirable work, but not truly culturateurical work (i.e., work that significantly redefines some important cultural field). I use the terms, “major genius” and “minor genius”–Yeats and Housman, say, and speaked of the “talented,” whom I consider superior to mediocrities. But “talent” isn’t a common term for near-geniuses. Is “adept?” It doesn’t work, for me, nor does “expert” or “master.” For one thing, many mediocrities are experts or masters, or even adepts.
Without the right term, I can’t continue. Maybe one will hit me before tomorrow.
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Entry 656 — A Clone of Shakespeare
Wednesday, February 15th, 2012
To continue my argument that the arts progress just like verosophy does (and take care of this entry with minimal effort), here’s a question: if a clone of Shakespeare had been created in 1980 and he was now a professional actor writing plays for the stage and screen, would they not be better than the ones he wrote four hundred years ago? Would he not be able to improve on what he composed then?
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Entry 206 — Shakespeare’s Sonnet 97
Monday, August 30th, 2010
Over at the Forest of Arden, I had a lot of trouble figuring out Shakespeare’s Sonnet 97, then suddenly put together an explication of it I liked so much, I’m posting it here.
Sonnet 97
How like a Winter hath my absence beene
From thee, the pleasure of the fleeting yeare?
What freezings haue I felt, what darke daies seene?
What old Decembers barenesse euery where?
And yet this time remou’d was sommers time,
The teeming Autumne big with ritch increase,
Bearing the wanton burthen of the prime,
Like widdowed wombes after their Lords decease:
Yet this aboundant issue seem’d to me,
But hope of Orphans, and vn-fathered fruite,
For Sommer and his pleasures waite on thee,
And thou away, the very birds are mute.
Or if they sing, tis with so dull a cheere,
That leaues looke pale, dreading the Winters neere.
* * * * *
Okay, here beginnith my explication:
How like a Winter hath my absence beene
From thee, the pleasure of the fleeting yeare?
What freezings haue I felt, what darke daies seene?
What old Decembers barenesse euery where?
the quickly passing year, is like being in winter.
Coldness, darkness, December’s bareness seem
everywhere to me, as everyone agrees. Vendler
adds that Shakespeare is picturing an “imaginary
winter.” He isn’t. He’s just making a simile.
And yet this time remou’d was sommers time,
The time we’ve been apart was summer.
Still straightforward and undebatable.
The teeming Autumne big with ritch increase,
Bearing the wanton burthen of the prime,
Like widdowed wombes after their Lords decease:
NoSweatShakespeare, a website with sonnet analyses, put
an “and” at the beginning of this. I wouldn’t, but the
“and,” which I’d previously thought of, too, then discarded
helped me accept this as just a continuation of the previous line:
I missed, Joe, Sally . . . The speaker was gone during the
end of summer and much of autumn. . . So, to backtrack:
And yet this time remou’d was sommers time,
The teeming Autumne big with ritch increase,
Bearing the wanton burthen of the prime,
Like widdowed wombes after their Lords decease:
The time I have been away from you was
summer followed by autumn, which was
bearing a good crop like women bearing dead
husbands’ offspring.
Yet this aboundant issue seem’d to me,
But hope of Orphans, and vn-fathered fruite,
However fine the autumn, abundant and promising
seemed to me a dreary place for orphans and fruit
no love-making had produced, which is about
as nearly everyone would have it, I’m sure.
For Sommer and his pleasures waite on thee,
For, imaginatively, it’s still summer, because the realest
summer although it wasn’t exactly hers) is still waiting for
the addressee’s to continue.
Confession: I got the contrast of what’s imagined, what real,
from Vendler.
And thou away, the very birds are mute.
Or if they sing, tis with so dull a cheere,
That leaues looke pale, dreading the Winters neere.
Back in the real world, where it’s autumn, the birdies
and the leafies are sad, thinking about the nearness
of winter.
Have I more or less finally gotten it? Regardless, I feel
quite buoyed to have come up with what I did. Later I
discovered Robert Stonehouse had much the same
interpretation as mine, but I think I did better on
“summer/ Autumn” and “summer waits” than he,
so remain happy about my achievement.
Entry 74 — Poetic Densities, Continued
Thursday, January 14th, 2010
.
. Sonnet 18
.
. Shall I compare thee to a summer’s day?
. Thou art more lovely and more temperate.
. Rough winds do shake the darling buds of May
. And summer’s lease hath all too short a date.
.
. Sometime too hot the eye of heaven shines
. And often is his gold complexion dimmed.
. And every fair from fair sometime declines
. By chance or Nature’s changing course untrimmed.
.
. But thy eternal summer shall not fade
. Nor lose possession of that fair thou ow’st.
. Nor shall Death brag thou wandr’st in his shade
. When in eternal lines to time thou grow’st.
.
. So long as men have breath and eyes to see,
. So long lives this, and this gives life to thee.
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Shakespeare, 140 syllables, 116 words (because I count “sometime’ as two words) to give a semantic density of .83. That’s lower than I estimated yesterday because when I forgot that not all its words of more than one syllable had only one more than one. So Frost’s poem is quite a bit higher than Shakespeare’s.
The sonnet has a surprisingly low euphonic density: .09. It makes up for that in repenemic density. I have the figures somewhere to measure that with but am not up to finding them just now.
Entry 73 — “Stopping by Woods on a Snowy Evening”
Wednesday, January 13th, 2010
As long-term readers of my blog will know, one of my projects is an in-depth study of Shakespeare’s “Sonnet 18.” I’ve also been interested in Frost’s “Stopping by Woods on a Snowy Evening.” While thinking about it recently, I realized how few polysyllabic words it had. Always ready to formulaize something if I can, I soon came up with a (possibly) new characteristic of poems, semantic density. It is equal to the number of syllables in a poem divided into the number of words in the poem. It turns out the Frost poem’s semantic density is .86, Shakespeare’s about the same. I suspect few other poems have as high a semantic density, but I haven’t investigated the matter.
. Stopping by Woods on a Snowy Evening
. Whose woods these are I think I know.
. His house is in the village though;
. He will not see me stopping here
. To watch his woods fill up with snow.
. My little horse must think it queer
. To stop without a farmhouse near
. Between the woods and frozen lake
. The darkest evening of the year.
. He gives his harness bells a shake
. To ask if there is some mistake.
. The only other sound’s the sweep
. Of easy wind and downy flake.
. The woods are lovely, dark and deep.
. But I have promises to keep,
. And miles to go before I sleep,
. And miles to go before I sleep.
Technically speaking, there are seventeen polysyllabic words in this poem, one of them three syllables in length, all the others just two in length. I do not count “farmhouse” as a single word, though, since each of its two syllables has a clear separate meaning, “farm” really being an adjective pushed into a noun, “house.” And I count “”sound’s” as two words, because it is: “sound” plus “is.” Yet is is only one syllable in length. So, to get the semantic density of the poem, we divide 110, not 109, by 128
Once become mathematically irreverent toward about the ratio of words in a poem to its syllables, I thought of other density ratios applicable to poems: e.g., euphonic density or the ratio of euphonies (long-o‘s, long-u‘s and “ah”-sounds) to number of syllables in a poem, repenemic density (repenemes to syllables, a repeneme being a repeated melodation such as alliterationor rhyme, the latter counting as two repenemes) and–this one I especially like–oddword density. This would be the ratio of unusual words to syllable-count, with “unusual” being what a word is that comes up only a certain low number of times in s large sample of contemporary writing.
The euphonic denisty of Frost’s poem is just under .20. I’d be surprised if many other poems have a euphonic denisty that high. I’ll check Shakespeare’s “Sonnet 18″ tomorrow.