The English Miscellany

“Life is a tragedy when seen in close-up, but a comedy in long-shot.” --- Charlie Chaplin. "Dramatic comedy, from which fictional comedy is mainly descended, has been remarkably tenacious of its structural principles and character types." (Northrop Frye, Anatomy of Criticism ) "The days of Comedy are gone, alas! When Congreve's fool could vie with Moliere's bete :   Society is smooth'd to that excess,  That manners hardly differ more than dress." --- Byron "Man is the merriest species of the creation, all above and below him are serious." --- Addison “This world is a comedy to those that think, a tragedy to those that feel.” --- Horace Walpole. “Comedy is simply a funny way of being serious.” --- Peter Ustinov “The duty of comedy is to correct men by amusing them.” --- Moliere. "In the hands of a comic genius the pretence of stupidity is the triumph of irony." "In my mind, the

Piero di Cosimo, The discovery of honey by Bacchus (1499) Book Review A Handbook to the Reception of Ovid . Edited by John F. Miller and Carole. E. Newlands. Wiley-Blackwell. 2014. 520pp. £120 (Cloth). £96.99 (ebook) ‘Antiquity is a closed system, providing a canon of texts whose perfection is beyond time: criticism of these texts is an eternal return, the rediscovery of the timeless verities that they contain.’ [....] ‘ No one, of course, has ever really believed this nonsense .’ (Fowler, 1994: 231) This new collection of thirty-one essays explores how Ovid’s works have presented a range of ways of thinking and feeling about desire, love and death; power and aggression; exile and alienation; self-reflexivity and transformation; aesthetic traditions and the artist’s journey. Clearly, the universality of Ovid’s major themes and preoccupations helps to explain his major influence on the arts of the two millennia since his death. As a result, it is not difficult

National Theatre: Othello Tragedy is like strong acid -- it dissolves away all but the very gold of truth. D. H. Lawrence 'the story depicts also the troubled part of the hero's life which precedes and leads up to his death; and an instantaneous death occurring by 'accident' in the midst of prosperity would not suffice for it. It is, in fact, essentially a tale of suffering and calamity conducting to death.' A.C. Bradley, Shakespearean Tragedy Pathos truly is the mode for the pessimist. But tragedy requires a nicer balance between what is possible and what is impossible. And it is curious, although edifying, that the plays we revere, century after century, are the tragedies. In them, and in them alone, lies the belief-optimistic, if you will, in the perfectibility of man. Arthur Miller, Tragedy and the Common Man Tragedies are always discussed as if they took place in a void, but actually each tragedy is conditioned by its setting, local and global

The publication of a new edition of Bradley’s Shakespearean Tragedy (1904) presents a timely opportunity to explore a classic expression of the theory and practice of tragic drama. This is also an opportunity for new readers to encounter a distinctive appreciation of Shakespeare’s work in the context of more recent literary and cultural theories. In the process, the obstacles to a clear understanding of what Bradley thought are explored, and we seek to explain why many critics were often hostile to his writings on Shakespeare. We then proceed to an interrogation of Bradley’s philosophy of tragedy in the context the wider project of the development of English Studies as an educational discipline since the end of the nineteenth century. This frame of analysis will also be informed by recent post-colonial theories which will be positioned within the context of literary study understood as a distinctive project of enlightened humane education. [...] One of the predicamen

Nowadays, so much academic writing is simply a rehash of other people's work. Textbooks, in particular, are prone to the vice of uncritical recycling. Clearly, however, there is a virtue in building on the work of others. Work in the humanities has become very specialised (since the 1970s) and this means that we are standing on the shoulders of an army of scholars, not to mention the proverbial giants and geniuses of the past. Nonetheless, excessive use of citation suggests perhaps a lack of confidence in your own thought and creativity. A literature review may be the starting point of a research project, but it is not the final destination. I was led to these rather banal reflections having recently picked up a copy of John Russell Brown's engaging and thoughtful book: Shakespeare: The Tragedies (2001). This book has four citations, two of which refer to the work of Peter Clark, The English Alehouse: A Social History 1200-1830 . (1983) Now that's perhaps the l