Contents
ix
Preface x
1 Introduction: Shakespeare’s “Perfectly
Wild” Sonnets 1
2 Identity 13
3 Beauty 35
4 Love 58
5 Numbers 74
6 Time 89
Appendix: The Matter of the Sonnets 102
Notes 152
Works Cited 154
Index 157
1 comment
I not been able to share ideas with (and to borrow from) many col-
leagues and past editors. Several recent editors of the poems have
been exceptionally kind in offering advice and additional assis-
tance. John Kerrigan has been particularly helpful and encourag-
ing, especially since his edition of the Sonnets is such an impossibly
fine example to follow. His careful reading of the typescript saved
me from many errors. Katherine Duncan-Jones has offered many
wise words, in print and in person, without which this edition
would be much poorer than it is. A helpful conversation with Helen
Vendler on punctuation has also left its mark on many lines of the
Sonnets, and John Roe has offered many helpful comments over
several years. Hyder Rollins’s monumental Variorum editions have
been daily and invaluable companions.
CONTENTS
PART 1:
List of Illustrations ix
Introduction 1
Shakespeare the Poet 1
Venus and Adonis 6
Publication and Date of Composition 6
Dedication 10
Literary Milieu 15
Lucrece 40
Publication and Date of Composition 40
The Argument, Sources, and Politics 45
Reading (in) Lucrece 55
Rape and Consent 66
The Passionate Pilgrim 74
‘Let the bird of loudest lay’ 82
Shakespeare’s Sonnets 91
Publication and Circulation 91
Dedication 98
Date and Sequence 103
Sources 111
Reading the Sonnets 118
A Lover’s Complaint 138
Date and Attribution 138
The Poem and its Context 140
Poems Attributed to Shakespeare in the Seventeenth Century 146
‘Shall I die?’ 148
A Funeral Elegy 152
Editorial Procedures 159
Abbreviations and References 160
VENUS AND ADONIS 171
LUCRECE 237
THE PASSIONATE PILGRIM 339
List of Illustrations ix
Introduction 1
Shakespeare the Poet 1
Venus and Adonis 6
Publication and Date of Composition 6
Dedication 10
Literary Milieu 15
Lucrece 40
Publication and Date of Composition 40
The Argument, Sources, and Politics 45
Reading (in) Lucrece 55
Rape and Consent 66
The Passionate Pilgrim 74
‘Let the bird of loudest lay’ 82
Shakespeare’s Sonnets 91
Publication and Circulation 91
Dedication 98
Date and Sequence 103
Sources 111
Reading the Sonnets 118
A Lover’s Complaint 138
Date and Attribution 138
The Poem and its Context 140
Poems Attributed to Shakespeare in the Seventeenth Century 146
‘Shall I die?’ 148
A Funeral Elegy 152
Editorial Procedures 159
Abbreviations and References 160
VENUS AND ADONIS 171
LUCRECE 237
THE PASSIONATE PILGRIM 339
‘LET THE BIRD OF LOUDEST LAY’ 371
PART2:
SHAKESPEARE’S SONNETS 379
A LOVER’S COMPLAINT 693
appendix 719
Poems Attributed to Shakespeare in the
Seventeenth Century 719
Index 729
Index of First Lines 748
SHAKESPEARE’S SONNETS 379
A LOVER’S COMPLAINT 693
appendix 719
Poems Attributed to Shakespeare in the
Seventeenth Century 719
Index 729
Index of First Lines 748
PART 1
PART 2
Ben Jonson came of the stock that was centuries after to give to the world Thomas Carlyle; for Jonson's grandfather was of Annandale, over the Solway, whence he migrated to England. Jonson's father lost his estate under Queen Mary, "having been cast into prison and forfeited." He entered the church, but died a month before his illustrious son was born, leaving his widow and child in poverty. Jonson's birthplace was Westminster, and the time of his birth early in 1573. He was thus nearly ten years Shakespeare's junior, and less well off, if a trifle better born. But Jonson did not profit even by this slight advantage. His mother married beneath her, a wright or bricklayer, and Jonson was for a time apprenticed to the trade.
The first notice of Webster so far discovered shows that he was collaborating in the production of plays for the theatrical manager, Henslowe, in 1602, and of such collaboration he seems to have done a considerable amount. Four plays exist which he wrote alone, "The White Devil," "The Duchess of Malfi," "The Devil's Law-Case," and "Appius and Virginia."
"The Duchess of Malfi" was published in 1623, but the date of writing may have been as early as 1611. It is based on a story in Painter's "Palace of Pleasure," translated from the Italian novelist, Bandello; and it is entirely possible that it has a foundation in fact. In any case, it portrays with a terrible vividness one side of the court life of the Italian Renaissance; and its picture of the fierce quest of pleasure, the recklessness of crime, and the worldliness of the great princes of the Church finds only too ready corroboration in the annals of the time.
Webster's tragedies come toward the close of the great series of tragedies of blood and revenge, in which "The Spanish Tragedy" and "Hamlet" are landmarks, but before decadence can fairly be said to have set in. He, indeed, loads his scene with horrors almost past the point which modern taste can bear; but the intensity of his dramatic situations, and his superb power of flashing in a single line a light into the recesses of the human heart at the crises of supreme emotion, redeems him from mere sensationalism, and places his best things in the first rank of dramatic writing.
I cannot omit giving the World an account, of the uncommon Villany of a Gentleman of a good Family in England practis’d upon his Sister, which was attested to me by one who liv’d in the Family, and from whom I had the whole Truth of the Story. I shall conceal the unhappy Gentleman’s own, under the borrow’d Names of Sir William Wilding, who succeeded his Father Sir Edward, in an Estate of near 4000l. a Year, inheriting all that belong’d to him, except his Virtues. ’Tis true, he was oblig’d to pay his only Sister a Portion of 6000l. which he might very easily have done out of his Patrimony in a little Time, the Estate being not in the least incumbred. But the Death of his good Father gave a loose to the Extravagancy of his Inclinations, which till then was hardly observable. The first Discovery he made of his Humour, was in the extraordinary rich Equipage he prepar’d for his Journey to London, which was much greater than his fair and plentiful Fortune cou’d maintain, nor were his Expences any way inferior to the Figure he made here in Town; insomuch, that in less than a Twelve-Month, he was forc’d to return to his Seat in the Country, to Mortgage a part of his Estate of a Thousand Pounds a Year, to satisfy the Debts he had already contracted in his profuse Treats, Gaming and Women, which in a few Weeks he effected, to the great Affliction of his Sister Philadelphia, a young Lady of excellent Beauty, Education, and Virtue; who, fore-seeing the utter Ruin of the Estate, 38 if not timely prevented, daily begg’d of him, with Prayers and Tears, that might have mov’d a Scythian or wild Arab, or indeed
English, like all languages, is full of problems for the foreign learner. Some of these points are easy to explain - for instance, the formation of questions, the difference between since and for, the meaning of after all. Other problems are more tricky, and cause difficulty even for advanced students and teachers. How exactly is the present perfect used? When do we use past tenses to be polite? What are the differences between at, on and in with expressions of place? We can say a chair teg - why not *a cat teg? When can we use the expression do sol When is the used with superlatives? Is unless the same as if not? What are the differences between come and go, between each and every, between big, large and great, between fairly, quite, rather and pretty* Is it correct to say There's three more bottles in the fridge? How do you actually say 3 x 4 = 12? And so on, and so on.
Language is in terms of grammar
Practical English Usage is a guide to problems of this kind. It deals with over 600 points which regularly cause difficulty to foreign students of English. It will be useful, for example, to a learner who is not sure how to use a particular structure, or who has made a mistake and wants to find out why it is wrong. It will also be helpful to a teacher who is looking for a clear explanation of a difficult language point. There is very full coverage of grammar, as well as explanations of a large number of common vocabulary problems. There are also some entries designed to clarify more general questions (e.g. formality, slang, the nature of standard English and dialects) which students and teachers may find themselves concerned with.
PART 1
PART 2
Grammatical descriptions of English which are addressed to learners
are often oversimplified and inaccurate This is the inevitable result of
lack of time in the classroom and lack of space in course books and
practice books Badly expressed and inaccurate rules, in turn, become
enshrined in grammar books directed at teachers and students The
misrepresentation of English grammar gives a false view of the
language, perpetuates inaccurate 'rules', and results in errors in
communication It is against this background that the Longman English
Grammar has been written
The primary aim of this book is to present a manageable coverage of
grammar at intermediate and advanced levels, which will serve two
purposes
1 To present information which can be consulted for reference
2 To suggest the range of structures that a student would need to be
familiar with receptively and (to a lesser extent) productively to be
able to communicate effectively
In other words, the book aims to be a true pedagogical grammar for
everyone concerned with English as a foreign language It attempts to
provide reasonable answers to reasonable questions about the
workings of the language and to define what English as a Foreign
Language is in terms of grammar
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