Lectures on Shakespeare
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- USD 13.99
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- USD 13.99
Descripción editorial
From one of the great modern writers, the acclaimed lectures in which he draws on a lifetime of experience to take the measure of Shakespeare's plays and sonnets
"W. H. Auden, poet and critic, will conduct a course on Shakespeare at the New School for Social Research beginning Wednesday. Mr. Auden . . . proposes to read all Shakespeare's plays in chronological order." So the New York Times reported on September 27, 1946, giving notice of a rare opportunity to hear one of the century's great poets discuss at length one of the greatest writers of all time. Reconstructed by Arthur Kirsch, these lectures offer remarkable insights into Shakespeare's plays and sonnets while also adding immeasurably to our understanding of Auden.
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Given in 1946 at Manhattan's New School for Social Research, Auden's casually erudite, somewhat idiosyncratic lectures on Shakespeare's plays and sonnets may have been lost in manuscript but were not lost on members of his audience, several of whom took detailed enough notes for U.Va. Shakespeare scholar Kirsch to reconstruct the talks. Having already taught Shakespeare at several other American colleges and universities, Auden treats the plays with considerable familiarity, cutting down their characters to human size, sometimes even gossiping about them. This approach works better with the comedies, histories and "problem plays" than with the tragedies, which Auden generally finds less satisfying. "It is embarrassing to talk for an hour or an hour and half about great masterpieces," he complains before his self-assured lecture on the dramatic difficulties of King Lear--a work he considers "perfectly easy to understand." In a sense, the detached formalist in Auden is most in tune with the late romances, since these have the most distilled characterizations, simplified plots and technical mastery of verse. Ultimately, when a poet of Auden's rank takes on a subject as lofty as Shakespeare, there are just as many revelations about the former's preoccupations as insights into the latter. Auden's references to T.S. Eliot, Kierkegaard and Mozart uncover more about his own interests in Christianity and opera than Shakespeare's themes and language. Such digressive allusions didn't reduce these accessible lectures' popularity in their time, nor will they now that Auden's survey of the Bard has been recovered and translated into book form.
