William Shakespeare’s STAR WARS seems to be written with a very specific audience in mind: one that both loves and knows the Star Wars movies (sci-fi nerds, myself included), as well as the works of Shakespeare (history and lit nerds). Which would seem to be a weirdly specific demographic, but in actual fact just goes to show how both Star Wars and Shakespeare can cross boundaries of genre and appeal to readers/viewers with all kinds of different tastes. Let’s face it, a lot of time it just isn’t helpful to make assumptions about what preferences for certain genres say about a person, because it’s almost always a lot more complicated than we’d like to think.
A mashup of Shakespeare, traditionally seen as the epitome of olde-worlde England (despite how often his plays are re-imagined in various contexts), and Star Wars, a seemingly futuristic story nevertheless set “a long time ago, in a galaxy far, far away” (or, as Doescher has it, “In time so long ago […] / In star-crossed galaxy far, far away” [Prologue]) would seem to be a weird combination. Continue reading →
I contemplated using this week’s Top Ten Tuesday theme about movies to just talk about movies that weren’t book-related, but then I realised that a sizeable chunk of my favourite movies consists of book adaptations anyway. These aren’t necessarily the best book-to-film adaptations I’ve ever seen, but they’re the ones I love re-watching. Continue reading →
This week’s Classic Remarks prompt was a difficult one to write. The theme was adaptations of classic books, and of course I spent most of this week cycling through my favourite films, desperately trying to figure out which one I love the most. Of course one of the first things that leapt to mind was Jane Austen, but since I’ve spent a lot of time banging on about Austen adaptations already, I thought I’d branch out and discuss something different (I know, I’m also surprised I managed to supress my natural love of obsessing over Austen). Naturally, my mind leapt to a director who’s had a controversial relationship with the few classic novels he’s adapted. Continue reading →
I’ve been a lit major for nigh on six years now, and so I thought it only fair that I use this week’s Top Ten Tuesday ‘Back to School’ theme to share some of the wisdom I’ve managed to gain. So I’ve decided to share ten texts I think every new lit major should try and read at some point in their university careers. Don’t be alarmed if these texts at first seem unnecessarily confusing, pointless, and/or completely and utterly useless. That’s more or less precisely how they’re supposed to be. Continue reading →
The Taming of the Shrew is Shakespeare’s family-friendly romp about a tough, street-wise hero who falls in love with and marries a fast-talking heroine. They decide to play an elaborate prank on their friends and family, so the pair pretend to hate each other and the hero torments the heroine, in order to highlight the atrociously misogynistic attitudes of early modern England.
Hmm. Maybe not so much. Although there’s been some debate about the extent to which Taming of the Shrew is in fact a misogynistic play (some people even argue that it’s just the opposite) I think it’s fair to say that it’s pretty problematic. It includes a great many jokes about women needing to be ‘tamed’, not to mention scenes of abuse: Katharina, the ‘Shrew’, is abducted and starved by her new husband Petruchio. Continue reading →
Romeo and Juliet: distorting our understanding of romantic love since 1597.
Last week, I came across a fabulous post by Emily from Roseread, which discussed the question: should Jane Austen be included in the canon? It led me to the wonderful meme Classic Remarks from Pages Unbound, which poses weekly questions about literature. I was keen to try my hand at one of the questions, and this week’s prompt is particularly interesting:
Is Romeo and Juliet a tragic love story or an ironic comedy? Should we take the play seriously when its protagonists are so young?Continue reading →
A man walks onstage holding a skull. He starts to speak.
No, you’re not watching Hamlet – though there’s little doubt that it is a cheeky reference to one of the most recognisable scenes in English dramatic history.
The play is The Revenger’s Tragedy, written either by Cyril Tourneur or crowd favourite Thomas Middleton, depending on which scholar you believe. It is a confusing, bloody, and at times hilarious look at the revenge tragedy genre and, like all good revenge tragedies, there are gory deaths aplenty.
The story’s protagonist is Vindice, the aforementioned skull-handler. The skull belongs to his love, Gloriana, who was murdered by an unscrupulous Duke some nine years ago. As you can probably guess (based on the weird and obsessive hoarding of his beloved’s bones) Vindice has had a little bit of trouble getting over it. So he devises a scheme to avenge Gloriana by disguising himself as a servant and insinuating himself with the Duke’s son, Lussurioso. The usual murder, mayhem, and sexual escapades ensue. Continue reading →
Renaissance drama certainly packs a punch. And Christopher Marlowe’s The Jew of Malta is no exception. If you’re ready for scheming, thieving, poisoning, blackmail, more poisoning, and Death By Cauldron, then you’ve certainly come to the right place. It’s hardly surprising that this play was so popular with the Elizabethans – and it’s amazing that Marlowe managed to stuff so much murder and mayhem into just one play.
The Jew of Malta, unsurprisingly, is set on the tiny Mediterranean island, which is being besieged by Turkish troops. The slippery governor of the island decides that in order to pay a tribute demanded by the Turks, he will take the money of Malta’s wealthiest citizen, a Jewish merchant called Barabas. As you can probably imagine, Barabas doesn’t take too kindly to being robbed blind, and sets out to take his revenge on the unscrupulous Christians. With the help of a Turkish slave called Ithamore, Barabas does any number of nasty things, including poisoning an entire nunnery (including his own daughter, Abigail), and tricking his daughter’s suitors into killing one another. As might be expected, the whole situation quickly deteriorates, and double-crossings and murders ensue by the bucketload. Continue reading →
With hundreds of new titles published every week, re-reading books may seem like a bit of a foolish endeavour these days. But re-reading books – ones you loved, hated, or were simply puzzled by – can be an excellent exercise, one that helps you to better understand a text. Or, sometimes, even better understand yourself, as I’m afraid the following list may very well reveal. The Broke and the Bookish’s Top Ten Tuesday theme this week is ‘Books I Feel Differently About Now That Time Has Passed’, and I’ve come up with a list of books that I have re-read either once or many times, with different emotions every time. Continue reading →
Please note: there are spoilers ahead. Mostly of the who-kills-whom variety. If you’re a fan of mystery, I’d recommend you get comfy with a copy of Kyd before you read on with my review.
Hieronimo, methinks a comedy were better.
Fie, comedies are fit for common wits:
But to present a kingly troupe withal,
Give me a stately-written tragedy, Tragedia cothurnata, fitting kings,
Containing matter, and not common things.
(IV:i, ll. 155-161)
The Spanish Tragedy is one of those plays that shows up very frequently on college courses and Shakespeare-related reading lists. Yet despite its popularity with Theatre Studies professors the world over, it’s very rarely the first thing to pop into someone’s head when they think of Elizabethan theatre. Or the second thing, for that matter.
I have to admit, this puzzles me a little. After all, The Spanish Tragedy pretty much does exactly what it says on the can: it’s set in Spain; it’s about revenge; and there’s enough tragedy to make even Romeo and Juliet take a break from their incessant adolescent whining to sit up and take notes. Continue reading →