We have always known already that Shakespeare was a collaborator; he was a man of the theatre which is an inherently very collaborative, social art. The news is that he also collaborated as a writer much more than we used to think he did. We can now say with a high degree of certainty that upward of third of his plays were co-written in some sense or other. In most film portrayals, Shakespeare seems to produce his plays in isolation.
wrote recently of the demise of department store retailer BHS as a high street presence in the UK. It is a moot point whether some of the pains that ultimately led to the demise of the business were self-inflicted. But what cannot be doubted is that the disappearance of BHS from high streets and shopping centres is a very salutary example f the huge structural shifts which are reshaping the retail industry today.
Conspiracies are seldom what they are cracked up to be. It is in their nature for people to gossip and complain. Through it all they sometimes agree with each other, or pretend to for other reasons. Thus eavesdroppers looking for conspiracy can imagine plenty of it in almost any gathering, particularly if alcohol is lubricating and amplifying the discussions. So it was that in the winter of 1777-78 that some commonplace military griping got elevated to the level of conspiracy, at the center of which were a few hapless men later referred to as the “Conway Cabal.”
When we read Shakespeare’s Complete Works we are primarily, of course, reading Shakespeare. But as a bonus we also get, in the same volume, an excellent anthology of most of the important playwrights who were his collaborators. Shakespeare collaborated for the same reason that most people do: different members of the team are especially good at different tasks.
Sherlock Holmes is literature’s greatest rationalist; his faith in material reality is absolute. In his certainty, he resembles his creator; but not in his materialism. From the beginning of his writing career, Doyle was fascinated by the spirit world. One of his favourite literary modes, the Gothic, allowed him to explore the world of spirits and the supernatural, of vengeful mummies and predatory vampires, of ghosts and necromancers.
Peter Gilliver has been an editor of the Oxford English Dictionary since 1987, and is now one of the Dictionary’s most experienced lexicographers; he has also contributed to several other dictionaries published by Oxford University Press. In addition to his lexicographical work, he has been writing and speaking about the history of the OED for over fifteen years. In this two part Q&A, we learn more about how his passion for lexicography inspired him to write a book on the development of the Oxford English Dictionary.
Peter Gilliver has been an editor of the Oxford English Dictionary since 1987, and is now one of the Dictionary’s most experienced lexicographers; he has also contributed to several other dictionaries published by OUP. In addition to his lexicographical work, he has been writing and speaking about the history of the OED for over fifteen years. In this two part Q&A, we learn more about how his passion for lexicography inspired him.
While it is obvious that Shakespeare drew a tremendous amount of inspiration from Christopher Marlowe (note the effect of The Jew of Malta, Hero and Leander, and Tamburlaine on The Merchant of Venice, As You Like It, and Shakespeare’s history plays, respectively), this kind of borrowing and […]
Salafism, often referred to as ‘Wahhabism’, is widely regarded as a fundamentalist interpretation of Islam that fuels Jihadism and subjugates women. Some even lump ISIS and Salafism together—casting suspicion upon the thousands of Muslims who identify as Salafi in the West. After gaining unprecedented access to Salafi women’s groups in London, I discovered the realities behind the myths.
From every window there were beauties to be seen. The rooms were lofty and handsome, and their furniture suitable to the fortune of their proprietor; but Elizabeth saw with admiration of his taste, that it was neither gaudy nor uselessly fine; with less of splendour, and more real elegance, than the furniture of Rosings
The Houses of Parliament in London is one of the most famous buildings in the world. A masterpiece of Victorian Gothic architecture which incorporates survivals from the medieval Palace of Westminster, it was made a World Heritage Site by UNESCO along with Westminster Abbey, and St Margaret’s Church, in 1987. With its restoration and renewal in the news, find out more about the background in this interactive timeline.
In 2015 the Oxford Dictionary of National Biography introduced an annual research bursary scheme for scholars in the humanities. As the first year of the scheme comes to a close, we ask the second of the 2015-16 recipients—the early modern historian, Dr Emily Hansen—about her research project, and how it’s developed through her association with the Oxford DNB.
In the sixteenth and early seventeenth centuries, Shakespeare’s plays were performed at professional playhouses such as the Globe and the Rose, as well as at the Inns of Court, the houses of noblemen, and at the Queen’s palace. In fact, the playing company The Queen’s Men was formed at the express command of Elizabeth I to […]
In 2015 the Oxford Dictionary of National Biography introduced an annual research bursary scheme for scholars in the humanities. As the first year of the scheme comes to a close, we ask the first of the 2015-16 recipients—the economic historian, Dr Helen Paul of Southampton University—about her research project, and how it’s developed through her association with the Oxford DNB.
Historians of both Britain and Ireland have too often adopted a blinkered approach in which their countries have been envisaged as somehow divorced from the continent in which they are geographically placed. If America and the Empire get an occasional mention, Europe as a whole has largely been ignored. Of course the British-Irish relationship had (and has) its peculiarities.
Just as there were no real women on Shakespeare’s stage, there were no Jews, Africans, Muslims, or Hispanics either. Even Harold Bloom, who praises Shakespeare as ‘the greatest Western poet’ in The Western Canon, and who rages against academic political correctness, regards The Merchant of Venice as antisemitic. In 2014 the satirist Jon Stewart responded to Shakespeare’s ‘stereotypically, grotesquely greedy Jewish money lender’ more bluntly.