An epigram is a short poem, most often of two or four lines. Its typical metre is the elegiac couplet, which is also the metre of Roman love poetry (elegy) and the hallmark of Ovid. In antiquity it was a distinctively Greek literary form: Roman writers were never comfortable in it as they were in other imported genres, such as epic and elegy. When they dabbled in epigram they often used Greek to do so. Martial’s decision to write books of Latin epigrams, and nothing else, is thus a very significant departure.
Comparison between the lives of Antonio Machado and Federico García Lorca is inevitable and not just because they are the two major Spanish poets of the twentieth century. They had met, and admired each other’s work. Both were victims of the Civil War.
It’s curious how intensely some writers, especially poets, respond to place. Wordsworth and the Lake Poets, of course, John Clare at Helpston, and Thomas Hardy’s Wessex. But there are earlier names: William Cowper and Olney, Alexander Pope’s Windsor or Twickenham, Charles Cotton in Derbyshire…
Young Cressingham, one of the witty contrivers of Thomas Middleton’s and John Webster’s comedy Anything for a Quiet Life (1621), faces a financial problem. His father is wasting his inheritance, and his new stepmother – a misogynistic caricature of the wayward, wicked woman – has decided to seize the family’s wealth into her own hands, disinheriting her husband’s children.
Many people fear that Jeremy Corbyn’s election as leader will throw Labour into a policy war so long drawn out that it will end up in the zombie world of the undead and unelectable (like the Liberal Democrats). Corbyn has already been subjected to unfavourable comparisons with previous Labour leaders but in truth he is incomparable.
Who is ‘Martial’? “Up to this point, Madam, this little book has been written for you. You want to know for whom the bits further in are written? For me.” (3.68) Marcus Valerius Martialis was born some time around AD 40 (we know his birthday, 1st March, but not the year) at Bilbilis in Hispania Tarraconensis, a province of oil- and wine-rich Roman Spain.
In the six hundred year since it was fought the battle of Agincourt has become an exceptionally famous one, which has generated a huge and enduring cultural legacy. Everybody thinks they know what the battle was about but is the Agincourt of popular image the real Agincourt, or is our idea of the battle simply taken from Shakespeare’s famous depiction of it?
If you’re a student of African American literature or of the nineteenth century in the United States, you may have already heard about Johanna Ortner’s rediscovery of Frances Ellen Watkins Harper’s first book, Forest Leaves, which has long been assumed lost – perhaps even apocryphal.
Describing her role as the ambitious political wife Claire Underwood in the American TV series House of Cards, Robin Wright recognized she is “Lady Macbeth to [Francis] Underwood’s Macbeth.” At one point in the second series, Claire emboldens her wavering husband: “Trying’s not enough, Francis. I’ve done what I had to do. Now you do what you have to do.”
I approach myth from the standpoint of theories of myth, or generalizations about the origin, the function, and the subject matter of myth. There are hundreds of theories. They hail from anthropology, sociology, psychology, politics, literature, philosophy, and religious studies.
The poet we call Martial, Marcus Valerius Martialis, lived by his wits in first-century Rome. Pounding the mean streets of the Empire’s capital, he takes apart the pretensions, addictions, and cruelties of its inhabitants with perfect comic timing and killer punchlines.
October is an important month for book festivals—in Boston, Austin, Madison, Baton Rouge, and of course Frankfurt, Germany, which hosts the world’s oldest book festival. In honor of book festivals, I want to delve a bit into the way that the language of books expanded the English vocabulary.
Since the advent of film and television production, Shakespeare’s plays have been adapted, re-imagined, and performed on screen hundreds of times. Although many early Shakespeare adaptations remained faithful to his work, over time writers and directors selected only certain characters, plot lines, conflicts, or themes into their films.
It was strikingly appropriate that Sir Geoffrey Hill should have focused his final lecture as Oxford Professor of Poetry on a quotation from Charles Williams. Not only was the lecture, in May 2015, delivered almost exactly seventy years after Williams’s death; but Williams himself had once hoped to become Professor of Poetry.
In anticipation of Shakespeare celebrations next year, we asked Oxford University Press and Oxford University staff members to choose their favourite Shakespeare adaptation. From classic to contemporary, the obscure to the infamous, we’ve collected a whole range of faithful and quirky translations from play text to film. Did your favourite film or television programme make the list?
George Bernard Shaw once remarked on William Shakespeare’s “gift of telling a story (provided some one else told it to him first).” Shakespeare knew the works of many great writers, such as Raphael Holinshed, Ludovico Ariosto, and Geoffrey Chaucer. How did these men, and many others, influence Shakespeare and his work?