As we enter a new millennium ruled by technology, will poetry still matter? The Song of the Earth answers eloquently in the affirmative. A book about our growing alienation from nature, it is also a brilliant meditation on the capacity of the writer to bring us back to earth, our home. In the first ecological reading of English literature, Jonathan Bate traces the distinctions among "nature," "culture," and "environment" and shows how their meanings have changed since their appearance in the literature of the eighteenth century. An intricate interweaving of climatic, topographical, and political elements poetically deployed, his book ranges from greenhouses in Jane Austen's novels to fruit bats in the poetry of Les Murray, by way of Thomas Hardy's woodlands, Dr. Frankenstein's Creature, John Clare's birds' nests, Wordsworth's rivers, Byron's bear, and an early nineteenth-century novel about an orangutan who stands for Parliament. Though grounded in the English Romantic tradition, the book also explores American, Central European, and Caribbean poets and engages theoretically with Rousseau, Adorno, Bachelard, and especially Heidegger. The model for an innovative and sophisticated new "ecopoetics," The Song of the Earth is at once an essential history of environmental consciousness and an impassioned argument for the necessity of literature in a time of ecological crisis.
In the brilliantly engaging style that characterised The Genius of Shakespeare, Jonathan Bate has written a series of compelling pieces on the link between literature and the environment and why poetry matters in the new millennium. In fascinating detail, Bate explains how words like 'culture' and 'environment' have evolved since the writing of Jane Austen, Thomas Hardy and the Romantics to the present day.
The Genius of Shakespeare is a new kind of biography: a biography of Shakespeare's talent and reputation, beyond the limits of his actual life. Part One explores the origins and development of his works, Part Two traces their effects on succeeding generations, and demonstrates how Shakespeare came to be regarded as the supreme dramatist.
This book grew from the inaugural E. H. Gombrich Lectures in the Classical Tradition that I delivered in the autumn of 2013 at the Warburg Institute of the University of London, under the title, "Ancient Strength: Shakespeare and the Classical Tradition"--Preface, page ix.
On the 250th anniversary of Wordsworth’s birth comes a highly imaginative and vivid portrait of a revolutionary poet who embodied the spirit of his age Published in time for the 250th anniversary of William Wordsworth’s birth, this is the biography of a great poetic genius, a revolutionary who changed the world. Wordsworth rejoiced in the French Revolution and played a central role in the cultural upheaval that we call the Romantic Revolution. He and his fellow Romantics changed forever the way we think about childhood, the sense of the self, our connection to the natural environment, and the purpose of poetry. But his was also a revolutionary life in the old sense of the word, insofar as his art was of memory, the return of the past, the circling back to childhood and youth. This beautifully written biography is purposefully fragmentary, momentary, and selective, opening up what Wordsworth called "the hiding-places of my power.
“One man in his time plays many parts, His acts being seven ages.” In this illuminating, innovative biography, Jonathan Bate, one of today’s most accomplished Shakespearean scholars, has found a fascinating new way to tell the story of the great dramatist. Using the Bard’s own immortal list of a man’s seven ages in As You Like It, Bate deduces the crucial events of Shakespeare’s life and connects them to his world and work as never before. Here is the author as an infant, born into a world of plague and syphillis, diseases with which he became closely familiar; as a schoolboy, a position he portrayed in The Merry Wives of Windsor, in which a clever, cheeky lad named William learns Latin grammar; as a lover, married at eighteen to an older woman already pregnant, perhaps presaging Bassanio, who in The Merchant of Venice won a wife who could save him from financial ruin. Here, too, is Shakespeare as a soldier, writing Henry the Fifth’s St. Crispin’s Day speech, with a nod to his own monarch Elizabeth I’s passionate addresses; as a justice, revealing his possible legal training in his precise use of the law in plays from Hamlet to Macbeth; and as a pantaloon, an early retiree because of, Bate postulates, either illness or a scandal. Finally, Shakespeare enters oblivion, with sonnets that suggest he actively sought immortality through his art and secretly helped shape his posthumous image more than anyone ever knew. Equal parts masterly detective story, brilliant literary analysis, and insightful world history, Soul of the Age is more than a superb new recounting of Shakespeare’s experiences; it is a bold and entertaining work of scholarship and speculation, one that shifts from past to present, reality to the imagination, to reveal how this unsurpassed artist came to be.
First published in 1991, Romantic Ecology reassesses the poetry of William Wordsworth in the context of the abiding pastoral tradition in English Literature. Jonathan Bate explores the politics of poetry and argues that contrary to critics who suggest that the Wordsworth was a reactionary who failed to represent the harsh economic reality of his native Lake District, the poet’s politics were fundamentally ‘green’. As our first truly ecological poet, Wordsworth articulated a powerful and enduring vision of human integration with nature which exercised a formative influence on later conservation movements and is of immediate relevance to great environmental issues today. Challenging the orthodoxies of new historicist criticism, Jonathan Bate sets a new agenda for the study of Romanticism in the 1990s.
From the Royal Shakespeare Company – a modern, definitive edition of Shakespeare's magnificent tragedy of love, jealousy and explosive racial politics. With an expert introduction by Sir Jonathan Bate, this unique edition presents a historical overview of Othello in performance, takes a detailed look at specific productions, and recommends film versions. Included in this edition are interviews with two leading directors and an actor – Trevor Nunn, Michael Attenborough and Antony Sher – providing an illuminating insight into the extraordinary variety of interpretations that are possible. This edition also includes an essay on Shakespeare's career and Elizabethan theatre, and enables the reader to understand the play as it was originally intended – as living theatre to be enjoyed and performed. Ideal for students, theatre-goers, actors and general readers, the RSC Shakespeare editions offer a fresh, accessible and contemporary approach to reading and rediscovering Shakespeare's works for the twenty-first century.
The long-awaited literary biography of the supreme "poets' poet" John Clare (1793-1864) is the greatest labouring-class poet that England has ever produced. No one has ever written more powerfully of nature, of a rural childhood, and of the alienated and unstable self, but until now he has never been the subject of a comprehensive literary biography. Here at last is his full story told by the light of his voluminous work: his birth in poverty, his work as an agricultural labourer, his burgeoning promise as a writer--cultivated under the gaze of rival patrons--then his moment of fame in the company of John Keats and the toast of literary London, and finally his decline into mental illness and his last years confined in asylums. Clare's ringing voice--quick-witted, passionate, vulnerable, courageous--emerges in generous quotation from his letters, journals, autobiographical writings, and his poems, as Jonathan Bate, the celebrated scholar of Shakespeare, brings the complex man, his beloved work, and his ribald world vividly to life.
This is the first comprehensive account of the relationship between Shakespeare and his favourite poet, Ovid, examining the full range of Shakespeare's works.
English Literature: A Very Short Introduction discusses why literature matters, how narrative works, and what is distinctly English about English literature. Jonathan Bate considers how we determine the content of the field, and looks at the three major kinds of imaginative literature - English poetry, English drama and The English novel.
This immensely pleasurable biography of two interwoven, tragic figures, John Keats and F. Scott Fitzgerald, "unabashedly, cheerfully celebrates the lasting power of literature." (Christoph Irmscher, Wall Street Journal) In this radiant dual biography, Jonathan Bate explores the fascinating parallel lives of John Keats and F. Scott Fitzgerald, writers who worked separately--on different continents, a century apart, in distinct genres--but whose lives uncannily echoed. Not only was Fitzgerald profoundly influenced by Keats, titling Tender is the Night and other works from the poet's lines, but the two shared similar fates: both died young, loved to drink, were plagued by tuberculosis, were haunted by their first love, and wrote into a new decade of release, experimentation, and decadence. Both were outsiders and Romantics, longing for the past as they sped blazingly into the future. Using Plutarch's ancient model of "parallel lives," Jonathan Bate recasts the inspired lives of two of the greatest and best-known Romantic writers. Commemorating both the bicentenary of Keats' death and the centenary of the Roaring Twenties, this is a moving exploration of literary influence.
Jonathan Bate believes that the slow, meditative reading of poetry – absorbing ourselves in the images of a poem, slowing to its beat, allowing our minds to rest in the pause of a line-ending – can bring us tranquility as we find echoes of our own experiences on the page. Experiences of beautiful places, strong feelings and moments that lift the human spirit In The Shepherd’s Hut, Bate introduces us to the diet of swans, the quest for inner peace in ancient Chinese poetry, the English seaside and the summer Mediterranean, a rose garden and a snow-covered moor. He reminds us what it is like to fall in love and to say goodbye. These are poems of memory and of mourning; quick-fire thoughts and longer meditations inspired by the great poets of the past. All author proceeds will be donated to ReLit, a small charitable foundation established by Jonathan Bate and his wife, author Paula Byrne, devoted to the act of reading as an invaluable form of stress relief in our busy world.
A tale of ordinary Florida citizens who, during extraordinary times, were called to battle against their fellow countrymen Over the past twenty years, historians have worked diligently to explore Florida’s role in the Civil War. Works describing the state’s women and its wartime economy have contributed to this effort, yet until recently the story of Florida’s soldiers in the Confederate armies has been little studied. This volume explores the story of schoolmates going to war and of families left behind, of a people fighting to maintain a society built on slavery and of a state torn by political and regional strife. Florida in 1860 was very much divided between radical democrats and conservatives. Before the war the state’s inhabitants engaged in bitter political rivalries, and Sheppard argues that prior to secession Florida citizens maintained regional loyalties rather than considering themselves “Floridians.” He shows that service in Confederate armies helped to ease tensions between various political factions and worked to reduce the state’s regional divisions. Sheppard also addresses the practices of prisoner parole and exchange, unit consolidation and its effects on morale and unit identity, politics within the Army of Tennessee, and conscription and desertion in the Southern armies. These issues come together to demonstrate the connection between the front lines and the home front.
Bringing together studies in theater history, print culture, and literature, this book offers a new consideration of Romantic-period writing in Britain. Recovering a wide range of theatrical criticism from newspapers and periodicals, some of it overlooked since its original publication in Regency London, Jonathan Mulrooney explores new contexts for the work of the actor Edmund Kean, essayist William Hazlitt, and poet John Keats. Kean's ongoing presence as a figure in the theatrical news presented readers with a provocative re-imagining of personal subjectivity and a reworking of the British theatrical tradition. Hazlitt and Keats, in turn, imagined the essayist and the poet along similar theatrical lines, reframing Romantic prose and poetics. Taken together, these case studies illustrate not only theater's significance to early nineteenth-century Londoners, but also the importance of theater's textual legacies for our own re-assessment of 'Romanticism' as a historical and cultural phenomenon.
‘What distinguished Clare is an unspectacular joy and a love for the inexorable one-thing-after-anotherness of the world’ Seamus Heaney John Clare (1793-1864) was a great Romantic poet, with a name to rival that of Blake, Byron, Wordsworth or Shelley – and a life to match. The ‘poet’s poet’, he has a place in the national pantheon and, more tangibly, a plaque in Westminster Abbey’s Poets’ Corner, unveiled in 1989. Here at last is Clare’s full story, from his birth in poverty and employment as an agricultural labourer, via his burgeoning promise as a writer – cultivated under the gaze of rival patrons – and moment of fame, in the company of John Keats, as the toast of literary London, to his final decline into mental illness and the last years of his life, confined in asylums. Clare’s ringing voice – quick-witted, passionate, vulnerable, courageous – emerges through extracts from his letters, journals, autobiographical writings and poems, as Jonathan Bate brings this complex man, his revered work and his ribald world, vividly to life.
This work argues that Rome is relevant to the Romantic period not as the continuation of an earlier neoclassicism, but rather as a concept that is simultaneously transformed and transformative: transformed in the sense that new models of historical thinking produced a changed understandings of historicity itself.
Crusades covers seven hundred years from the First Crusade (1095-1102) to the fall of Malta (1798) and draws together scholars working on theatres of war, their home fronts and settlements from the Baltic to Africa and from Spain to the Near East and on theology, law, literature, art, numismatics and economic, social, political and military history. Routledge publishes this journal for The Society for the Study of the Crusades and the Latin East. Particular attention is given to the publication of historical sources in all relevant languages - narrative, homiletic and documentary - in trustworthy editions, but studies and interpretative essays are welcomed too. Crusades appears in both print and online editions.
Shakespeare’s Sublime Pathos: Person, Audience, Language breaks new ground in providing a sustained, demystifying treatment of its subject and looking for answers to basic questions regarding the creation, experience, aesthetics and philosophy of Shakespearean sublimity. More specifically, it explores how Shakespeare generates experiences of sublime pathos, for which audiences have been prepared by the sublime ethos described in the companion volume, Shakespeare’s Sublime Ethos. To do so, it examines Shakespeare’s model of mutualistic character, in which "entangled" language brokers a psychic communion between fictive persons and real-life audiences and readers. In the process, Sublime Critical platitudes regarding Shakespeare’s liberating ambiguity and invention of the human are challenged, while the sympathetic imagination is reinstated as the linchpin of the playwright’s sublime effects. As the argument develops, the Shakespearean sublime emerges as an emotional state of vulnerable exhilaration leading to an ethically uplifting openness towards others and an epistemologically bracing awareness of human unknowability. Taken together, Shakespeare’s Sublime Pathos and Shakespeare’s Sublime Ethos show how Shakespearean drama integrates matter and spirit on hierarchical planes of cognition and argue that, ultimately, his is an immanent sublimity of the here-and-now enfolding a transcendence which may be imagined, simulated or evoked, but never achieved.
The debate over the use of copyright law to prevent competition and interoperability in the global software industry. We live in an interoperable world. Computer hardware and software products from different manufacturers can exchange data within local networks and around the world using the Internet. The competition enabled by this compatibility between devices has led to fast-paced innovation and prices low enough to allow ordinary users to command extraordinary computing capacity. In Interfaces on Trial 2.0, Jonathan Band and Masanobu Katoh investigate an often overlooked factor in the development of today's interoperabilty: the evolution of copyright law. Because software is copyrightable, copyright law determines the rules for competition in the information technology industry. This book—a follow-up to Band and Katoh's successful 1995 book Interfaces on Trial—examines the debates surrounding the use of copyright law to prevent competition and interoperability in the global software industry in the last fifteen years. Band and Katoh are longtime advocates for interoperable devices but present a reasoned view of contentious issues related to interoperability issues in the United States, the European Union, and the Pacific Rim. They discuss such topics as the protectability of interface specifications, the permissibility of reverse engineering (and legislative and executive endorsement of pro-interoperability case law), the interoperability exception to the U.S. Digital Millennium Copyright Act and the interoperability cases decided under it, the enforceability of contractural restrictions on reverse engineering; and recent legal developments affecting the future of interoperability, including those related to open source-software and software patents.
Elizabeth Bishop has been described as the 'best-loved' poet in English of the second half of the twentieth century. This book explores the published poems at the core of her remarkable canon of verse, along with her letters and other writings, and draws out key themes of the environment, balance, and ideas of love and loss.
This volume records a critic's three decades of thinking about the connection between literature and the conditions of people's lives. A preference for impurity and a search for how to explain it are threads in this book as its chapters pursue the entanglements of culture, politics, and society from which great literature arises.
Shakespeare’s Sublime Ethos: Matter, Stage, Form breaks new ground in providing a sustained, demystifying treatment of its subject and looking for answers to basic questions regarding the creation, experience, aesthetics and philosophy of Shakespearean sublimity. More specifically, it explores how Shakespeare generates a sublime mood or ethos which predisposes audiences intellectually and emotionally for the full experience of sublime pathos, explored in the companion volume, Shakespeare’s Sublime Pathos. To do so, it examines Shakespeare’s invention of sublime matter, his exploitation of the special characteristics of the Elizabethan stage, and his dramaturgical and formal simulacra of absolute space and time. In the process, it considers Shakespeare’s conception of the universe and man’s place in it and uncovers the epistemological and existential implications of key aspects of his art. As the argument unfolds, a case is made for a transhistorically baroque Shakespeare whose "bastard art" enables the dramatic restoration of an original innocence where ignorance really is bliss. Taken together, Shakespeare’s Sublime Ethos and Shakespeare’s Sublime Pathos show how Shakespearean drama integrates matter and spirit on hierarchical planes of cognition and argue that, ultimately, his is an immanent sublimity of the here-and-now enfolding a transcendence which may be imagined, simulated or evoked, but never achieved.
How did the Bible survive the Enlightenment? In this book, Jonathan Sheehan shows how Protestant translators and scholars in the eighteenth century transformed the Bible from a book justified by theology to one justified by culture. In doing so, the Bible was made into the cornerstone of Western heritage and invested with meaning, authority, and significance even for a secular age. The Enlightenment Bible offers a new history of the Bible in the century of its greatest crisis and, in turn, a new vision of this century and its effects on religion. Although the Enlightenment has long symbolized the corrosive effects of modernity on religion, Sheehan shows how the Bible survived, and even thrived in this cradle of ostensible secularization. Indeed, in eighteenth-century Protestant Europe, biblical scholarship and translation became more vigorous and culturally significant than at any time since the Reformation. From across the theological spectrum, European scholars--especially German and English--exerted tremendous energies to rejuvenate the Bible, reinterpret its meaning, and reinvest it with new authority. Poets, pedagogues, philosophers, literary critics, philologists, and historians together built a post-theological Bible, a monument for a new religious era. These literati forged the Bible into a cultural text, transforming the theological core of the Judeo-Christian tradition. In the end, the Enlightenment gave the Bible the power to endure the corrosive effects of modernity, not as a theological text but as the foundation of Western culture.
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