Shakespeare and Classical Antiquity PDF
Preview Shakespeare and Classical Antiquity
Oxford Shakespeare Topics Shakespeare and Classical Antiquity oxford shakespeare topics PublishedandForthcomingTitlesInclude: DavidBevington,ShakespeareandBiography MichaelCaines,ShakespeareandtheEighteenthCentury LawrenceDanson,Shakespeare’sDramaticGenres JanetteDillon,ShakespeareandtheStagingofEnglishHistory PaulEdmondsonandStanleyWells,Shakespeare’sSonnets GabrielEgan,ShakespeareandMarx AndrewGurrandMarikoIchikawa,StaginginShakespeare’sTheatres JonathanGilHarris,ShakespeareandLiteraryTheory DouglasLanier,ShakespeareandModernPopularCulture HesterLees-Jeffries,ShakespeareandMemory AniaLoomba,Shakespeare,Race,andColonialism RaphaelLyne,Shakespeare’sLateWork RussMcDonald,ShakespeareandtheArtsofLanguage StevenMarx,ShakespeareandtheBible RobertS.Miola,Shakespeare’sReading MarianneNovy,ShakespeareandOutsiders PhyllisRackin,ShakespeareandWomen CatherineRichardson,ShakespeareandMaterialCulture BruceR.Smith,ShakespeareandMasculinity Zdene˘kStrˇ´ıbrny´,ShakespeareandEasternEurope MichaelTaylor,ShakespeareCriticismintheTwentiethCentury AldenT.VaughanandVirginiaMasonVaughan,ShakespeareinAmerica StanleyWells,ed.,ShakespeareintheTheatre:AnAnthologyofCriticism MartinWiggins,ShakespeareandtheDramaofhisTime Oxford Shakespeare Topics GENERALEDITORS:PETERHOLLANDANDSTANLEYWELLS Shakespeare and Classical Antiquity COLIN BURROW 1 3 GreatClarendonStreet,Oxford,ox26dp, UnitedKingdom OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwide.Oxfordisaregisteredtrademarkof OxfordUniversityPressintheUKandincertainothercountries #ColinBurrow2013 Themoralrightsoftheauthorhavebeenasserted FirstEditionpublishedin2013 Impression:1 Allrightsreserved.Nopartofthispublicationmaybereproduced,storedin aretrievalsystem,ortransmitted,inanyformorbyanymeans,withoutthe priorpermissioninwritingofOxfordUniversityPress,orasexpresslypermitted bylaw,bylicenceorundertermsagreedwiththeappropriatereprographics rightsorganization.Enquiriesconcerningreproductionoutsidethescopeofthe aboveshouldbesenttotheRightsDepartment,OxfordUniversityPress,atthe addressabove Youmustnotcirculatethisworkinanyotherform andyoumustimposethissameconditiononanyacquirer BritishLibraryCataloguinginPublicationData Dataavailable ISBN 978–0–19–968478–6 PrintedinGreatBritainby CPIGroup(UK)Ltd,Croydon,CR04YY InmemoriamEmrysJones,1931–2012 Preface I am very grateful to all the many generations of scholars on whose workthisbooksometimebuildsbutmostlyrests.WithoutBaldwin, Miola,Martindale,andmanyothersIwouldnotknowverymuch,and a lightly annotated book such as this one cannot adequately record the full extent of my debts. Pigmies and giants, that kind of thing. Ihavebeenveryfortunatethatseveralexceptionallyperceptivereaders have scrutinized much of it, notably John Kerrigan and Leah Whittington, as well as the series editors Stanley Wells and Peter Holland, to all of whom I am most grateful. What’s still wrong in it remains my own, of course. I am also grateful to the Warden andFellowsofAllSoulsCollege,Oxford,forgivingmethefreedomto write it, as well as to Jacqueline Baker (and before her, Andrew McNeillie)forencouragingtheworkandtoleratingmydelays.Librar- iansinOxford,Cambridge,andinparticularatAllSoulshavebeen exceptionallyhelpful.Sincesomuch of itisabout howShakespeare rememberedhislearningandteaching,Ishouldalsorecordmydebts to my ownteachers in the distant past, particularly to Derek Lucas, Anne Bowler, Roland Clare, and David Miller at Bristol Grammar School,JohnCaseyandJ.H.PrynneatCambridge,andinparticular to the supervisor of my D. Phil., Emrys Jones, whose The Origins of Shakespeare is one of the origins of my own interest in this topic, and whosesadandunexpecteddeathoccurredwhileIwasfinishingthisbook. Quotations from Shakespeare follow William Shakespeare, The Complete Works, ed. S. Wells and G. Taylor 2nd edn (Oxford: Clar- endonPress,2005).Quotationsfromotherearly-modernsourcesare modernized in spelling and punctuation from early printed sources, oraretakenfrommodernizededitions.Foreaseofreference,quota- tionsfromclassicaltextsarekeyedtotherelevantvolumesintheLoeb Classical Library, although on occasions I have modified the text to bring it closer to that of editions printed in Shakespeare’s lifetime. Translations are generally my own unless otherwise stated, though ‘my own’ here can sometimes mean ‘a freshened-up version of the Loeb translationadapted to take accountof what I want the text to meanforthepurposesofmyargument’. Contents ListofIllustrations viii Introduction 1 1. LearningfromthePast 21 2. Virgil 51 3. Ovid 92 4. RomanComedy 133 5. Seneca 162 6. Plutarch 202 Conclusion 240 Notes 249 FurtherReading 269 Index 277 Illustrations 1. Astormblowsaverymedieval-lookingAeneastowardsthe Strophades. 80 2. Metamorphoses,BookVI:TereusattacksPhilomelainthe top-rightbackground. 107 3. Lucrece’ssuicideinMarsus’seditionofOvid’sFasti. 116 4. SosiaandMercuryappearintheAmphitryonagainst aclassicizingbackgroundwhichsuggeststhedoorsused forentriesandexits. 146 5. Metamorphoses,BookXV:Thebullrisesfromtheseaand Hippolytuscrashesinthebackground. 179 Introduction EverybodyknowsthatShakespearehad‘smallLatinandlessGreek’. TheyknowitbecauseBenJonsonsaidsoinhiselegyprefixedtothe first Folio of Shakespeare’sComedies, Histories and Tragediesin 1623. It’sworthreadingthewholepassage,though,toseeifJonsonmeant exactlywhatheisoftenthoughttohavesaid: ForifIthoughtmyjudgementwereofyears Ishouldcommittheesurelywiththypeers, AndtellhowfarthoudidstourLylyoutshine, OrsportingKyd,orMarlowe’smightyline. And,thoughthouhadstsmallLatinandlessGreek, FromthencetohonourtheeIwouldnotseek Fornames,butcallforththunderingAeschylus, EuripidesandSophoclestous, Pacuvius,Accius,himofCordovadead, Tolifeagain,tohearthybuskintread Andshakeastage;or,whenthysockswereon Leavetheealoneforthecomparison OfallthatinsolentGreeceorhaughtyRome Sentforth,orsincedidfromtheirashescome.(27–40)1 Jonson was throughout his career keen to emphasize how far his classical learning outstripped that of his peers. His hard-earned reputationasaclassicisthasprovidedtheusualframeworkforreading hiselegyonShakespeareas(inthewordsofJohnDryden)‘aninso- lent, sparing, and invidious panegyric’,2 which claims that Shake- speareknewnothingornotmuchaboutclassicalliterature. Jonson,however,isnotsimplysayingwhathesoundsasthoughhe issaying.3Thewholepassageishypothetical.Itbegins‘ifIthought
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