The Narrative Poems, by William Shakespeare, Reviewed.

I always feel nervous commenting on the works of the Bard. After all, as England’s foremost dramatist, he has one hell of a reputation. Part of my anxiety stems from simple ignorance: a lack of knowledge of the times in which he wrote, and large holes in my understanding of the vocabulary he used. It is easy to misunderstand or misinterpret his work.

All the same, as a modern reader of a classic work, I have a voice and an opinion. I hope readers of my reviews understand that they are personal and only as informed as those of most readers who also write.

So, to The Narrative Poems: this volume contains, Venus and Adonis, The Rape of Lucrece, and The Phoenix and Turtle. I read the Penguin Shakespeare edition, so there are some notes, an introduction and an epilogue to guide readers.

There is no doubt that Shakespeare was a superb poet. But these are works very much of their time, in spite of their reputation as classics. Classics, because they use language in an evocative and engaging way. Of their time, because they are rather more wordy than a modern reader would generally prefer. Although it takes the author several verses to say what modern writers would say in one, the manner of the exposition is so brilliant that wordiness is more easily forgiven. That said, there were short passages I skipped because they seemed superfluous.

Pierre-Paul Prud'hon's Venus and Adonis, Wallace Collection, London (Photo credit: Wikipedia)

Venus and Adonis retells an ancient myth in the typical style of the poet and does so very well, of course. The Rape of Lucrece again tackles an old story, but what is most noticeable about this one is its extremely moral stance. At the time of the Bard, women were routinely ‘owned’ and abused, yet the language of this work expresses such disgust over the actions of the rapist, Tarquin, and such empathy with the victim, Lucrece, that it might have been written by a modern man. The Phoenix and Turtle, however, is all but incomprehensible without a translation or some reference to the original work from which it is undoubtedly derived.

Did I enjoy the read? Yes. Was some of it hard work? Yes. Did it put me off reading more of Shakespeare? No. Scholars and those acquainted with his works, will need no input from me. Those less familiar with the work of the Bard should find this slim volume worth their time. I suggest you have a read.

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I Before E, Except After C?

English: So many words to keep track of!. (Photo credit: Wikipedia)

If ever a writing rule was overstated, it must be this one. Once it becomes evident that there are more exceptions than examples following a rule, the rule becomes seriously unhelpful; redundant at best.

We all know about receipt, receive, ceiling, etc. But there are actually more words used in English that have the ‘ei’ construction than those using ‘ie’.

Don’t believe me? I offer a mere handful:

Heir, weir, Eire, weird, being, deific, leisure, meiosis, neighbour, eisegesis, neither, peignoir, reiki, seismic, vein, weigh, zein, either, feign, height, rein, reiterate, seine, seize, teise, veil, zeitgeist, eight, deign, deity, eider, feint, heifer, heinous, Leicester, peise, reign, feisty, geisha.

Have a think: I’m sure you’ll find hundreds more.

Okay, I accept that some of these are ‘foreign’ words, but English is a conglomerate language, made up of words and expressions stolen from invaders and the victims of Britain’s ancient and extensive empire. Modern English is said to contain over 1,000,000 different words, exceeding any other language.

So, to return to the rule: forget it. Your English teacher was wrong. Most schools in Britain have stopped preaching this erroneous rule now, so you can allow yourself to ditch it as well. Go on, you know you’d love to. It’s not helpful.     

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Five Finger Exercise, a Play by Peter Shaffer, Reviewed

First performed in 1958, this is a play of its time. I’m not sure the modern generation would understand the subtleties of the upper middle class family and its seething social and class tensions. The addition of the German tutor as a fulcrum for change, so short a time after the war, would nowadays not have the power and relevance it must have had for an audience of the day. Of course, those of my own generation, and earlier, would appreciate these factors, but whether the play could be enjoyed by a younger audience is open to debate.

In the written text, there’s an ambiguity surrounding the relationship between the tutor and the son that could hint at homosexuality. But the resolution of this in performance would be dependent on the actors playing those parts and the direction they were given, and I’m still unable to decide whether their attempt at friendship is platonic or subconsciously sexual.

Employing a girl developing into early womanhood as the object of the young tutor’s teaching, enclosed, as they are, in a tight and intimate setting, would now be seen through different eyes. In fifties England, paedophilia was a taboo subject and one not considered for public exposure or discussion as it now is. Again, the playwright may have had ulterior motives and may have been adding a layer of complexity to the plot by suggesting a sexual longing on behalf of the daughter. Certainly she develops a crush on her tutor, and this, once perceived by the mother, is a cause for the older woman’s jealousy, since she also fancies herself in love with the young man. But the crush may have been intended as no more than the sort of puppy love displayed by young girls for objects of devotion, without the sexual connotation it would inevitably acquire for today’s audience.

The relationship between the businessman father and the social climbing mother with artistic pretentions is almost clichéd, though here it is rescued from that fate by making the woman of French origin. The tensions formed by her sensitivity and his pragmatism, especially as these pertain to the raising of the son, are classic in their portrayal. The fight about his education at university, studying English Literature, instead of taking the route of practical apprenticeship in his father’s furniture business, is so well drawn that it may well be based on the author’s own experience. I don’t know whether that’s the case, however. This sort of conflict, where the mother wants her son raised to appreciate the finer things in life and the father wants him to be moulded into his own image in order to carry on the business, is a fairly common element of fiction and drama or the era.

This is a play about class war, the then prevalent theme of the war between the sexes, prejudice regarding nationality, and the ever-present conflict between those who make money and those who merely spend it. Whether it would work for a contemporary audience I couldn’t say. Certainly, however, if it were to be performed locally, I’d attend. As a study of the times, this is an excellent example of drama, and, given the pedigree of the creator, is as   well written as you’d expect. I enjoyed it.

What and Who do You Admire Most as a Writer?

Cover of J.K. Rowling

Most of us have heroes we look up to in one way or another. Sometimes it's simply the creative output we admire, sometimes it's the person rather than the work, and sometimes, just occasionally, it's both.

So, who do you look up to, whose work do you admire?

I'll start the ball rolling with my own listing.

I grew up long before the Harry Potter novels were written, let alone published, but I admire the story-telling, imagination and range of language used by J.K.Rowling in these adventure tales aimed at young people. I started out reading them to my daughter as she grew up and ended up reading the last three because I was hooked on the adventure. I also think JK is an admirable person; her struggle to get published under very difficult circumstances and her generosity, once she was established, both make her someone for me to admire.

The work of William Golding is something I've enjoyed since I was introduced to it with The Spire when I attended evening classes during 1983 to take my English Literature A Level (which I passed with a grade A, I'm pleased to say). Having discovered the multi-layered story and accessible literary elements in The Spire, I went on to read the rest of his canon, finding I enjoyed the lot and learning a great deal about writing in the process. I particularly like The Pyramid, one of his works that's rarely mentioned.

Several of William  Horwood's books have impressed me. I enjoyed the pure fun and adventure of Duncton Wood and it's following episodes. But it was The Stonor Eagles that most resonated with me. I felt real empathy with the sculptor who is the human protagonist in this novel. The book details the struggles of Sea Eagles in and around the Norwegian coast and the Scottish Islands, and contrasts their lives with the problems faced by the artist commissioned to produce a sculpture of them to commemorate their re-introduction to the UK. A book that was definitely a powerful influence on my writing. The author's ability to enter the 'minds' of his flying characters as effectively as he does the humans in the story is most impressive.

Graham Greene's work has been influential in my reading and writing, as has that of Neville Shute. I've also enjoyed the work of Louis de Bernier. And, for reasons I don't fully understand, I have a particular soft spot for Richards Adams' Shardik and, particularly, Maia.

There are, of course, hundreds of other writers who have entertained and educated me during a life of reading. Attached to this blog is a list of some of the books I've yet to read. You'll find them on the tab, My To Read List' above. If you're interested in other books I've read and enjoyed, or otherwise, you'll also find a list of those I can actually remember on Goodreads, an excellent site where readers can exchange information about their reading experiences. There, you'll find a list of the 817 titles I've so far recalled, along with reviews of 89 of the books. I estimate I've probably read in excess of 3,000 books but so many are from the past and no longer held on my shelves (I was forced to abandon a large number of my books when I divorced my first wife, unfortunately) that I can't recall them now. All, however, have played their part in developing my language skills, facility with the written word, and my knowledge of the human story.

So, there's an idea of the work and writers I admire. Perhaps you'll share some of your own influences here?

Thank you for reading this.

Silly question to amuse: Why do Kamikaze pilots wear helmets?