- Gebundene Ausgabe: 320 Seiten
- Verlag: Faber & Faber, London (1. April 2010)
- Sprache: Englisch
- ISBN-10: 057123576X
- ISBN-13: 978-0571235766
- Größe und/oder Gewicht: 23 x 16,4 x 3,6 cm
- Amazon Bestseller-Rang: Nr. 247.624 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Contested Will: Who Wrote Shakespeare?
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Kurzbeschreibung
For two hundred years after Shakespeare's death, no one thought to argue that somebody else had written his plays. Since then dozens of rival candidates - including Sir Francis Bacon and the Earl of Oxford - have been proposed as their true author. "Contested Will" unravels the mystery of when and why so many people began to question whether Shakespeare wrote the plays (among them such leading writers and artists as Sigmund Freud, Henry James, Mark Twain, Helen Keller, Orson Welles, and Sir Derek Jacobi). Shakespeare scholar James Shapiro's fascinating search for the source of this controversy retraces a path strewn with fabricated documents, calls for trials, false claimants, concealed identity, bald-faced deception and a failure to grasp what could not be imagined. If "Contested Will" does not end the authorship question once and for all, it will nonetheless irrevocably change the nature of the debate by confronting what's really contested: are the plays and poems of Shakespeare autobiographical, and if so, do they hold the key to the question of who wrote them?
Über den Autor
James Shapiro ist Professor für Anglistik und vergleichende Literaturwissenschaft an der Columbia Universität in New York. Er ist der Autor des Werkes "Shakespeare and the Jews" und lebt in New York City.
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29 von 38 Kunden fanden die folgende Rezension hilfreich
A fascinating book about the frailty of human beings who yearn to believe strange things.
30. Juni 2010
Format:Kindle Edition|Von Amazon bestätigter Kauf
There is something about Shakespeare scholarship which engenders greatness: Greenblatt, Kermode, Wells, Shapiro, Bate, Bloom--these are not dry scholars, but deep thinkers, writers of powerful prose, all with a profound sense of life in other times. None of them believes that someone other than Shakespeare wrote Shakespeare's works.
But there is a long tradition that Francis Bacon or Edward deVere (or many others) wrote Shakespeare's works, and that somehow generations of scholars have been fooled. Why anyone would think anything so preposterous on the face of it, has always interested me. I once put it down to snobbery, that the son of a glove-maker from Stratford could not have been smart enough to write such plays.
But it is more complicated than this. Shapiro's main idea is that many people want to believe that such great writing has to be based on experience, and Shakespeare could not have had the experiences which led to the poems and plays.
Shapiro is a scholar of Shakespeare, but in this book he had to treat many times and subjects, from 19th century positivism to Freud, and had to try to explain why such great thinkers as Mark Twain, Henry James and Sigmund Freud believed one or another version of the story. Surprisingly, Shapiro is respectful of what others would call lunacy. To explain one phase of the movement, which purported to find hidden codes in the plays, he explains how the development the telegraph and Morse code infused the culture of the times.
Shakespeare's poetry is of such extraordinary depth and beauty that it seems that it could only have been written by a man of letters, not an actor. But at the end of the book, Shapiro shows how Shakespeare was above all a man of the theater, and his plays are full of evidence which supports this. We know enough now about the business of operating a theater in his time that we can describe in some detail how Shakespeare was an actor, playwright and businessman of his time. We can see how his plays changed in subject and style when his company moved to an indoor theater, how he wrote plays specifically to use the talents of certain actors, and how he collaborated with others to churn out copy when necessary.
A fascinating book about the frailty of human beings who yearn to believe strange things.
But there is a long tradition that Francis Bacon or Edward deVere (or many others) wrote Shakespeare's works, and that somehow generations of scholars have been fooled. Why anyone would think anything so preposterous on the face of it, has always interested me. I once put it down to snobbery, that the son of a glove-maker from Stratford could not have been smart enough to write such plays.
But it is more complicated than this. Shapiro's main idea is that many people want to believe that such great writing has to be based on experience, and Shakespeare could not have had the experiences which led to the poems and plays.
Shapiro is a scholar of Shakespeare, but in this book he had to treat many times and subjects, from 19th century positivism to Freud, and had to try to explain why such great thinkers as Mark Twain, Henry James and Sigmund Freud believed one or another version of the story. Surprisingly, Shapiro is respectful of what others would call lunacy. To explain one phase of the movement, which purported to find hidden codes in the plays, he explains how the development the telegraph and Morse code infused the culture of the times.
Shakespeare's poetry is of such extraordinary depth and beauty that it seems that it could only have been written by a man of letters, not an actor. But at the end of the book, Shapiro shows how Shakespeare was above all a man of the theater, and his plays are full of evidence which supports this. We know enough now about the business of operating a theater in his time that we can describe in some detail how Shakespeare was an actor, playwright and businessman of his time. We can see how his plays changed in subject and style when his company moved to an indoor theater, how he wrote plays specifically to use the talents of certain actors, and how he collaborated with others to churn out copy when necessary.
A fascinating book about the frailty of human beings who yearn to believe strange things.
13 von 18 Kunden fanden die folgende Rezension hilfreich
Great scholarly book on the authorship of Shakespeare's plays
30. Mai 2011
Format:Kindle Edition|Von Amazon bestätigter Kauf
In America, the debate is about who killed JFK. This argument was preceded about two hundred years ago by who wrote Shakespeare's plays. Shapiro offers an exhaustive account on why people began to question Shakespeare as the author of plays. He starts off with an American named Delia Bacon, continues on with Mark Twain, Henry James, Sigmund Freud, and the list goes on. It's quite interesting to see how important names in literary history fall in the trap of believing things that are supported by pseudo research. From revealing secret codes, to communicating with ghosts of Shakespeare's era, to concocting stories of incestuous relationships between Queen Elizabeth and the Earl of Oxford (who was supposed to be the queen's son and lover) that dwarfs JFK and Marilyn Monroe's scandalous relationship considerably. None of the supporters of Oxford or Bacon have ever completed a true research that merits to call these men the true authors. Part of the problem is modernity, explains Shapiro. There is misunderstanding about the world in which Shakespeare lived. Modern readers try to understand Shakespeare's world through our modern perspectives. Hence, Shapiro illustrates how Samuel Morse's invention of the Morse code strongly influenced Delia Bacon and Mark Twain's theories about the Shakespeare controversy. He also dedicates much of the text in explaining the influence of literary theory and popular culture, which strongly believed that autobiographical material always has to be found in works of art. Shapiro examines the culture of Shakespeare's days through serious research to contrast the publishing and theatrical world of those days with ours. There is no doubt that this text is groundbreaking in this controversy. It's based on hard work and it is thoroughly researched. Highly recommended!
3 von 4 Kunden fanden die folgende Rezension hilfreich
The Place to Begin
24. April 2012
My interest in the Shakespeare authorship controversy was piqued by the movie "Anonymous" (2011). "Anonymous" provides an insight into the fervor which this debate has sparked, but it also serves as a caveat. "Anonymous" presents the most extreme theory (the "Prince Tudor" plot) as fact. Seeing it made me want to find an examination of the controversy which is thorough, painstaking, even-handed and cogent. James Shapiro's "Contested Will" rises to the task.
As a story in and of itself, the origins and profligation of the authorship debate are much more entertaining to read about than "Anonymous" was to watch. Many, many notables became involved over the years in this kerfuffle, including Mark Twain, Sigmund Freud, Henry James, Helen Keller, Ralph Waldo Emerson, Nathaniel Hawthorne... and in the 20th century, three Supreme Court judges who conducted a 'moot court' to hear the various arguments.
Shapiro, who is a professor at Columbia University, is well suited for the job of isolating the components of, and framing the nature of the debate as it unfolded. Shapiro has a clear, fair-minded sensibility and a genuine interest in understanding why the controversy took root, how it came to flourish, and the manner in which it speaks to proclivities which go far deeper than the mere regards of Shakespeare. In particular, he shines a light on the undeniably religious nature of the debate, and the modern skepticism which lends itself to not only disbelief, but the wish to wish to destroy and reinvent all orthodoxies.
Twain and Freud are fascinating cases of the seeming mania about Shakespeare, which appeared in both men in the late stages of their lives. Each man was convinced that no writer could fashion anything except what was derived from his own experience. Twain spent his last years in an estate called "Stormfield", surrounded by sycophants who referred to him as "the King". Passing strange, then, that a "King" should become fixated on destroying the paradigm of authorial royalty, Shakespeare. Twain referred to this form of beheading the father as "unhorsing" the Bard.
There is no clear path towards unraveling the Shakespeare mystery. There are things known that reflect poorly on the man we have come to know as Shakespeare, but there are equally bothersome, troubling facts known about De Vere, the Earl of Oxford and other possible authorship candidates.
Perhaps in the end it is much better to become embroiled in the actual works of Shakespeare than in the authorship controversy, which it seems was hardly ever a profitable pursuit for those who undertook it in the past.
As a story in and of itself, the origins and profligation of the authorship debate are much more entertaining to read about than "Anonymous" was to watch. Many, many notables became involved over the years in this kerfuffle, including Mark Twain, Sigmund Freud, Henry James, Helen Keller, Ralph Waldo Emerson, Nathaniel Hawthorne... and in the 20th century, three Supreme Court judges who conducted a 'moot court' to hear the various arguments.
Shapiro, who is a professor at Columbia University, is well suited for the job of isolating the components of, and framing the nature of the debate as it unfolded. Shapiro has a clear, fair-minded sensibility and a genuine interest in understanding why the controversy took root, how it came to flourish, and the manner in which it speaks to proclivities which go far deeper than the mere regards of Shakespeare. In particular, he shines a light on the undeniably religious nature of the debate, and the modern skepticism which lends itself to not only disbelief, but the wish to wish to destroy and reinvent all orthodoxies.
Twain and Freud are fascinating cases of the seeming mania about Shakespeare, which appeared in both men in the late stages of their lives. Each man was convinced that no writer could fashion anything except what was derived from his own experience. Twain spent his last years in an estate called "Stormfield", surrounded by sycophants who referred to him as "the King". Passing strange, then, that a "King" should become fixated on destroying the paradigm of authorial royalty, Shakespeare. Twain referred to this form of beheading the father as "unhorsing" the Bard.
There is no clear path towards unraveling the Shakespeare mystery. There are things known that reflect poorly on the man we have come to know as Shakespeare, but there are equally bothersome, troubling facts known about De Vere, the Earl of Oxford and other possible authorship candidates.
Perhaps in the end it is much better to become embroiled in the actual works of Shakespeare than in the authorship controversy, which it seems was hardly ever a profitable pursuit for those who undertook it in the past.
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