Bright Spirits: Bard in the Valley's Love's Labor's Lost

Love’s Labor’s Lost . . . and Found

PsycCRITIQUES ◽

10.1037/a0003233 ◽

2006 ◽

Vol 51 (29) ◽

Author(s):

Karen Conner

Keyword(s):

Lost And Found ◽

Love's Labor's Lost

Download Full-text

Lesse Greeke? Homer in Jonson and Shakespeare

Ben Jonson Journal ◽

10.3366/bjj.2016.0154 ◽

2016 ◽

Vol 23 (1) ◽

pp. 101-126 ◽

Cited By ~ 1

Author(s):

Robert S. Miola

Keyword(s):

William Shakespeare ◽

Free Will ◽

Ben Jonson ◽

Dark Side ◽

Julius Caesar ◽

Troilus And Cressida ◽

English Translations ◽

Love's Labor's Lost ◽

And Function

Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.

Download Full-text

Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article two)

LAPLAGE EM REVISTA ◽

10.24115/s2446-6220202172704p.217-224 ◽

2021 ◽

Vol 7 (2) ◽

pp. 217-224

Author(s):

Svetlana N. Morozova ◽

Dmitry N. Zhatkin

Keyword(s):

20Th Century ◽

Russian Translation ◽

Original Text ◽

Richard Ii ◽

Love's Labor's Lost ◽

Sharp Rejection ◽

Artistic Manner

The first half of the 20th century in the Russian translation reception of Shakespeare was marked by the emerging of translations by B.L. Pasternak, S. Ya. Marshak, A.D. Radlova, W.V. Levik, I.B. Mandelstam. Characterizing their transcriptions, K.I. Chukovsky not only substantiated the artistic manner and creative position of the translators, but also presented his understanding of individual shortcomings and, conversely, successful findings. The articles «The Crippled Shakespeare», «Asthma in Desdemona» (1940) reflect his sharp rejection of the approach of A.D. Radlova to the interpretation of Shakespeare’s plays, he notes the mistakes made by the translator when working with the original texts. K.I. Chukovsky positively spoke about «Richard II» by I.B. Mandelstam; he considered its undoubted merit to be his free style and the absence of a formalist approach in observing certain parameters of the original text. The most complete features of the translation concept of K.I. Chukovsky are disclosed on the example of his translation of Shakespeare’s comedy «Love’s Labor’s Lost» (1945), which has been repeatedly staged in the theater.

Download Full-text