Q1 Hamlet (1603) routinely sets prose speeches so that they appear to be blank verse. This article argues that such was an attempt to confer prestige upon the text, particularly in the wake of the saturation of Shakespeare books on the literary marketplace around 1600 – a phenomenon that saw his prose works achieve less favour than those in pentameter. The publishers of Q1 Merry Wives (1602) and Q1 Hamlet may have hedged their bets on these Shakespeare texts by amplifying their verse, long the gold standard of the Shakespearean brand. Like The True Tragedie of Richard III (published 1594) and The Famous Victories of Henry V (entered 1594), which presented their opening pages to readers as iambic pentameter, Q1 Hamlet seems to have beautified its dialogue for readers in the early modern book marketplace.
Two Judeo-Spanish Versions of the German Novel Der Rabbi und der Minister
Aitor García Moreno
For more than one hundred years texts of rabbinical prose were the only model of educated style. With the arrival of new literary genres imported from Western Europe towards the middle of the nineteenth century, Sephardi authors and translators promoted a change in their style of writing. This article compares syntactic structures in two texts from the second half of the nineteenth century. They belong to the same literary genre and share the same subject, but are anchored in different discoursive traditions trying to exemplify the different styles of Sephardic prose that coexisted at that time.
Ananta Kumar Giri
. So far, mainstream discourse and practice of development mainly focus on what can be called the prose of development: the hard-core and hardware issues of economics, politics, and infrastructure and rarely explores the subtler dimension of development
-sided incarnation, exemplified in the works of the two Shelley—Mary and Percy: prose and poetry, low genres and high genres, feminine writing and masculine writing. One may ask what it is this hypertext finds relevant for its self-definition in such theories
Historicizing Édouard Dujardin’s Les Lauriers Sont Coupés
Kelly J. Maynard
nationalist fervor and an extremist press. Thus, the circumstances of Dujardin’s life and career in the mid-1880s positioned him uniquely to experience these interlaced sites of modernity and, through the novel, to grapple with them in prose. These contexts
Universalizing Shakespeare’s Play after the Holocaust
Shakespeare wrote no lines at the end of the final act but who now often mutely displays remorse and regret. Maurice Schwartz’s Yiddish adaptation, Shylock and His Daughter (1947), gave Jessica equal billing. 4 Recent prose adaptations by feminist writers
Antony Rowland and Robert Eaglestone
‘Why no appraisals of [Holocaust] verse – particularly verse composed in the English language?’, asks Susan Gubar in Poetry after Auschwitz. The question appears particularly pertinent, if paradoxical, in the context of her list of canonical authors in the field of Holocaust literature, most of whom are either primarily poets (Dan Pagis, Paul Celan and Nelly Sachs) or prose writers as well as poets (Charlotte Delbo, Primo Levi and Tadeusz Borowski). One answer is that critics have rightly attended to the more sophisticated prose in the work of Delbo, Levi and Borowski. However, this has lead to the overshadowing of, for example, the significance of Levi’s ‘Shemà’ as metatestimony in relation to If This is a Man, Borowski’s ‘October Sky’ as a complex, dialectical anti-lyric, and Delbo’s shift into poetic form in Auschwitz and After when she senses that her prose is simply not up to the task of recounting certain traumatic experiences.
The Example of Richard Johnson
Naomi C. Liebler
Richard Johnson, sometime apprentice and later producer of a baker’s dozen of very popular works of prose and verse, would today be dismissed as a hack. That he was noticed at all in his day and since then, however, suggests that his work has an important place in the record of how, and why, reading became not only a leisure-time activity of a late Elizabethan and Jacobean citizenry, but also both a marker and maker of an emerging English bourgeois self-consciousness. His Most Famous History of the Seven Champions of Christendom (Part 1: STC 14677; Part 2: STC 14678), a prose romance of epic proportions regarding the exploits of St George, with token attention to the other six, was one of the more popular works of the late Elizabethan and Jacobean periods.
The Deportation Poetry of André Ulmann and Maurice Honel
Gary D. Mole
In an article entitled ‘Témoignage du camp et poésie’, published in 1948, the former deportee Robert Antelme, author of the now classic deportation text L’Espèce humaine, identifies what he sees as the respective problems of prose and poetic testimonies. The prose account, claims Antelme, in its supposed stark objectivity, all too often reads like some abstract accusatory act, a photograph that may provoke fear and trembling, but from which lessons cannot be explicitly learnt. Poetry, on the other hand, would run the risk of fleeing the reality of the camps, of allowing it to be only glimpsed through melodic counterpoint or nostalgic themes, thus enveloping the reality in a mist of words but never really penetrating it. In fleeing prosaic description, then, poetry would risk falling into obscurity.
Elie Wiesel has claimed that testimony is the generic legacy of the Holocaust. Other critics have pointed out that testimony, in the sense of first-person literary accounts of events to which the author was eye-witness, also characterized earlier historical calamities, in particular the First World War. That war produced testimony in the form of lyric poetry, in which the reader recognized the author as a witness and assumed a close fit to the poem’s speaking subject. Yet it is not poetic but prose testimony that is typical of Holocaust eyewitness, while Holocaust poetry is considered a separate and self-contained genre. In this essay, I will explore the reasons why this should be so, and whether there is a closer link than at first appears between the construction of the first-person narrator of a prose testimony, such as Wiesel’s Night (1958), and the lyric ‘I’ of some Holocaust poetry.