Close Readings

Few poets have had the courage (or inclination) to rhyme ‘Plato’ with ‘potato’, ‘intellectual’ with ‘hen-peck’d you all’ or ‘Acropolis’ with ‘Constantinople is’. Byron does all of these in Don Juan, his 16,000-line unfinished mock epic that presents itself as a grand satire on human vanity in the tradition of Cervantes, Swift and the Stoics, and refuses to take anything seriously for longer than a stanza.

‘Goblin Market’ was the title poem of Christina Rossetti’s first collection, published in 1862, and while she disclaimed any allegorical purpose in it, modern readers have found it hard to resist political interpretations. Seamus and Mark discuss how post-Freudian readers might read those descriptions and what the poem says about the place of the ‘market’ in Victorian society.

In his prodigious, prolific and very short career, Lucan was at turns championed, disavowed and finally forced into suicide at 25 by the emperor Nero. His only surviving work is Civil War, an account of the bloody and chaotic power struggle between Julius Caesar and Pompey the Great. In their first episode on Latin literature’s so-called ‘Silver Age’, Tom and Emily dive into this brutal and unforgiving epic poem. They explore Lucan’s slippery relationship to power, his rhetorical virtuosity and the influence of Stoicism on his worldview.

The character of Gawain, one of King Arthur’s leading knights, recurs throughout medieval literature, but the way he’s presented underwent a curious development during the period, moving closer and closer to an impossible and perhaps comical ideal of chivalric perfection. Irina and Mary discuss his incarnation in 'Sir Gawain and the Carle of Carlisle', a later version of the character in which many of his traditional traits are exaggerated to the extreme.

Nadezhda Mandelstam’s Hope against Hope is a testimony of life under Stalin, and of the ways in which ordinary people challenge and capitulate to power. It’s also a compendium of gossip, an account of psychological torture, a description of the poet’s craft and a love story. Pankaj Mishra joins Adam to discuss the qualities that make Hope against Hope so compelling: Mandelstam’s uncompromising honesty, perceptiveness and irrepressible humour.

What kind of satirist was Jane Austen? Her earliest writings satirise romantic novelistic conventions, but her mature fiction goes far beyond this, taking the fashion for passionate sensibility and confronting it with moneyed realism. Clare and Colin focus on Emma as the high point of Austen’s satire of character as revealed through conversational style, and consider how the world Austen was born into, of revolutionary thought and new money, shaped the moral and material universe of all her novels.

Whitman wrote several poetic responses to the assassination of Abraham Lincoln. He came to detest his most famous, ‘O Captain! My Captain!’, and in ‘When Lilacs Last in the Dooryard Bloom'd’ Lincoln is not imagined in presidential terms but contained within a love elegy that attempts to unite his death with the 600,000 deaths of the civil war and reconfigure the assassination as a symbolic birth of the new America.

In episode seven, we turn to some of the earliest surviving examples of Roman literature: the raucous, bawdy and sometimes bewildering world of Roman comedy. Emily and Tom discuss how best to navigate these very early and enormously influential plays, and how they set the tone for Shakespeare, Sondheim and the modern sitcom.

The foul-mouthed, mean-spirited peasant Marcolf was one of the most well-known literary characters in late medieval Europe. He appears in many poetic works from the 9th century onwards, but it’s in this dialogue with Solomon, printed in Antwerp in 1492, that we find him at his irreverent and scatological best as they engage in a battle of proverbial wisdom.

Pankaj Mishra joins Adam Shatz to discuss The Golden Notebook, Doris Lessing’s formally brilliant and startlingly frank 1962 novel. In her portrait of ‘free women’ – unmarried, creatively ambitious, politically engaged – Lessing wrestles with the breakdown of Stalinism, settler colonialism and traditional gender roles. Pankaj and Adam explore the lived experiences that shaped the novel, its feminist reception and why Pankaj considers it to be one of the best representations of ‘the strange uncapturable sensation of living from day to day’.

Tristram Shandy was such a hit in its day that you could buy tea trays, watch cases and cushions decorated with its most famous characters and scenes. In this episode Clare and Colin look at the ways in which Sterne’s comic masterpiece stays true to the traditions of satire while drawing on Cervantes, Rabelais, Locke and the fashionable notion of ‘sentiment’ to advance a new kind of nuanced social comedy.

Wilfred Owen wrote ‘Strange Meeting’ in the early months of 1918, shortly after being treated for shell shock at Craiglockhart hospital in Edinburgh, where he had met the stridently anti-war Siegfried Sassoon. Sassoon's poetry of caustic realism quickly found its way into Owen’s work, where it merged with the high romantic sublime of his other great influences, Keats and Shelley.

The broad theme of this series, truth and lies, was a favourite subject of Lucian of Samosata, the last of our Greek-language authors. His razor-sharp satire was a model for Erasmus, Voltaire and Swift. Emily and Tom share some of their favourite excerpts from A True History and other works – with trips to the moon, boundary-pushing religious scepticism and wildly improbable but not technically untrue readings of Homer.

In their quest for the medieval sense of humour Mary and Irina come to The Second Shepherds’ Pageant, a 15th-century reimagining of the nativity as domestic comedy that’s less about the birth of Jesus and more about sheep rustling, taxes, the weather and the frustrations of daily life.

Ashis Nandy’s The Intimate Enemy is a study of the psychological toll of colonialism on both the coloniser and colonised, showing how Western conceptions of masculinity and adulthood served as tools of conquest. Pankaj Mishra joins Adam to unpack Nandy’s subtle and unexpected lines of thought and to explain why the book remains as innovative today as it did in 1983.