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Unwritten Masterpiece

Barbara Everett: Dryden’s ‘Hamlet’, 4 January 2001

... Dryden of course neither wrote nor adapted a Hamlet. But sometimes negatives, or questions, can say as much as positives. And Dryden is perhaps an odder, a more involved figure than might be surmised from his enormous productivity – from his energy, his directness, his mass and variety of achievement. This first of our great professional poets may have understood very fully the oxymoron in that phrase, ‘professional poet’: may have known, even beyond the withdrawals of his own temperament, how many silences went into being so formidably articulate ...

Somebody reading

Barbara Everett, 21 June 1984

The Odes of Keats 
by Helen Vendler.
Harvard, 330 pp., £15.70, February 1984, 0 674 63075 0
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... late flowers. In literary terms, this is the country of Betjeman’s A Few Late Chrysanthemums, or Barbara Pym’s A Few Green Leaves. The haphazard, that is to say, is a part of the literary. Something in Helen Vendler’s image of the poem collapses with the removal of her conjectures about the poet’s conscious change: Keats becomes again what in a sense ...

Hard Romance

Barbara Everett, 8 February 1996

... The Janeites’ must be Kipling’s least popular story (though there is competition). Written in 1924 and published in Debits and Credits two years later, it is an abrupt, allusive yarn about a group of English officers and men in northern France near the end of the First World War; and it is narrated by one of them, a large working-class innocent called Humberstall, in peacetime a hairdresser ...

A Dreame of Passion

Barbara Everett: Shakespeare’s Most Peculiar Play, 2 January 2003

... About fifty or sixty years ago, at the end of a century or more of unenthusiasm, Measure for Measure came into its own. A largely moral or metaphysical explanation of its quality helped it to enjoy, like the uncles in Larkin’s wedding-poem, ‘success so huge and wholly farcical’. That critical moment has passed, like the Modernism which contributed to it ...

Love with Time Let in

Barbara Everett: ‘The Winter’s Tale’, 8 January 2004

... Most modern editions of The Winter’s Tale explain – and rightly – that its title is an Elizabethan phrase indicating scepticism, the equivalent to our ‘romantic nonsense’. The work is underwriting its own lightness, its randomness. But not without irony; for the title has a further dimension. It is oddly literal: the play begins in winter ...

Mrs Shakespeare

Barbara Everett, 18 December 1986

William Shakespeare: The Sonnets and ‘A Lover’s Complaint’ 
edited by John Kerrigan.
Viking, 458 pp., £14.95, September 1986, 0 670 81466 0
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... Not many stories about Shakespeare that are either credible or interesting survived the poet: but one can be found in an additional note to Aubrey’s Brief Lives, which recalls him as ‘the more to be admired q[uia] he was not a company keeper, lived in Shoreditch, wouldn’t be debauched, and if invited to, writ: he was in pain.’ This sounds true in more than one way; perhaps Shakespeare did suffer from headaches as well as high principles and good manners ...

Henry James and Romance

Barbara Everett, 18 June 1981

Henry James Letters. Vol. III: 1883-1895 
edited by Leon Edel.
Macmillan, 579 pp., £17.50, March 1981, 0 333 18046 1
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Culture and Conduct in the Novels of Henry James 
by Alwyn Berland.
Cambridge, 231 pp., £17.50, April 1981, 0 521 23343 7
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Literary Reviews and Essays, A London Life, The Reverberator, Italian Hours, The Sacred Fount, Watch and Ward 
by Henry James.
Columbus, 409 pp., £2.60, February 1981, 0 394 17098 9
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... Edith Wharton once asked Henry James why it was that his novels so curiously lacked real life. James’s private name for her was the ‘Angel of Devastation’, and the fact that she not only perpetrated this remark but went on to record it expressionlessly in her memoirs shows just what he meant. It might be said that by then James had got used to the situation anyway, since for the previous thirty years much the same question had been asked by that large majority of the late-Victorian reading public who simply refused to read his books: after the last mild success of The Portrait of a Lady in 1881, James experienced half a lifetime of small and dwindling sales, which culminated, in the case of the New York Collected Edition, in total failure ...

Alphabeted

Barbara Everett: Coleridge the Modernist, 7 August 2003

Coleridge’s Notebooks: A Selection 
edited by Seamus Perry.
Oxford, 264 pp., £17.99, June 2002, 0 19 871201 4
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The Collected Works of Samuel Taylor Coleridge: Vol. XVI: Poetical Works I: Poems (Reading Text) 
edited by J.C.C. Mays.
Princeton, 1608 pp., £135, November 2001, 0 691 00483 8
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The Collected Works of Samuel Taylor Coleridge: Vol. XVI: Poetical Works II: Poems (Variorum Text) 
edited by J.C.C. Mays.
Princeton, 1528 pp., £135, November 2001, 0 691 00484 6
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The Collected Works of Samuel Taylor Coleridge: Vol. XVI: Poetical Works III: Plays 
edited by J.C.C. Mays.
Princeton, 1620 pp., £135, November 2001, 0 691 09883 2
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... An informal Times feature on literary classics, published recently, included a list drawn up by a director of Penguin Classics: ‘The 50 Greatest Classics (pre-1900).’ Such lists can be dispiriting, and it could be said of this one that it had too little Shakespeare and no short poems at all (in such contexts, ‘great’ means ‘long’). But though there were omissions, there were no silly inclusions; Homer and Virgil and Chaucer accompanied Stendhal and Jane Austen, Dickens and Tolstoy and Henry James; and near the end was one poem that certainly might, in its intensity, be described as ‘short’ – Coleridge’s Rime of the Ancient Mariner ...

Whirligig

Barbara Everett: Thinking about Hamlet, 2 September 2004

... Hamlet’ is perhaps the most popular literary work ever put down on paper. This does not necessarily make it any easier to see clearly, or to come to terms with intellectually. This is especially so in a period when scholars say that there is no Hamlet, clear or not: there are only the incompatible early editions and the abundance of theatre productions ever since ...

The Fatness of Falstaff

Barbara Everett, 16 August 1990

... One day early in the 1590s a clown came onto a London stage, holding a piece of string. At the end of the piece of string was a dog. The dog, possibly the first on the Elizabethan stage, I want to leave where it is for a moment. My main subject isn’t Launce and his dog (for this is, of course, the first entry of the clown in The Two Gentlemen of Verona), but the much more complicated character who, charged by the Lord Chief Justice with having led astray the Prince of Wales, answers: ‘The young Prince hath misled me ...

Growing

Barbara Everett, 31 March 1988

... BBC Radio has started a pleasant practice of filling the Christmas season with murder plays, mostly dramatised detective stories from the classic English phase of the 1920s and 1930s. This joining of the festive with the lethal provokes thought. There may well be some long line in English culture that links the Christmas visit to The Mousetrap with a point at least as far back as that splendid moment in Medieval literature when the Green Knight, his head cut off, stoops to pick up the rolling object, and rides out of Arthur’s Christmas Court with the head lifted high and turned in the hand to smile genially here and there at the gathered knights and ladies as he goes ...

Eliot at smokefall

Barbara Everett, 24 January 1985

... Two events of the last year have attracted a lot of notice. One is the production of Michael Hastings’s play, Tom and Viv, and the other the publication of Peter Ackroyd’s biography, T.S. Eliot. They of course share a subject, the poet himself. But this choice of subject, the life of the writer with perhaps the biggest public image of any in our time, suggests something else they have in common ...

Larkin and Us

Barbara Everett, 4 November 1982

Larkin at Sixty 
edited by Anthony Thwaite.
Faber, 148 pp., £7.95, May 1982, 9780571118786
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The Art of Philip Larkin 
by Simon Petch.
Sydney University Press, 108 pp., £5.95, September 1982, 0 424 00090 3
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... What are days for?’ asks a poem in The Whitsun Weddings. It’s a good opening line, with that abruptness and immediacy most Larkin openings have. And it’s a good question, making it plain – among other things – that living is not really what poems do: they only chart the results of asking questions like these, bringing        the priest and the doctor In their long coats Running over the fields ...

Tibbles

Barbara Everett, 17 October 1985

Alexander Pope 
by Maynard Mack.
Yale, 975 pp., £15.95, August 1985, 0 300 03391 5
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Pope’s ‘Essay on Man’ 
by A.D. Nuttall.
Allen and Unwin, 250 pp., £15, February 1984, 0 04 800017 5
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The Last and Greatest Art: Some Unpublished Poetical Manuscripts of Alexander Pope 
by Maynard Mack.
Associated University Presses, 454 pp., £48.95, June 1984, 0 87413 183 9
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The New Oxford Book of 18th-Century Verse 
by Roger Lonsdale.
Oxford, 870 pp., £15, November 1984, 0 19 214122 8
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Collected in Himself: Essays Critical, Biographical and Bibliographical on Pope and Some of his Contemporaries 
by Maynard Mack.
Associated University Presses, 569 pp., £26.50, March 1983, 0 87413 182 0
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... Even Swift, who liked to think he was half author of the Dunciad, had trouble with its allusions and wrote grumblingly to warn Pope that twenty miles from London ‘nobody understands hints, initial letters, or town facts and passages.’ The delighted poet seized his chance and added to his poem for its 1729 ‘Variorum’ edition those profuse helpful footnotes which make the text more confusing than before ...

Philistines

Barbara Everett, 2 April 1987

... Literary friendships (Sidney and Greville, Pope and Swift, Wordsworth and Coleridge, Eliot and Pound) have interest for the critic as well as the biographer. They show how unlike temperaments of near-equivalent talent may be drawn together by unanimity of literary principle. This unanimity should therefore be worth looking into, especially in the case of work like Philip Larkin’s, always more reserved and elusive than it seems ...

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