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“... another party if it is to be more than assent. It happens within the heart (according to King John) but becomes consent only when it is declared. The word could mean, as now, agreement to a proposal, but Shakespeare’s plays reflect social conditions in which consent between lovers depends on the consent given by friends and family. As Petruchio tells ...”

“... Last summer, the National Theatre put on Timon of Athens as a play about the credit crunch. Simon Russell Beale was the glossy, well-fed protagonist, a wealthy patron of the arts and liberal dispenser of gifts, who plunges into misanthropy when he can borrow no more and his friends reject him. The production was stylishly contemporary, set in the expensive interiors of Mayfair and Canary Wharf ...”

“... When Seamus Heaney left Belfast in 1972, to work as a freelance writer in the relative safety of the Republic, Northern Ireland was a war zone. Internment and Bloody Sunday had recruited so many to the Provisional IRA that Civil Rights marches had given way to carbombs. While Heaney in County Wicklow wrote the poems that would go into North, common ground was eroded ...”

“... Scottish islands. In the Hebrides, Sorley MacLean had composed an elegy for MacNeice’s friend John Cornford, ‘marbh ’san Spàinn ’san aobhar naomh/is cridhe ghaoil mì-shocrach’ (‘dead in Spain in the sacred cause/and the heart of love uncomforted’). Within months he would start writing ‘The Cuillin’, which laments ‘the rotten wrack of ...”

“... In Irish poetry, from Ó Rathaille to the rebel songs, a paradigmatic encounter recurs. Up on a hill, or down by the glenside, the poet meets a woman who celebrates Ireland’s pastand speaks of national redemption. This emblematic figure, often glimpsed in a vision or ‘aisling’, can be a glamorous maiden awaiting her Stuart prince, but she also appears as the ‘poor old woman’ of the patriotic ballads ...”

“... rationalist, anti-clerical and republican, showing more affinity with the Co. Derry freethinker John Toland (1670-1722) than with such rosary-bead nationalists as Pádraic Pearse. After Toland, the figure that mattered most to him, historically at least, was Wolfe Tone. The rising of the United Irishmen in 1798 has long been important for republicans ...”

“... The Abbey Theatre, Dublin, 1938. An old pedlar and his young son stand on a moonlit stage bare but for the ruins of a great house and a leafless tree. The Old Man declares that the house is still inhabited, by the ghost of his mother, heir to the estate, who brought destruction on it when she married his low-born, wastrel father. A light comes on in a shattered window ...”

“... There is a touch​ of Shylock in this,’ John Kerrigan says of a moment in King Lear. There are touches of Shylock in many places outside The Merchant of Venice, and indeed outside Shakespeare altogether, but this one is of unusual interest. It is in Cordelia’s speech responding to her father’s question about which of his daughters loves him most – well, to be precise, which of his daughters he is to say loves him most ...”

“... were we to need reminding – that a death has meaning. ‘Tragedy, which might be noble,’ John Kerrigan remarks, ‘always, just the same, means waste’; as though some imagined economy has gone awry. Either there’s an anomaly in the system, or there’s no system. What happened at Dunblane is called a tragedy because we take it for granted ...”

“... taken. Then the Troubles flared up again; and the IRA bombing campaign came to the mainland; and John McGrath wrote The Cheviot, the Stag and the Black, Black Oil; and suddenly it was 1974, and there were two close-run general elections, and not only did the Ulster Unionists matter even in England, but so did a couple of hitherto obscure and eccentric ...”

“... must be partly the help more recently given by such learned work on the art of inscriptions as John Sparrow’s, whose Visible Words, Line upon Line and Lapidaria are gratefully quoted in this and the following paragraph. For some three hundred years after the mid-15th century, a new art born in Italy swept Europe, accompanying the greater visual ...”

“... be equally true of its paraphrasable content.’ Taking issue with a recent editor of the Sonnets, John Kerrigan, she points to his lack of interest in the linguistic variation in sonnet 129, and says he takes ‘a single-minded expository view of the poem, as though it were a self-consistent sermon’. For Vendler, the verbal imagination’s true intent ...”

“... persons using the present tense: ‘I do take thee, Bridget, for my wife’; ‘I do take thee, John, for my husband.’ Henry Swinburne, whose Treatise of Spousals was published in 1686 but written a century earlier, is clear that such a contract, without solemnisation, without consummation, constitutes valid, indissoluble marriage. To marry privately in ...”

“... Was Hugh MacDiarmid a great poet? Was he, as John MacQueen asserts in his Foreword to Catherine Kerrigan’s study, one of ‘the three greatest poets to use English in the 20th century’, the other two being Yeats and Eliot? One can understand MacQueen putting the matter that way, but perhaps it is not the most helpful way when the reputations of Eliot and Yeats are shaking down, in the ordinary process of time, following their immense acclaim ...”

“... takes centre stage for a time – displaced by other violent attention-getters like Lorena and John Wayne Bobbitt, Tonya Harding and Nancy Kerrigan, Singapore’s caning sentence to punish an American teenager, the ‘three strikes and you’re out’ Congressional proposal to jail for life those convicted of three ...”