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Prefaces to Shakespeare by Tony Tanner
When Tony Tanner died in 1998, the world lost a critic who was as sensitive a reader of Jane Austen as he was of Thomas Pynchon, and who wrote with a warmth and clarity that belied his fluency in literary theory.In the final ten years of his life Tanner tackled the largest project any critic in English can take on--writing a preface to each of Shakespeare's plays. This collection serves as a comprehensive introduction for the general reader, the greatest and perhaps the last in the line of great introductions to Shakespeare written by such luminaries as Samuel Johnson and Samuel Taylor Coleridge. Tanner brings Shakespeare to life, explicating everything from big-picture issues such as the implications of shifts in Elizabethan culture to close readings of Shakespeare's deployment of complex words in his plays.Although these prefaces are written for a general audience, there is much value for the scholar as well. Tanner introduces some of the most significant recent and historical scholarship on Shakespeare to show the reader how certain critics frame large issues in a useful way. This scholarly generosity permits Johnson, Hazlitt, Emerson, Thoreau, Ruskin, Pater, and many others to enter into conversation. "The Independent" said of the project, "All of Tanner's life and education had prepared him for this task and the results are magnificent--both accessible and erudite."
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First published January 1, 2010
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Displaying 1 - 4 of 4 reviews
June 14, 2010
For the first time since his untimely death, Tony Tanner's introductions to all of Shakespeare's plays have been published collectively. All in all this constitutes a tome that is surprisingly accessible, especially when considering the depth, variety and importance of the works it encompasses.
It quickly becomes apparent that the author is as erudite and well-read as he is self-effacing. What a delight to encounter scholarship at this level which serves the subject so devotedly without, at the same time, becoming self-referential. Almost to a fault, Tanner draws from the published commentary and criticism - both highly acclaimed and obscure - of others to support his synthetic appraisal of each play.
Of note is the fact that some of the most rewarding essays discuss the most inscrutable or problematic works: Henry VIII, The Merchant of Venice, The Merry Wives of Windsor. It is readily apparent that Professor Tanner had both a formidable intellect and an abiding faith in the genius of Shakespeare as poet and dramaturg. What a fool-proof combination.
It quickly becomes apparent that the author is as erudite and well-read as he is self-effacing. What a delight to encounter scholarship at this level which serves the subject so devotedly without, at the same time, becoming self-referential. Almost to a fault, Tanner draws from the published commentary and criticism - both highly acclaimed and obscure - of others to support his synthetic appraisal of each play.
Of note is the fact that some of the most rewarding essays discuss the most inscrutable or problematic works: Henry VIII, The Merchant of Venice, The Merry Wives of Windsor. It is readily apparent that Professor Tanner had both a formidable intellect and an abiding faith in the genius of Shakespeare as poet and dramaturg. What a fool-proof combination.
December 3, 2013
If you only read one book about Shakespeare's plays, this is the one. Firstly, you can just read about the plays you know, or the plays you've seen or maybe the plays you are going to see (there is a lot of Shakespeare in New York theaters this year). It's organized to make that easy -- one preface per play.
Tanner's not afraid to introduce issues that are ambiguous and hard to decipher in the plays but he does it in a way that only makes you want that much more to read the whole play through. How he does it exactly I'm not sure but it sure works.
Tanner's not afraid to introduce issues that are ambiguous and hard to decipher in the plays but he does it in a way that only makes you want that much more to read the whole play through. How he does it exactly I'm not sure but it sure works.
January 12, 2013
Staggering. I so enjoy reading "complete" approaches to Shakespeare by well-read academics, particularly those like the late Tony Tanner who really want you to enjoy the works as much as they do. All too often with modern interpreters of Shakespeare, the desire is either to see the work entirely "as Shakespeare did" (a ludicrous aim that usually reveals more about the interpreter's own neuroses), or otherwise to completely reject the idea of a 1590s audience, and strive for only the bits that are still "relevant" (whatever that means -- should I stop watching British television from the '90s because I'm an Australian living in 2013?).
Tanner was of the old guard, and his work resounds with a respect for the creator's intention while also acknowledging the work as literature, as poetry, as a living, changing mass whose intention and effect will vary with each passing generation and audience. In this, he succeeds. Tanner elucidates the comedies, histories, tragedies, Greek and Roman plays, and finally romances, with a fine toothcomb. He intelligently plucks out lines for multiple meanings and sharp insights, while always acknowledging the basic necessities of analysing older material:
1) Not everything is intentional, no, but often the little moments reveal so much to us;
2) Even when elements are often unintentional, an artist (I can personally attest to this) may make connections unconsciously that later reveal themselves; and
3) Despite our best guesses, we can rarely - if ever - know what Shakespeare was thinking. He died 400 years ago. Let's accept that.
Within this framework, Tanner gives a gloriously old-school introduction to each one of Shakespeare's generally accepted plays.
Like any work, of course, there are elements that could be seen as flaws. Tanner is cannier (or at least, more clear) on some genres - the comedies and romances particularly - than perhaps in the tragedies and the Greek plays, but perhaps this is just because of the elements he has chosen to highlight. There are certain words and phrases he overuses, although these prefaces were not originally - or even, really, now for most readers - intended to be read together. His lack of providing footnotes and references could occasionally leave younger readers confused, as he may reference a literary or classical point without providing context. And - although it's not Tanner's fault - his archaic use of words (particularly verbs) would undoubtedly be perplexing to many readers. To me, that last one is a plus: I love that when Tanner says "of all Shakespeare's tragedies, this is the worst", he doesn't mean "play sux, y'all", he means "is most filled with a sorrow and grief that has no justification".
Fascinating stuff. And, at the end of the day, it's increasingly rare to read intelligent material that treats the reader as equal while discussing this greatest of playwrights. Tanner is an academic almost without bias, writing with fervour and passion for his subject. These prefaces - read in the larger context of Shakespearean scholarship - have a lot to teach us.
Tanner was of the old guard, and his work resounds with a respect for the creator's intention while also acknowledging the work as literature, as poetry, as a living, changing mass whose intention and effect will vary with each passing generation and audience. In this, he succeeds. Tanner elucidates the comedies, histories, tragedies, Greek and Roman plays, and finally romances, with a fine toothcomb. He intelligently plucks out lines for multiple meanings and sharp insights, while always acknowledging the basic necessities of analysing older material:
1) Not everything is intentional, no, but often the little moments reveal so much to us;
2) Even when elements are often unintentional, an artist (I can personally attest to this) may make connections unconsciously that later reveal themselves; and
3) Despite our best guesses, we can rarely - if ever - know what Shakespeare was thinking. He died 400 years ago. Let's accept that.
Within this framework, Tanner gives a gloriously old-school introduction to each one of Shakespeare's generally accepted plays.
Like any work, of course, there are elements that could be seen as flaws. Tanner is cannier (or at least, more clear) on some genres - the comedies and romances particularly - than perhaps in the tragedies and the Greek plays, but perhaps this is just because of the elements he has chosen to highlight. There are certain words and phrases he overuses, although these prefaces were not originally - or even, really, now for most readers - intended to be read together. His lack of providing footnotes and references could occasionally leave younger readers confused, as he may reference a literary or classical point without providing context. And - although it's not Tanner's fault - his archaic use of words (particularly verbs) would undoubtedly be perplexing to many readers. To me, that last one is a plus: I love that when Tanner says "of all Shakespeare's tragedies, this is the worst", he doesn't mean "play sux, y'all", he means "is most filled with a sorrow and grief that has no justification".
Fascinating stuff. And, at the end of the day, it's increasingly rare to read intelligent material that treats the reader as equal while discussing this greatest of playwrights. Tanner is an academic almost without bias, writing with fervour and passion for his subject. These prefaces - read in the larger context of Shakespearean scholarship - have a lot to teach us.
September 11, 2010
Great resource on the plays--illuminating essays that offer new things to enjoy in the less celebrated works.
Displaying 1 - 4 of 4 reviews