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Shakespeare and the Goddess of Complete Being, by Ted Hughes
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This critical work on Shakespeare attempts to show his complete works - dramatic and poetic - as a single, tightly-integrated, evolving organism. Identifying Shakespeare's use in the poems "Venus and Adonis" and "The Rape of Lucrece", of the two most significant religious myths of the archaic world, Hughes argues that these myths later provided Shakespeare with templates for the construction of every play from "All's Well that Ends Well" to "The Tempest". He also argues that this development, in turn, represented his poetic exploration of conflicts within the "living myth" of the English Reformation. The claim is a large one, but Hughes supports his thesis with a painstakingly close analysis of language, plots and characters.
- Sales Rank: #1315132 in Books
- Published on: 1992-04-13
- Original language: English
- Number of items: 1
- Dimensions: 9.49" h x 1.73" w x 6.42" l, 2.18 pounds
- Binding: Hardcover
- 464 pages
From Publishers Weekly
For English poet Hughes, Shakespeare was "a prophetic shaman of the Puritan revolution," his plays mythic reenactments of the holy war between Catholic and Puritan fanaticism. This arcane, often farfetched study maintains that the Bard tapped into the "source myth" of Catholicism in Venus and Adonis : the myth of the Great Goddess and her sacrificed god. In The Rape of Lucrece , Shakespeare mined the rival source myth of Puritanism: the enraged Jehovan god who abhors the Goddess for her presumed treachery or whorishness. In this highly speculative analysis, Hughes follows the workings of these two interlocking myths through Shakespeare's plays, whose overall trajectory, he argues, is an attempt to escape from tragic destiny to secular freedom. In King Lear , according to Hughes, Shakespeare reinvented an ancient Egyptian cosmology to illuminate the distorting ethos of the English Reformation. And from Cymbeline to The Tempest , he argues, the Bard used the Gnostic myth about the Female who represents the hero's own soul. Hughes's ambitious critique will appeal primarily to devotees of myth and Jung.
Copyright 1992 Reed Business Information, Inc.
From Library Journal
This is one of the most remarkable books on Shakespeare to appear for some time. Hughes begins by analyzing Venus and Adonis and the Rape of Lucrece , suggesting that the two myths that inform these poems--of the hero who rejects the goddess and is killed in return, and of the god who destroys the goddess--form a fundamental mythic and symbolic pattern that underlies Shakespeare's later plays, beginning with As You Like It and incorporating all the great tragedies and romances. The reader has to be prepared to follow Hughes, the noted British poet ( Wolfwatching , LJ 12/90), through some fairly obscure mythological twists and turns, but it is almost always worth it. Every page is lit up with some insight that makes one think about the plays in a new light. Scholars may be irritated by the lack of documentation (no bibliography, few footnotes, no index), but this is literary criticism of the sort we need.
- Bryan Aubrey, Fairfield, Ia.
Copyright 1992 Reed Business Information, Inc.
About the Author
Ted Hughes (1930-1998) was born in Yorkshire. His first book, The Hawk in the Rain, was published in 1957 by Faber & Faber and was followed by many volumes of poetry and prose for adults and children. He received the Whitbread Book of the Year for two consecutive years for his last published collections of poetry, Tales from Ovid and Birthday Letters. He was Poet Laureate from 1984, and in 1998 he was appointed to the Order of Merit.
Most helpful customer reviews
3 of 3 people found the following review helpful.
A step towards understanding Shakespeare
By Roman Paget
“Shakespeare and the Goddess of Complete Being” brings us closer to understanding the Bard’s writings. Ted Hughes has intuitively perceived that Shakespeare’s plays are linked together and constitute a single narrative. In this respect, Hughes’ analysis is similar to Beryl Pogson’s approach presented in her book entitled “In the East My Pleasure Lies” (published in 1950).
Hughes has attempted to extract the narrative by assuming that the key to its unlocking is provided by Shakespeare in “Venus and Adonis” and “The Rape of Lucrece”. Hughes treats these two long poems as an illustration of two sequential events. These events are taking place on two planes, mythical and rational. The first event illustrates the hero who rejects the love of the Goddess and is killed in revenge by a boar. This event leads to the second one, in which the hero rapes an earthly incarnation of the Goddess and is punished for his crime by banishment. Hughes has merged these two events into what he calls the Tragic Equation, a linear formula that, according to him, forms the skeleton of Shakespeare’s canon.
By applying his tragic equation, Hughes has been successful in unlocking a few episodes of Shakespeare’s plays, which otherwise remain invisible to the rational mind. For example, he was able to trace down the origin of Caliban (“The Tempest”), to deduct the presence of the Third Duke in “As You Like It”, and to identify Parolles as a distracting inner self of Bertram in “All’s Well That Ends Well”. At the same time, and very much like Mrs Pogson, Hughes completely misunderstood the functionality of several other characters. According to Hughes, Lucio in “Measure for Measure” is “the priapic demon”; and melancholy Jaques in “As You Like It” is Shakespeare himself. Then he reversed the roles of Gertrude in “Hamlet”, Don Pedro in “Much Ado About Nothing”, and (like every writer, critic, and scholar before him) allowed himself to get into Iago’s trap in “Othello”.
Hughes’ misunderstanding is caused by a couple of imprecisions that have crept into his thinking pattern. The first imprecision is related to the overall functionality of Hughes’ equation. Namely, his equation describes a sort of a vicious circle. Hughes’ fascination with and knowledge of ancient mysteries have allowed him to identify such a vicious circle within the myths and other occult traditions. The ancient myths and occult ceremonies are a record of an evolutionary disruption that was caused by an event that occurred in antiquity. As a result of this antiquated event, humanity ended-up in evolutionary chaos. But these mythical episodes belong to the past. It seems that Hughes does not realize that, in the meantime, the situation has changed. The mythical or archetypal forces do not operate anymore in the same manner. Shakespeare dedicated his writings to illustrate how it was possible to break out of that mythical chaos and bring humanity back on the right track. This constructive change is symbolically marked by Shakespeare in his first long poem as Adonis rejecting Venus. Hughes has perceived the significance of this episode (e.g., page 61: “The god, who, throughout history and prehistory, had loved the Goddess of Love as totally and unconditionally as she loved him, had suddenly ... rejected her. This abrupt innovation crackles with outrage. The ancient momentum of the great myth has been brought to a dead halt ... .”) But Hughes misinterpreted this change. Hughes employed his erudition combined with quite an impressive intellectual gymnastic to reverse Shakespeare’s illustration and bring it back into the ancient chaotic mode. What Hughes did not perceive in Shakespeare’s plays is the presence of constructive forces. Hughes’ tragic equation does not include these constructive forces. This is why his equation is not complete. By their very nature, the constructive forces manifest themselves in a subtler and gentler manner. In the plays they are overshadowed by more dynamic and boorish destructive forces. The constructive forces are intentionally presented in such a way that they are invisible to the rational mind.
Without these constructive forces, Shakespeare is not Shakespeare anymore. This is further illustrated in “Two Noble Kinsmen”, where the constructive forces have been deliberately removed. In this way, Shakespeare provided a contrast play to help the audiences, and his readers, to recognize the subtle forces in his other plays. Hughes perceived the sterility of “Two Noble Kinsmen” (page 564: “And yet it lacks something essential, that Shakespeare normally puts there. … It is psychologically static.”) But again, he misunderstood the purpose of this deliberately sterilized play (page 565: “As a result, the tremendous athlete, resting under his mulberry, never even got into condition for the job”).
The second imprecision of Hughes’ analysis is his disregard for the times and places in which the plays are set-up. He has assumed that the plays are independent of time and place. But this is not so. The plays are aligned along a very precise historical and geographical route. They illustrate from where, how, and when - evolutionary forces were gradually brought to Western Europe.
Despite these imprecisions, Hughes’ analysis marks a significant progress towards a fuller understanding of Shakespeare’s cannon. It brings Shakespearean critical analysis onto a higher level, i.e., above the background noise generated by the sterile rationality of orthodox scholarship.
1 of 1 people found the following review helpful.
complex
By evangeline
still working on it.
3 of 3 people found the following review helpful.
Consorts of meaning
By corn girl
I am going slowly, slowly through this book as it is so intense, scholarly, and brilliant. And when I get to the end of a section, I think I need to go back and read it again. But so highly worthwhile. This is certainly a book on Shakespeare and the Goddess but it is also a history of the search for understanding in the Western tradition, its sources, and its various manifestations. Ted Hughes....really, how is it that one person can know so much?!
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