Bardolatry

Last updated

Engraving of the sculpture of Shakespeare at the entrance to the Boydell Shakespeare Gallery. The sculpture is now in the former garden of Shakespeare's home New Place in Stratford. Thomas Banks Shakespeare attended by Painting and Poetry c 1789.jpg
Engraving of the sculpture of Shakespeare at the entrance to the Boydell Shakespeare Gallery. The sculpture is now in the former garden of Shakespeare's home New Place in Stratford.

Bardolatry is excessive admiration of William Shakespeare. [1] Shakespeare has been known as "the Bard" since the eighteenth century. [2] One who idolizes Shakespeare is known as a bardolator. The term bardolatry, derived from Shakespeare's sobriquet "the Bard of Avon" and the Greek word latria "worship" (as in idolatry , worship of idols), was coined by George Bernard Shaw in the preface to his collection Three Plays for Puritans published in 1901. [3] [1] Shaw professed to dislike Shakespeare as a thinker and philosopher because Shaw believed that Shakespeare did not engage with social problems as Shaw did in his own plays. [4]

Contents

Origins

George Romney's The infant Shakespeare attended by Nature and the Passions, c. 1791-1792, representing the Romantic idea of Shakespeare's natural genius The infant Shakespeare attended by Nature and the Passions (Romney, c. 1791-1792).jpg
George Romney's The infant Shakespeare attended by Nature and the Passions, c. 1791–1792, representing the Romantic idea of Shakespeare's natural genius

The earliest references to the idolising of Shakespeare occur in an anonymous play The Return from Parnassus , written during the poet's lifetime. A poetry-loving character says he will obtain a picture of Shakespeare for his study and that "I'll worship sweet Mr Shakespeare and to honour him will lay his Venus and Adonis under my pillow, as we read of one – I do not well remember his name, but I'm sure he was a king – slept with Homer under his bed's head". [lower-alpha 1] However, this character is being satirised as a foolish lover of sensuous rather than serious literature.

The serious stance of bardolatry has its origins in the mid-18th century, when Samuel Johnson referred to Shakespeare's work as "a map of life". [5] In 1769 the actor David Garrick, unveiling a statue of Shakespeare in Stratford-upon-Avon during the Shakespeare Jubilee, read out a poem culminating with the words "'tis he, 'tis he, / The God of our idolatry". [6] Garrick also constructed a temple to Shakespeare at his home in Hampton. The phenomenon developed during the Romantic era, when Samuel Taylor Coleridge, John Keats, William Hazlitt, and others all described Shakespeare as a transcendent genius. Shaw's distaste for this attitude to Shakespeare is anticipated by William Cowper's attack on Garrick's whole festival as blasphemous in his poem The Task (1785).

Voltaire

Voltaire traveled to England in 1726, and attended the Theatre Royal, Drury Lane several times, seeing multiple of Shakespeare's plays. He heralded Shakespeare as a writer of genius. He was the main promoter of Shakespeare's works in France, and he translated the first three acts of Julius Caesar into French. Through promotion, translation and dissemination, he laid the foundation for the cult of Shakespeare. Later, Voltaire tried to combat the cult by calling Shakespeare a barbarian, dismissing the cult as "simply bardolatry," and criticizing his grasp on the laws of art, but the ideals of the cult had already begun to spread. [7]

Victorian bardolatry

Thomas Nast, study for The Immortal Light of Genius, 1895. Study for The Immortal Light of Genius (Nast, 1895).jpg
Thomas Nast, study for The Immortal Light of Genius, 1895.

The phenomenon became important in the Victorian era when many writers treated Shakespeare's works as a secular equivalent or replacement to the Bible. [8] "This King Shakespeare," the essayist Thomas Carlyle wrote in 1840, "does not he shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying signs; indestructible". [9] [10] [11]

The essential characteristic of bardolatry is that Shakespeare is presented as not only the greatest writer who ever lived, but also as the supreme intellect, the greatest psychologist, and the most faithful portrayer of the human condition and experience. In other words, bardolatry defines Shakespeare as the master of all human experience and of its intellectual analysis. [12] As Carlyle stated,

Of this Shakspeare of ours, perhaps the opinion one sometimes hears a little idolatrously expressed is, in fact, the right one; I think the best judgment not of this country only, but of Europe at large, is slowly pointing to the conclusion, that Shakspeare is the chief of all Poets hitherto; the greatest intellect who, in our recorded world, has left record of himself in the way of Literature. On the whole, I know not such a power of vision, such a faculty of thought, if we take all the characters of it, in any other man. Such a calmness of depth; placid joyous strength; all things imaged in that great soul of his so true and clear, as in a tranquil unfathomable sea! [13]

Shaw's sceptical views arose in response to such ideas. Shaw wished to demythologise Shakespeare. He emphasised that Shakespeare was capable of both brilliance and banality, a point made humorously in his late puppet play Shakes versus Shav , in which he compares Shakespeare's work to his own. He unequivocally asserted that Shakespeare was a great poet, even calling him "a very great author" at one point, and praised his use of what Shaw called "word-music". [14] He also declared, "Nobody will ever write a better tragedy than Lear". However, he also wrote in a letter to Mrs Patrick Campbell, "Oh, what a damned fool Shakespeare was!", and complained of his "monstrous rhetorical fustian, his unbearable platitudes, his sententious combination of ready reflections with complete intellectual sterility". [15]

Harold Bloom

The critic Harold Bloom revived bardolatry in his 1998 book Shakespeare: The Invention of the Human , in which Bloom provides an analysis of each of Shakespeare's thirty-eight plays, "twenty-four of which are masterpieces." Written as a companion to the general reader and theatergoer, Bloom's book argues that bardolatry "ought to be even more a secular religion than it already is." He contends in the work that Shakespeare "invented" humanity, in that he prescribed the now-common practice of "overhearing" oneself, which drives one's own internal psychological development. In addition, he embraces the notion of the true reality of the characters of Shakespeare, regarding them as "real people" in the sense that they have altered the consciousness and modes of perception of not only readers, but most people in any western literate culture.

See also

Notes and references

Notes

Related Research Articles

<span class="mw-page-title-main">Thomas Bowdler</span> English physician and editor (1754–1825)

Thomas Bowdler, LRCP, FRS was an English physician known for publishing The Family Shakespeare, an expurgated edition of William Shakespeare's plays edited by his sister Henrietta Maria Bowdler. The two sought a version they saw as more appropriate than the original for 19th-century women and children. Bowdler also published works reflecting an interested knowledge of continental Europe. His last work was an expurgation of Edward Gibbon's Decline and Fall of the Roman Empire, published posthumously in 1826 under the supervision of his nephew and biographer, Thomas Bowdler the Younger. From his name derives the eponym verb bowdlerise or bowdlerize, meaning expurgate, censor [sth], that is the omission of elements deemed unsuited to children, in literature and films and on television.

<span class="mw-page-title-main">William Shakespeare</span> English playwright and poet (1564–1616)

William Shakespeare was an English playwright, poet and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted.

<span class="mw-page-title-main">Robert Browning</span> English poet and playwright (1812–1889)

Robert Browning was an English poet and playwright whose dramatic monologues put him high among the Victorian poets. He was noted for irony, characterization, dark humour, social commentary, historical settings and challenging vocabulary and syntax.

<span class="mw-page-title-main">David Garrick</span> English actor, playwright, theatre manager and producer

David Garrick was an English actor, playwright, theatre manager and producer who influenced nearly all aspects of European theatrical practice throughout the 18th century, and was a pupil and friend of Samuel Johnson. He appeared in several amateur theatricals, and with his appearance in the title role of Shakespeare's Richard III, audiences and managers began to take notice.

This article contains information about the literary events and publications of 1741.

<span class="mw-page-title-main">Parnassus plays</span>

The Parnassus plays are three satiric comedies, or full-length academic dramas, each divided into five acts. They date from between 1598 and 1602. They were performed in London by students for an audience of students as part of the Christmas festivities of St John's College at Cambridge University. It is not known who wrote them.

<span class="mw-page-title-main">Reputation of William Shakespeare</span>

In his own time, William Shakespeare (1564–1616) was rated as merely one among many talented playwrights and poets, but since the late 17th century has been considered the supreme playwright and poet of the English language.

<span class="mw-page-title-main">Victorian literature</span> English literature during the era of Queen Victoria

Victorian literature is English literature during the reign of Queen Victoria (1837–1901). The 19th century is considered by some to be the Golden Age of English Literature, especially for British novels. It was in the Victorian era that the novel became the leading literary genre in English. English writing from this era reflects the major transformations in most aspects of English life, from scientific, economic, and technological advances to changes in class structures and the role of religion in society. The number of new novels published each year increased from 100 at the start of the period to 1000 by the end of it. Famous novelists from this period include Charles Dickens, William Makepeace Thackeray, the three Brontë sisters, Elizabeth Gaskell, George Eliot, Thomas Hardy, and Rudyard Kipling.

<i>Tales from Shakespeare</i> 1807 childrens book by Charles and Mary Lamb

Tales from Shakespeare is an English children's book written by the siblings Charles and Mary Lamb in 1807, intended "for the use of young persons" while retaining as much Shakespearean language as possible. Mary Lamb was responsible for retelling the comedies and Charles the tragedies. They omitted the more complex historical tales, including all Roman plays, and modified those they chose to retell in a manner sensitive to the needs of young children, but without resorting to actual censoring. However, subplots and sexual references were removed. They wrote the preface together.

<span class="mw-page-title-main">Sonnet 105</span> Poem by William Shakespeare

Sonnet 105 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man.

<span class="mw-page-title-main">English literature</span> Literary works written in the English language

English literature is literature written in the English language from the English-speaking world. The English language has developed over the course of more than 1,400 years. The earliest forms of English, a set of Anglo-Frisian dialects brought to Great Britain by Anglo-Saxon invaders in the fifth century, are called Old English. Beowulf is the most famous work in Old English, and has achieved national epic status in England, despite being set in Scandinavia. However, following the Norman conquest of England in 1066, the written form of the Anglo-Saxon language became less common. Under the influence of the new aristocracy, French became the standard language of courts, parliament, and polite society. The English spoken after the Normans came is known as Middle English. This form of English lasted until the 1470s, when the Chancery Standard, a London-based form of English, became widespread. Geoffrey Chaucer (1343–1400), author of The Canterbury Tales, was a significant figure in the development of the legitimacy of vernacular Middle English at a time when the dominant literary languages in England were still French and Latin. The invention of the printing press by Johannes Gutenberg in 1439 also helped to standardise the language, as did the King James Bible (1611), and the Great Vowel Shift.

<span class="mw-page-title-main">Memorials to William Shakespeare</span>

William Shakespeare has been commemorated in a number of different statues and memorials around the world, notably his funerary monument in Stratford-upon-Avon ; a statue in Poets' Corner in Westminster Abbey, London, designed by William Kent and executed by Peter Scheemakers (1740); and a statue in New York's Central Park by John Quincy Adams Ward (1872).

<span class="mw-page-title-main">Don't throw the baby out with the bathwater</span> Idiomatic expression

"Don't throw the baby out with the bathwater" is an idiomatic expression for an avoidable error in which something good or of value is eliminated when trying to get rid of something unwanted.

<span class="mw-page-title-main">History of the Shakespeare authorship question</span>

Note: In compliance with the accepted terminology used within the Shakespeare authorship question, this article uses the term "Stratfordian" to refer to the position that William Shakespeare of Stratford-upon-Avon was the primary author of the plays and poems traditionally attributed to him. The term "anti-Stratfordian" is used to refer to the theory that some other author, or authors, wrote the works.

<i>On Heroes, Hero-Worship, & the Heroic in History</i> 1841 book by Thomas Carlyle

On Heroes, Hero-Worship, & the Heroic in History is a book by the Scottish essayist, historian and philosopher Thomas Carlyle, published by James Fraser, London, in 1841. It is a collection of six lectures given in May 1840 about prominent historical figures. It lays out Carlyle's belief in the importance of heroic leadership.

<span class="mw-page-title-main">Shakespeare Jubilee</span> 1769 jubilee celebrating William Shakespeare in Stratford-upon-Avon

The Shakespeare Jubilee was staged in Stratford-upon-Avon between 6 and 8 September 1769. The jubilee was organised by the actor and theatre manager David Garrick to celebrate the Jubilee of the birth of William Shakespeare. It had a major impact on the rising tide of bardolatry that led to Shakespeare's becoming established as the English national poet. Thomas Arne composed the song Soft Flowing Avon for the Jubilee.

<span class="mw-page-title-main">Spelling of Shakespeare's name</span> Several forms of the name of the English playwright have been used.

The spelling of William Shakespeare's name has varied over time. It was not consistently spelled any single way during his lifetime, in manuscript or in printed form. After his death the name was spelled variously by editors of his work, and the spelling was not fixed until well into the 20th century.

<span class="mw-page-title-main">Garrick's Temple to Shakespeare</span> Garden folly in Hampton, London, England

Garrick's Temple to Shakespeare is a small garden folly erected in 1756 on the north bank of the River Thames at Hampton in the London Borough of Richmond upon Thames. Grade I listed, it was built by the actor David Garrick to honour the playwright William Shakespeare, whose plays Garrick performed to great acclaim throughout his career. During his lifetime Garrick used it to house his extensive collection of Shakespearean relics and for entertaining his family and guests. It passed through a succession of owners until coming into public ownership in the 1930s, but it had fallen into serious disrepair by the end of the 20th century. After a campaign supported by distinguished actors and donations from the National Lottery's "good causes" fund, it was restored in the late 1990s and reopened to the public as a museum and memorial to the life and career of Garrick. It is reputedly the world's only shrine to Shakespeare.

<i>Cymbeline Refinished</i>

Cymbeline Refinished (1937) is a play-fragment by George Bernard Shaw in which he writes a new final act to Shakespeare's play Cymbeline. The drama follows from Shaw's longstanding need to reimagine Shakespeare's work, epitomised by his play Caesar and Cleopatra and his late squib Shakes versus Shav.

The Shakespeare Ladies Club refers to a group of upper class and aristocratic women who petitioned the London theatres to produce William Shakespeare's plays during the 1730s. In the 1700s they were referred to as "the Ladies of the Shakespear’s Club," or even more simply as "Ladies of Quality," or "the Ladies." Known members of the Shakespeare Ladies Club include Susanna Ashley-Cooper, Elizabeth Boyd, and Mary Cowper. The Shakespeare Ladies Club was responsible for getting the highest percentage of Shakespeare plays produced in London during a single season in the eighteenth century; as a result they were celebrated by their contemporaries as being responsible for making Shakespeare popular again.

References

  1. 1 2 OED: bardolatry.
  2. Karlin 2013, p. 23.
  3. Shaw 2003, p. xxxi.
  4. Lenker 2001, p. 5.
  5. University of Michigan 2006.
  6. Dobson 1992, p. 6.
  7. Mason 1995.
  8. Sawyer 2003, p. 113.
  9. Carlyle 1840, p. 105.
  10. Hattaway, Michael (5 December 2002). The Cambridge Companion to Shakespeare's History Plays. ISBN   978-0521775397.
  11. Smith 2004, p. 37.
  12. Levin 1975.
  13. Carlyle 1840, pp. 95–96.
  14. Shaw 1906, p. 168.
  15. Webster 2000, pp. 25–26.

Sources

Further reading