Shakespeare and Writing Myths via J. Dover Wilson and Anthony Burgess
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This study argues that the mythical conception of writing remains even after the era of Romanticism, and under the spell of Shakespeare, we envision a writer who is not ordinary and writing which is magic or an extraordinary experience for the chosen few. This article especially looks at the images of Shakespeare by two twentieth-century English literature figures—J. Dover Wilson and Anthony Burgess. We will see where the often quoted but rarely studied description of the Stratford bust as a “self-satisfied pork-butcher” comes from and encounter Burgess’s portrayals of Shakespeare which have received scant critical attention. Wilson in The Essential Shakespeare (1932) wanted the Grafton portrait to be an image of the “Essential Poet.” He summoned an image of a young and beautiful writer who can make his scholarly but adventurous writing acceptable and enjoyable. Burgess’s more modern Shakespeare in “The Muse” (1984), although it depict a monster as the symbol of a canonical writer, certainly shows us writing scenes of seclusion, inspiration, and magic. Both Wilson’s and Burgess’s Shakespeares work to disseminate the myths that writing is something only a few can achieve without knowing how. As a new discovery of the Shakespeare bust has been found in 2021, it is a good time to look back on our own habits and feelings toward images of the great writer.
Abstract
This study argues that the mythical conception of writing remains even after the era of Romanticism, and under the spell of Shakespeare, we envision a writer who is not ordinary and writing which is magic or an extraordinary experience for the chosen few. This article especially looks at the images of Shakespeare by two twentieth-century English literature figures—J. Dover Wilson and Anthony Burgess. We will see where the often quoted but rarely studied description of the Stratford bust as a “self-satisfied pork-butcher” comes from and encounter Burgess’s portrayals of Shakespeare which have received scant critical attention. Wilson in The Essential Shakespeare (1932) wanted the Grafton portrait to be an image of the “Essential Poet.” He summoned an image of a young and beautiful writer who can make his scholarly but adventurous writing acceptable and enjoyable. Burgess’s more modern Shakespeare in “The Muse” (1984), although it depict a monster as the symbol of a canonical writer, certainly shows us writing scenes of seclusion, inspiration, and magic. Both Wilson’s and Burgess’s Shakespeares work to disseminate the myths that writing is something only a few can achieve without knowing how. As a new discovery of the Shakespeare bust has been found in 2021, it is a good time to look back on our own habits and feelings toward images of the great writer.
참고문헌 (27)
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