The Taming of The Shrew at Stratford

The Taming of the Shrew is not a play I know particularly well – I’ve never taught it – and I’ve only ever seen one (school) production previously, so perhaps this was not an ideal version as my first professional performance. The Christopher Sly induction was cut completely, although I can’t say this affected the play for me; some think there was a counterbalancing section, now lost, that originally closed the play, in which case I might have seen the point.

It’s a very problematic play, in terms of attitudes to women, creating real issues for contemporary productions of the play, much as The Merchant of Venice does in terms of anti-Jewishness in the text. So there was a very real challenge to the audience at Stratford in the director’s decision to reverse the gender of all the characters… For me, this didn’t get the play off to a very good start as the (admittedly stunning) costumes of the now female main characters dropped everything into what felt like a Restoration Comedy setting, and Shrew isn’t a Restoration Comedy. Shaking this incongruousness off eventually, I concentrated on enjoying the play; it made me think a lot, but overall didn’t leave a very positive impression.

Here’s why: above all there was a real imbalance in the performances of Petruchia and Kate (yes, his name wasn’t changed to a masculine version, for there isn’t one). Hers was a virtuoso one, his just faded into the background, he was a man basically being tormented and abused, and he was unable to show any sense of love – or any real feeling – developing for his partner. The crucial speech in the final scene felt like concession only, without any of the edge a skilful performance is capable of giving it. And this is where I decided, after ruminating overnight, was the major flaw in the director’s conception: although we may not like it, there is a well-known model for a shrewish female which we will ‘accept’ for the purpose of performance; there is no available male counterpart for this, which leaves the gender-swapped role merely hollowed-out and empty; possibilities for comedy are removed, and there is only suffering. The main character became a non-character.

The other side of this, for which the conception deserves credit, is just how awkward the entire gender-role reversal made this male member of the audience feel, and that is important in itself: the outrageousness of some attitudes and behaviours towards women was powerfully brought home.

However, the performance lacked coherence for me, and I cannot in the end get away from the feeling that what was obviously intended as a challenge to the audience was more of a gimmick than anything else.

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On Shakespeare’s birthday

I don’t recall meeting any of Shakespeare’s plays until I got to the fourth form and began my O Level Eng Lit course: we studied The Merchant of Venice, with an inspirational English teacher who wasn’t afraid back then to explain everything, including the bawdy bits. I was fascinated to finally be reading this writer whose fame and reputation I’d heard so much about, and I came to love the moral complexities in that play. I can still reel off vast sections which I must have learnt by heart as I revised. It wasn’t until years later that I actually got to see it onstage, and the most memorable performance was one at the West Yorkshire Playhouse in the 1990s, where Portia was played as a woman who was old enough to be worried about being left an old maid, and Bassanio was clearly also no longer in the prime of youth and an evident gold-digger… Sadly, I only had a couple of opportunities to teach the play in my entire career.

A Level brought two tragedies, King Lear and Othello. The former still moves me to tears when I read it and I look forward one day to seeing a decent performance onstage; the only one I’ve seen so far was truly abysmal and best forgotten. Othello I loved, too, and have taught more times than I care to remember; I’ve seen a number of memorable performances including a couple at Stratford with the RSC, though I still like Willard White paired with Ian McKellen best of all, a TV performance I’ve watched countless times with students. Iago’s cold, calculating and incomprehensible evil comes across so powerfully as he struts in his corporal’s uniform, and you have to be really quick in the closing moments to see the brief and sinister darkening of the moustache…

I was lucky enough, at school, to have been taken to see plays at what was then the revolutionary – in more ways than one – new Nottingham Playhouse, where I was fortunate to see one of Ian McKellen’s first, if not his first, performances as Hamlet. In the end, however, that was a play that I never really warmed to, just as I always found Macbeth somehow unsatisfactory, although if you look up my post on the performance I saw at Stratford last year, you will see that I finally got to see a performance that transformed my appreciation of that play.

Although I enjoyed teaching Shakespeare enormously, it was always against the backdrop of examinations, especially with younger students whose enjoyment I feel was sometimes marred by the need to ‘get it right’ for an examiner. I particularly hated having to teach plays for the SATs at age 14 (now long gone, thank God) and felt constrained when Romeo and Juliet was up for testing as it was rather a challenge explaining all the obscenities to students that young… it’s a play much more suited to GCSE. But grinding thorough Julius Caesar or Macbeth with a 75-minute examination in view also felt like a bit of a chore, and at times I wondered how much of a love for the bard the students would end up with.

Obviously when students have chosen to study Eng Lit in the sixth form, it’s all rather different: there’s more time to do justice to a play, and students are more thoughtful and mature in their approach, and we could enjoy the language and the jokes, the wit and the vulgarity to the full. We could explore alternative possibilities and interpretations and this was positively encouraged by the syllabus at times. This is where I came to love two plays above all: Othello, and Antony and Cleopatra; ask me one day which is my ‘favourite’ Shakespeare play and it will be one of these two, depending on whether there is an ‘r’ in the month or which way the wind is blowing. Why? Othello for the evil of Iago, the innocence of Othello and the shock when everything that was perfect is turned to dust for him, and the feistiness of Desdemona, until she cannot understand what is happening to her and her husband any more… Antony and Cleopatra for the passion of age that is not youth, and the giving up of worlds for that passion… Both plays for the sublimity of the language.

Sometimes I engage briefly with the scholarly arguments about who wrote the plays; most of the time I do not care. Someone – William Shakespeare, most probably – wove and knitted words so magically some four centuries ago that they can take us to places, take us inside people, show us feelings that can take us far beyond ourselves, can entertain us, make us think, move us to tears. It’s all invention, and it’s all wonderful.

Shakespeare: The Taming of the Shrew

 I’ve always found Shakespeare’s comedies rather difficult. I know they’re not necessarily meant to be ha-ha funny – a comedy is a play with a happy ending rather than a humorous play, as we understand the word comedy nowadays – but I’ve usually found the subject-matter either challenging to get to grips with, or just boring. So, for example, I’ve never liked A Midsummer Night’s Dream. The Winter’s Tale and The Tempest are rather too problematic to be labelled comedies. For me, the craziness of Twelfth Night is the best it gets. And now, I’m wrestling with The Taming of the Shrew, which is one of the two plays I’ll be seeing at my Shakespeare study week this year, when we go to the RSC at Stratford (the other is As You Like It).

I’ve only once seen a performance of the play before, and that was a school one, at the school where I used to work, so I’m looking forward to seeing how the RSC interprets it, although the reviews lead me to believe it will be one of their challenging performances, with gender role-swapping and so forth, which I’ve found bearable and sometimes mildly illuminating in previous years, although overall I tend to feel such changes are gratuitous.

The play itself is an oddity. It’s framed – or part-framed by an ‘induction’, with a drunken peasant tricked into believing he is in fact an aristocrat, to be entertained with the play itself – but either Shakespeare forgot about this element, as it disappears after the second act, or, more likely, via garbled transmission of the text, the rest of that framework has been lost. And then we have the marriages game: several suitors chasing the pleasant younger daughter who cannot be married until someone has taken the ‘shrewish’ elder daughter off her father’s back. How to marry off the right characters with each other is a staple of comedy of that time; the patriarchal structures of Shakespeare’s time, and the designation of a woman as a ‘shrew’ are rather more difficult for a twenty-first century audience to countenance. And everything comes down to the final, apparent ‘submission’ speech which Kate makes in the last scene: how are we to take this? At the moment I have the impression she has finally met a man who is as cracked or as awkward as she is: there is an equality to the pairing of Petrucchio and Kate which redeems the play somewhat. And setting their courtship against the scheming that those involved in the chasing of Bianca are involved in also makes them seem well-matched to each other.

Obviously the ending of the play can be seen as open, and this is what Shakespeare is wont to do very often: to leave his audience feeling somewhat uncomfortable, with the idea that there is no easy answer, no simple conclusion or interpretation of what he has presented onstage. Male and female roles and positions in society were very different then, at least from those available in much of the West nowadays. And so many of us today ease our consciences with the notion that Kate knows exactly what she is doing, that she is publicly appearing to submit to ease the minds of everyone watching, but that her love for and relations with Petrucchio will be rather more equal, more balanced, within the paradigms of the times.

What I like most about productions of plays is that I can dislike the interpretations offered by a director, and nevertheless come away with plenty of food for thought, and I’m hoping this is what I get next month…

On England

I like England.

I may have given the impression, particularly in some of my more political posts, of finding my home country reactionary, hidebound and stuck in the 18^th century, and if I have, good because it is all of those things, and yet I like the place. And no, I’m not about to go all patriotic and John of Gaunt-y on you.

This country welcomed my father when it needed allies against Nazism during the Second World War; most grudgingly after the war was over it allowed him and his mates to stay: they didn’t have to return to the gulag. So without England, there would be no me.

As a generous and socially-minded place it nurtured me, via the NHS, through my childhood, with orange juice, rose-hip syrup and cod-liver oil, and extracted my tonsils. It ensured I had a good, free education, including as many years as I could possibly have at university, funded by student grants and without fees. When I was unemployed, it paid me benefits. I had a very satisfying career as a teacher and I have a pension which currently allows me to relax and do some of the things I enjoy most. And the UK joined the Common Market, which became the EEC and then the EU, and for my entire adult life I have enjoyed its increasing benefits, particularly to travel simply and freely about the union; travel has always been one of my favourite pastimes.

I’ve sampled all sorts of wonderful food and drink from all over the world, and yet nowhere else has TEA like we do here, proper tea made with leaves in a teapot. Lots of countries make very good beers, many of which I like a great deal, but nobody else makes anything approaching bitter. And – disloyal to my Polish roots, just as my father was, I have to say that I’ll take a dram from that close neighbour of ours in preference to a glass of vodka any day. I could never be a vegan because I cannot imagine a life without cheese, and our friends just across the channel make some stunning fromages, but again, given only one choice, I can’t decide whether it would have to be Stilton, or tasty Lancashire. And much as I love cakes of all lands, Yorkshire curd tart is pretty unbeatable.

You’ll notice I started with food…people who know me won’t have been surprised.

But my life’s work was all about our language, and that’s a thing I can wax lyrical about. I can speak pretty fluent French, get by in German, just about in Polish if pushed, and I’m learning Spanish at the moment. And – witness this blog – I read widely in the literature of many nations and languages, if mainly in translation. But no language comes anywhere near English, for size of vocabulary, powers of expression, complexity of poetry. We have Shakespeare. I could stop there; I’m not dismissing the greats of other languages and nations, but there is something special and enormous in the sheer variety, depth and power of our national writer. And we have Milton, and Jane Austen… and quite a few others who we could argue over.

We have some history, a lot of which we should be ashamed of: colonialism and empire and slavery. There’s the colossal act of cultural vandalism that was Henry VIII’s Reformation, too. But there’s our inventiveness – the Industrial Revolution (perhaps a double-edged sword, that one) – our explorations and discoveries: yes, white men discovering what was already there, perhaps, but nevertheless, that urge to get off our island and see what was out there. We have been on the ‘right’ side in some wars, although it would have been better not to be fighting in the first place. And somewhere there’s a tradition of tolerance that developed over a long period of time, that allowed us to accept and sometimes assimilate different peoples and ideas, giving them the freedom to be themselves while becoming part of England too. Over the years, my father came to appreciate that.

We are proud of our democratic traditions – Parliaments, Magna Carta, habeas corpus, extension of suffrage – though much of the time this wasn’t about empowering ordinary folk, but letting the less rich get their snouts in the trough occasionally. But for me, our problems now stem from our being stuck in the past, trying to live off our past reputation and greatness, unaware that we are actually a small, fairly remote and pretty crowded island, home to three nations not just one, and that our traditions and pageantry and royalty and aristocracy may look charming to tourists, but at the same time they are seriously daft as far as the twenty-first century is concerned. Poland had an elected monarchy once; it did her no good at all and when she finally regained independence in 1918, one of the first acts of the new commonwealth was to abolish the nobility – just like that. No need of guillotines or firing squads in cellars. End of.

I won’t live to see it, but what if England were able to conceive of a way of facing the century as a small nation that was a member of a much larger union or alliance, with a voting system which allowed a real voice to all its citizens (not subjects!), and putting the energies of its best minds to working in concert with the other neighbouring nations to address the real problems that face the planet? The successes and achievements of our past suggest we could make a real difference…

James Shapiro: 1606 Shakespeare and the Year of Lear

This is obviously a follow-up to the author’s earlier 1599, which dealt with the context to another significant year in Shakespeare’s dramatic output. Here the focus is on a different reign – that of James 1 – and a different social context, with the background to three significant tragedies, Macbeth, King Lear and Antony and Cleopatra. There is also the fall-out from the Gunpowder Plot of the previous autumn, and James’ ongoing drive for the union of the crowns of Scotland and England.

The anxieties of the final years of Elizabeth’s reign may have passed, but life was no more settled, and events showed that James’ hold on the throne and his acceptance by the people was not completely secure. The status of the theatres was just as parlous, what with recurrent plague and the growing Puritan dislike of people enjoying themselves. I had been aware of the fact that a law was passed to eliminate profanity, which had eliminated most of the oaths and swearing from Shakespeare’s and other dramatists’ plays but hadn’t quite realised the implications of this, as, in the spirit of the law every existing text had to be amended, 1984-style, to remove all objectionable matter: the penalties were too severe for theatres and publishers not to do this. And of course this meant that the great First Folio of 1623 is in fact a bowdlerised edition of Shakespeare’s plays…

King Lear is set against the backdrop of Britishness which the new kind propounded: Englishness is out with the king imported from Scotland. We are shown the structural complexity of the play – it’s the only tragedy with a fully-developed subplot – and there is interesting exploration of the use of negative language in the play. Context in terms of equivocation, and references the the Gunpowder Plot are all fully detailed, too, as are the many significant differences between the Quarto and First Folio texts.

Similarly, James’ obsession with witches and witchcraft, and how this is explored in Macbeth, is very interesting, and again the phenomenon of equivocation is embedded. You will need to read the relevant chapters to get to the bottom of this Jesuitical device for justifying being economical with the truth and how outrageous everyone was supposed to find it at the time. And we realise just how Shakespeare was treading on eggshells writing the Scottish play, during the reign of a Scottish king, depicting two kings of Scotland being killed: both of those deaths take place off-stage, understandably, but not in the spirit of the onstage gore of the times. And this in the immediate aftermath of the plot to blow the king up with gunpowder.

There is good depth and detail in Shapiro’s exploration of all three plays he treats in this volume: the context is very enlightening, and surprising amounts of new insights and interpretations, even for me as a long-time student of Shakespeare. There was also a good deal of fairly tiresome and tedious stuff about court masques and entertainments, and despite the title, Shapiro actually spreads his net quite widely, going back at times to the 1580s as well as looking at Shakespeare’s final years. Overall, though, a book I’d very much recommend to any serious reader of Shakespeare.

Heroes and icons

Something got me thinking about heroes recently, and I found myself wondering if I had any. A hero: someone whose life and work I greatly admire; is that a good enough definition? Or am I thinking of an icon?

One will have to be Shakespeare. I realise I had a very good first encounter with the man and his work, through an inspirational English teacher (who was ultimately responsible for my pursuing such a career myself) who chose a demanding and challenging play for study at O Level: The Merchant of Venice. Difficult to classify, though many critics call it a tragicomedy, which will do, I suppose. The point is, it raised so many issues for teenage minds to wrestle with: what is justice? What is racism? Who are we meant to sympathise with? In other words, I had an early introduction to the idea that there are no easy answers, and that one should beware of anyone who claimed to have one… And this same teacher went on to teach us Othello and King Lear at A Level, two astonishingly powerful tragedies which move me to tears whenever I watch them.

At university we had a course on ‘The Drama’ in our first year, and were fortunate enough to have the lectures on Shakespeare delivered by Kenneth Muir, the head of the Department of English at the University of Liverpool and eminent Shakespearean scholar, then on the verge of retirement. He was amazing: clear and perceptive in his analysis, what stunned us all most was that whatever play he was discussing, he could immediately recall whatever lines he wanted, from memory, as he paced the lecture theatre.

Obviously as an English teacher myself, I had to teach many of the plays. I tried only to teach plays I really liked, especially after having made the early mistake of trying to interest year 8 students in A Midsummer Night’s Dream because that was one of the plays designated for year 8… I had to teach Macbeth – a play I liked but never really completely warmed to – more times than I care to think; I loved teaching Julius Caesar and Romeo and Juliet, and when it came to sixth form, went for the tragedies whenever I could, though only ever once managed to get to teach King Lear. Othello and Antony and Cleopatra were my great favourites.

Everyone will have their own take on Shakespeare’s greatness. For me there were two things in particular: the astonishing power and beauty of his language in so many different situations and through so many different characters, and his ability to raise so many questions through his plots, to make his audiences think, to make them uncomfortable, in short to make them see that there was no one easy response to anything.

I said ‘one’ before I mentioned Shakespeare, so logically there will be another, and there is.

​_Whereas I can claim a certain measure of expertise in the field of literature, in the field of music I am a zero. Tone deaf, unable to play any instrument, bribed at school not to sing in music lessons because I put others off. But my other hero, or icon, is J S Bach. And I will find it much harder to explain why. A long while ago I mentioned how a teacher at school had initially fired my curiosity by refusing to play Bach to us ‘peasants’; another teacher played us the fifth Brandenburg Concerto, and I could not believe my ears, transported by the speed and virtuosity of the harpsichordist.

My encyclopaedic knowledge of 1970s rock music gradually began to fade as I explored the world of jazz and classical music, and one fateful day I spent a whole pound on a whim, on a secondhand LP of two Bach cantatas from a stall on Lancaster market. Many years later, having worn it out, I managed to find a replacement.

Bach’s music transports me onto a more spiritual plane: that’s the only way I can put it, really. The cello suites, for example, some of the shorter and less fiery organ pieces, but above all the church cantatas take me away from myself, my ordinary little world and its worries and preoccupations and lead me somewhere completely other with my mind – my being, thoughts, consciousness — to another place entirely. It’s beyond me and much more powerful than me; I don’t understand it and I feel unutterably grateful for the experience.

Bach was a Lutheran, a very religious and God-fearing man: I am not. As a Quaker, I explore a spiritual path, true, but worship in silence; I don’t know whether God exists or is a creation of the human mind. But Bach’s music speaks to me so profoundly, from nearly three centuries ago, in a way which complements everything I believe in, and manages to restore my faith in humanity.

So yes, perhaps there are heroes, and I have a couple of them.

James Shapiro: 1599 A Year in the Life of William Shakespeare

I’d been aware of Shapiro’s two books looking at particular year’s in Shakespeare’s life and creativity cycle and have finally got around to reading the first of them. Shapiro shows us just how much the dramatist was a creature of his time – which isn’t surprising at all – but does manage to marshal and present a wealth of contextual background evidence. Unfortunately the major events of 1599 centre around all the scheming of the Earl of Essex and his adventures in Ireland, and is a little dull when presented in minute detail…

But 1599 was a key year in Shakespeare’s development as a dramatist as he was beginning to move away from the histories and comedies upon which he had built his considerable reputation, looking for new areas to work in: it was the year of Hamlet, for instance. And there is much on the complexity of the development and versions of the text of that play, which will be of interest to more academic readers: how do we know what was the version actually played at the time? Answer, we don’t, but it wasn’t any of the currently popular textual editions which are all far too long for the duration of Elizabethan theatrical time-slots.

We learn a good deal about the Tudor police state (I can’t think of any other way to describe it) and the myriad dangers of the times, the closing years of Elizabeth I’s reign, with no clear successor in view and various parties jockeying for influence. This helps to reveal just how political some of Shakespeare’s plays were – and even more so to his contemporary audiences who would pick up on allusions that go by us – and how carefully he trod the minefield of the times. We may ask ourselves whether in the end he was just safely fence-sitting, or extremely aware of the complexities of all the issues in play? We just need to pay careful attention to all that goes on and is alluded to in Julius Caesar to be aware of this question.

An interesting idea that had never occurred to me was Shapiro’s suggestion that the enormous popularity of the theatre at the time was because it was filling a gap that had been left by the extirpation of all the Catholic religious ritual and pageantry by the savagery of the English Reformation.

Much of what Shapiro offers in relation to Shakespeare’s life and career is necessarily speculative, but it’s valuable nevertheless in the ways it fills out a picture of the man in his times and places; the focus on a single year, which Shapiro also does in his other volume 1606, is interesting because it does give the reader a sense of being a part of all the events and among all the personages of the year.

All-in-all a worthwhile read, and I will read 1606 at some point, too. Although so much of Shakespeare’s life and adventures are unknown and now unknowable, it’s nevertheless fascinating to imagine oneself a bit deeper into the man’s life and times.

On hubris

Warning: politics ahead…

As I’m in my sixties, I lived through the dangerous times that were the Cold War, old enough to have vague memories of my parents’ worried-looking faces at the time of the Cuban missile crisis, during my bedtime ritual, which always ended with Radio Newsreel at 7pm. I can remember being part of the enormous demonstrations against cruise missiles in the 1980s. And yet, I feel a much more profound sense of unease and anxiety nowadays at the state of the world: Gorbachev was an intelligent man, I tell myself, and Reagan ‘only’ had Alzheimer’s…

I struggle to think of a world leader worthy of any trust or respect nowadays, except perhaps for the redoubtable Angela Merkel, streets ahead of anyone else, but even today under threat from the rapidly changing political climate in Germany. And I wonder what on earth is going on in our world, that so many ordinary people do seem to have taken leave of their senses.

It was less than 30 years after the end of the Second World War when I was demonstrating against Reagan’s missiles; now it’s over 70 years since that war ended, and those who experienced those darkest days of Europe and the world are sleeping in the sleep of peace, unable to warn us any longer.

I’m not looking back through rose-tinted spectacles at the politicians of yesteryear; there were many then as vile and incompetent as most are now. But politics is now a money-making career more than anything else, it would appear, and the idea of serving the public, a nation or the world has gone out of the window. In a world in many ways more ‘connected’ than it has ever been, we are more disconnected from everyone else by technology; in a world where Amazon Prime and Netflix provide entertainment, millions can live for days, weeks even, without stumbling across the news, which one had to on terrestrial television; one can surf the web and live in a social media bubble in which no news need ever figure. How many people are aware of the unspeakable slaughter going on in the Yemen, for example, aided and abetted by British industry? And who reads newspapers? Once it’s possible to avoid knowing about what is happening in the world, all sorts of manipulation is possible.

What am I worried about? Terrorism that isn’t called terrorism by world leaders unless it happens in Western cities and carried out by certain narrowly-defined groups: the world was not like this in the 1960s. Nuclear proliferation: now that the US and the Soviet Union don’t exert the control they did, who is developing nuclear weapons? Why is Israel allowed to pretend it doesn’t have them? In the crazy cauldron created by the West that is the Middle East, who can say what may happen? Climate change that doesn’t exist because it gets in the way of billionaires’ profits… The fragmentation of Europe, hastened and worsened by the maniacs behind Brexit, and many Europeans sleep-walking into it. A united Europe was built on the ashes of the last war, to ensure it never happened again. Memories are short.

What has happened? Memories of war are too distant in time. Economic chaos only affects a relatively ‘small’ segment of the population – the poorest, or ‘unimportant’ countries like Greece. The illusion of prosperity comes from shiploads of random stuff arriving from China at rock-bottom prices, along with unlimited credit and the pillaging of the environment; never mind, let’s ban plastic straws… and those of us with some money – which is the majority, and this is a democracy, after all — can and do carry on pretty much as before.

Collectively, we all must share the blame. We are living in very dangerous times: we think that everything is fine (more or less) whereas it may very well not be, and most of us are not prepared to think about the consequences of that. That is a very false sense of security. Equally the leaders of the world are at fault. Our system allows us to delegate power to those we elect and trust to make decisions on our behalf, which we lack the time, the competence and ability to make. We have been remiss too long, and we have been blinded by the media power of the wealthy, and allowed unsuitable people to lead us. And we have been taken in by the shiny-shiny offerings of big business and their mass media for so long that we are addicted. Those whom the gods wish to destroy they first make mad…

How do we get out of this mess? I wish I knew. Do you?

Confession time

Do you have a – perhaps guilty – secret? Is there a classic novel that all your friends adore and rave about which you can’t stand? Are there books you feel you ought to have read that you haven’t, and are ashamed to admit? Can you bear to confess now?

There is a certain reverence, respect attached to the classics, whatever they are. It may be just about OK not actually to read some of them, though we probably wouldn’t openly admit it. And we are likely to feel awkward, if not actually wrong, if we don’t like a particular novel, or writer. Why is this?

I always wanted my students to express responses and opinions about what they read, and felt comfortable encouraging them to openly dislike something, as long as they could explain what it was that they disliked, what turned them off. If you were one of those students, you will possibly remember my cry of ‘Evidence?’

I will make a few admissions now, no doubt horrifying some of my readers. I’d like to hear from you if what I say shocks and appals you, and you are welcome to try and persuade me that I’m wrong in my judgement.

I have just got rid of my copy of Wuthering Heights. I read it once, twenty years ago, and hated it. What was the point of that, I thought, and I do not have any spare eyeball time to go back to it. Although I had to study Tess of the D’Urbervilles at university, I’ve never re-read it since, and can’t see that I ever will: it’s too maudlin and fate-ridden to be truly convincing to me, and that’s the overall impression I’ve gleaned of Thomas Hardy, too. I bought Jude the Obscure a long time ago and thought I might read it; I got rid of it a while ago, unread. And Charles Dickens you can keep, too. I did actually enjoy Hard Times – again, compulsory study at university – and have gone back and re-read it. I enjoyed an adaptation of David Copperfield on the wireless as a child, and a no doubt bowdlerised version of Oliver Twist too. I haven’t read Great Expectations, although I did enjoy Peter Carey’s reworking of the story, Jack Maggs. It didn’t make me want to go back to Dickens, though.

I suppose those are my big admissions about the classics: Hardy the miserable and Dickens the verbose. I’ll admit to a pretty strong loathing for Shakespeare’s Midsummer Night’s Dream, too, even though I did see a very good theatre production in the sixth form, but all that magic and fairies gallivanting around I really can’t be doing with. One of my biggest mistakes as a teacher was to try and read it with a year eight class. I’m not sure which of us hated it more…

Along with active dislikes such as those I’ve mentioned above, there is then the whole raft of stuff I’ve read once, either because I had to as a student or because I mistakenly took a recommendation from someone. And the – rather fewer – books I started but gave up on. Time was when someone might have been able to be familiar with all of the canon of Eng Lit: not any more. Choices have to be made, time is short – especially when you realise you are getting on in years – and there is no law that says you have to like everything.

What’s your guilty secret?

August favourites #26: Shakespeare sonnet

73

That time of year thou may’st in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day,
As after sunset fadeth in the west,
Which by-and-by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Consum’d with that which it was nourish’d by.
    This thou perceivest, which makes thy love more strong,
    To love that well which thou must leave ere long.

I’ve always really liked this one. Even in my younger years, I could see how the poet had captured the sense of regret and sadness about the inevitability of growing older – one of the tropes of poetry I know, but done better by some than others – and now that I’m moving on in years, it speaks to my condition more clearly still.

In the first quatrain, the developed image is a comparison of the poet with autumn, in the second twilight moving into nightfall, and in the third a fire gradually burning out. All three are powerful images of a gradual yet inevitable ending; all three are addressed to the loved one, who the poet imagines having feelings that are stronger because the object of love will soon be gone. Comforting, sad, predictable in a sense but no less moving because of that.

And when you look at the actual words, the pictures themselves, they are especially effective: you can see the autumn leaves gradually falling, picture the ruins – actually of the monasteries trashed by Henry VIII’s henchmen a few years before – and the absence of birdsong. Night is pictured as a little death, and a foreshadowing of it, and then consider the complex image of the fire, nourishing at the same time as it inevitably consumes and hastens its end…

Although I feel there are poets who are ‘better’ than Shakespeare as a poet, and sometimes his sonnets feel a trifle hackneyed when you casually flick through 154 of them, to attain such a level of mastery consistently is a supreme achievement.

I’m doing something different for the holiday month of August, writing about some of my favourites: poems, plays, music, art and other things, a short piece on a different topic each day. The categories are random, as are the choices within them, meaning that’s my favourite that day, and is subject to change… And I will try and explain why each choice is special for me. As always, I look forward to your comments.