This Is Shakespeare (Pelican Books) (Original 2019; 2019. Auflage)

When I took English Literature classes at school, studying a Shakespeare play was de rigueur. And I can’t say I disliked that. Quite the contrary. I took a (worryingly?) nerdish pleasure in comparing different editions of Julius Caesar and Macbeth, reading every last footnote, looking up difficult essays on the plays. And yet, this precocious enthusiasm failed to translate into love for the Bard. It pains me to admit that besides these two plays, my knowledge of other works by Shakespeare works is limited to the few productions and movie adaptations I’ve watched over the years. I have occasionally attempted to read other plays of his, but it always seems too daunting a prospect.

In her introduction to This is Shakespeare, Professor Emma Smith highlights this problematic aspect of the playwright. Precisely because he is so often presented as an undisputed genius, Shakespeare too often comes across as a figure to admire rather than love. Smith, however, argues that what makes Shakespeare so “contemporary” and relevant is not that he is some sort of prophet, but because his plays are “gappy”, leaving much to interpretation, and allowing us to project onto them differing and sometimes diametrically opposite views. Just by way of example, it is surprising to note how rare it is for Shakespeare to physically describe his characters, thus giving free rein to a director’s (or reader’s) imagination.

Smith’s book started life as a series of lectures/podcasts and while the playwright’s “gappiness” remains an overarching theme, the book’s twenty chapters (and epilogue) are dedicated to specific plays and can be enjoyed as self-contained essays. Indeed, Smith herself suggests that for many of her readers, this will be a book to “dip into”, perhaps before going to watch a specific play.

The chapters provide intriguing insights and, more often than not, a discussion of one work leads Smith to investigate a more general subject. For instance, The Taming of the Shrew (unsurprisingly) prompts a discussion about Shakespeare’s views on women and marriage, whereas the essay on The Merchant of Venice explores the themes of business contracts and the play’s inherent homoeroticism.

Smith’s approach is fresh and engaging. She wears her scholarship and erudition lightly, and does not deem it beneath her to cite pop culture to drive home her points – she is just as likely to refer to Homer Simpson or to an episode in the sitcom Friends as to an avant-garde Shakespeare production. Throughout, her message is at once iconoclastic and enthusiastic – by taking Shakespeare off his pedestal, we might learn to love his works more.

https://endsoftheword.blogspot.com/2020/06/this-is-shakespeare-Emma-Smith.html ( )

This is a highly readable analysis of Shakespeare's dramas, focussing on questions raised, rather than on providing answers. The play-by-play study only includes about half of the canon, but most of the major works are examined. The style is light and entertaining, though the editing seems a little sloppy on occasion. The analysis is interesting, and in some cases gave me new insights. She doesn't give a character-by-character, act-by-act synopsis, so if you are looking for something to read to bring you up to speed before you see one of the plays, look elsewhere. But if you want clever analysis, this book provides it. ( )

Excellent short essays on 20 of the most popular Shakespeare plays. It's not a deeply technical analysis for academics, but more for ordinary readers. It gave me a different perspective on some of the plays I love, and includes ideas about different ways of dramatisation, attitudes of the day, and the openness of interpretation that I would never have expected from seeing recent performances. ( )

Beautifully written short analyses of most of Shakespeare's plays. Thought provoking, often very funny, should be required reading for any actor/director about to embark upon a production. Highly recommended.