In 1964, the Oxford professor John Barrington Wain wrote: “…Romeo and Juliet is as perfectly achieved as anything in Shakespeare’s work. It is a flawless little jewel of a play. It has the clear, bright colours, the blend of freshness and formality, of an illuminated manuscript.”
First produced in 1594, The Tragedy of Romeo and Juliet became an immediate sensation, and the story of the star-crossed lovers has been a core part of Western civilization ever since. Why is the play so popular? What does it tell us about falling in love – and how does that differ from being in love? And what does any of this have to do with George Carlin?
Thanks to all of you who made last week the biggest one yet in the brief life of The History of Literature podcast. I’m not sure if Burt Reynolds or Aristotle deserves more credit. (Have you ever had the feeling that you’ve written a sentence that no one has ever, ever written? I just had that feeling.)
This week looks like a good one as well! Tomorrow, we’ll continue our journey through Greek tragedy by looking more closely at the plays of Aeschylus, Sophocles (again), and Euripides. This time we’ll use the lens of the young Friedrich Nietzsche, writing his first book in his burgeoning philosopher/poet/madman way.
The trip through Nietzsche, Wagner, and the tragedians made me think of this unbelievably good sequence from Francis Ford Coppola’s Apocalypse Now:
I don’t think Nietzsche would think much of most of our culture – but for what it’s worth, I do think he would have admired that sequence.
How was tragedy invented? Why was it so popular in Ancient Greece, and what power does it have for us today? Using the discussion of tragedy in Aristotle’s Poetics, author Jacke Wilson takes a look at tragedies from ancient times to Shakespeare and Breaking Bad.