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William Shakespeare: A Life (1991)

por Garry O'Connor

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(Applause Books). Garry O'Connor's biography creates a vivd impression of Shakespeare's family life, his marriage and sexuality, the intimate details of his background, and his relationships with the theatre, his audiences and the towering political figures of his time such as Queen Elizabeth and the Earl of Essex. It captures the darkness and confusion of his religious feelings, and his painful search for identity as well as his continuous commitments to change and development. O'Connor imaginatively and persuasively reconstructs the playwright's life and career.… (mais)
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This … book … was originally released in 2001, and all but states it is meant to ride the doublet-tails of "the success of the Oscar-winning film Shakespeare in Love". I was puzzled by this for a moment – I don't usually expect a book received through Netgalley to be fifteen years old. But hey – a Shakespeare biography! How can that be bad?

This. This is how that can be bad.

From the introduction: My aim has been to give Shakespeare a life, not only as a historical figure who can be brought to life, but the dimension of one who is still living. To do this I have dropped the usual tentative approach of scholars (the “might’s”, the “could have’s” and “may have’s”).

That's a nice idea, to a reader who loves Shakespeare. To a reader who loves Shakespeare and who has read biographies, looking for something new or fresh, it's horrendous. Because the problem with Shakespeare from that point of view is that perhaps every single aspect of his life, birth to death and everything in between, involves "'might’s', the 'could have’s' and 'may have’s'". That's why there's an authorship question in some people's minds: we just don't know much about the man at all.

The above quote worried me, a little. What worried me more was the author's statement that he would be using the plays and sonnets to extrapolate fact. I didn't make it far into the book, but even in the few pages I read there were at least a couple of statements – not presented as supposition, but absolute fact – which gave me actual pain:

- "Denied, or perhaps ultimately uninterested in, confession to a priest, he came over the years to turn his plays into secret and disguised confessionals, in which he could play both confessor and penitent."

- "Anne [Hathaway] was nurtured and protected by both Shakespeare and his mother as few women were in Elizabethan times." Which as far as I know is completely unsupported by anything known about the Shakespeare menage.

I am baffled about why this foundationless bubble of guesses and fantasy is presented as a biography. If it had a plot, this would be a novel; plotless, it's a tissue of lies.

The usual disclaimer: I received this book via Netgalley for review.

ETA: The Goodreads quote of the day is entirely relevant to this book.

“There is a technical term for someone who confuses the opinions of a character in a book with those of the author. That term is idiot.”
― S.M. Stirling ( )
  Stewartry | Sep 27, 2016 |
Simon Callow liked it. I'm kind of surprised that there isn't more for Gary O'Connor. He's a theatre man who knows the ropes and knows his Shakespeare. ( )
  Porius | Oct 11, 2008 |
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adicionada por KayCliff | editarThe Independent (Sep 15, 1993)
 
Rather than taking on the Sisyphean task of sifting through the reams of documents generated by zealous scholars, British biographer O'Connor has chosen "to give Shakespeare a life, not only as a historical figure who can be brought to life, but the dimension of one who is still living."
adicionada por KayCliff | editarPublishers Weekly
 
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Shakespeare left his true biography in his plays and poems.
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Queen Elizabeth commanded Shakespeare to show her Falstaff in love, and gave him a fortnight in which to do it.... But Falstaff and the direction and intention which come from being in love are a contradiction in terms.... The Merry Wives was putting to ill employment his greatest comic creation.
Shakespeare wrote The Merry Wives in a fortnight, mostly in prose, so that it became, with Shakespeare in a free-wheeling mood, his purest pot-boiler, the least contaminated by quality or originality, stripped down for popularity ... This was middle-class comedy at its most typical and farcical ... The play did provide some flattery for its royal patron’s susceptibilities. On her mother’s side Queen Elizabeth came from quite a humble middle-class background, which Shakespeare flattered; the comedy also pandered to her much-exercised dislike of husbands, and the state of matrimony. Shakespeare directed The Merry Wives not only at the Queen, but at the bourgeois ladies in the audience, housewives, as well as courtly ladies. Shakespeare ranged himself on the side of the women.
Twelfth Night shows the constancy of the bond of twins in the face of the fickle, transient passions of the lovers ... the quest for the lost twin of a pair dominates the action.
The romantic atmosphere of much of The Merchant of Venice has subsequently been overloaded with the weight and problems of Shylock, and with his sombre humanitarian challenges.
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(Applause Books). Garry O'Connor's biography creates a vivd impression of Shakespeare's family life, his marriage and sexuality, the intimate details of his background, and his relationships with the theatre, his audiences and the towering political figures of his time such as Queen Elizabeth and the Earl of Essex. It captures the darkness and confusion of his religious feelings, and his painful search for identity as well as his continuous commitments to change and development. O'Connor imaginatively and persuasively reconstructs the playwright's life and career.

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