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Shakespeare at Troynovant:
inspirations via William Shakespeare (1564-1616);
by, about, discussed, or quoted,
listed by Type and Title
Wanderers along highways and byways of Troynovant will have seen that Shakespeare is presented rather richly. Shakespearean quotations on our assorted index pages are not listed here, but are easy to find via the navigational aids. Beyond that, most tangential mentions are not listed below.
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What needs my Shakespeare for his honor'd Bones
The labor of an age in piled Stones,
Or that his hallow'd relics should be hid
Under a Star-ypointing Pyramid?
Dear son of memory, great heir of Fame,
What need'st thou such weak witness of thy name?
Thou in our wonder and astonishment
Hast built thyself a livelong Monument.
For whilst to th'shame of slow-endeavoring art,
Thy easy numbers flow, and that each heart
Hath from the leaves of thy unvalu'd Book
Those Delphic lines with deep impression took,
Then thou our fancy of itself bereaving,
Dost make us Marble with too much conceiving;
And so Sepulcher'd in such pomp dost lie,
That Kings for such a Tomb would wish to die.
John Milton
"On Shakespeare" (1630)
Complete Poems and Major Prose
edited by Merritt Y. Hughes
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— works by Shakespeare, reviewed —
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| Norton Shakespeare, The |
William Shakespeare |
RW Franson |
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| Romeo and Juliet |
William Shakespeare |
RW Franson |
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— essays; and works about Shakespeare, reviewed —
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| Ado |
Connie Willis |
RW Franson |
Macbeth
[as a failed science-fiction story] |
William Shakespeare |
DL Franson |
| Macbeth Murder Mystery, The |
James Thurber |
RW Franson |
Mirror of Myth, The
Classical Themes & Variations |
Jasper Griffin |
RW Franson |
Move the Stones of Rome to Rise
Hearing Mark Antony |
RW Franson |
| On the Trail of William Shakespeare |
J. Keith Cheetham |
JM Franson |
Shakespearean Sonnet, The
Its Verse Form Illustrated by Sonnet LXIV:
When I have seen by Time's fell hand defac'd |
JM Franson |
Titles for the Common Words
Shakespearean Riches in a Little Room |
RW Franson |
Will in the World
How Shakespeare Became Shakespeare |
Stephen Greenblatt |
RW Franson |
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— discussion or mention of Shakespeare —
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| Christie Johnstone |
Charles Reade |
RW Franson |
| Cocoanuts, The |
Marx Brothers |
RW Franson |
| Darfsteller, The |
Walter M. Miller, Jr. |
RW Franson |
| Green Millennium, The |
Fritz Leiber |
RW Franson |
What Art Is
The Esthetic Theory of Ayn Rand |
Louis Torres
& Michelle Marder Kamhi |
WH Stoddard |
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— Shakespeare, quoted —
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| Complete Fawlty Towers, The |
John Cleese
& Connie Booth |
RW Franson |
Domain Name Bargains
Alms for Oblivion |
RW Franson |
| Enquiry Concerning Human Understanding, An |
David Hume |
WH Stoddard |
| Fawlty Towers: Fully Booked |
Morris Bright
& Robert Ross |
RW Franson |
| In Which Our Revels Are Not Ended |
K Spell |
| Minimum Man, The |
Robert Sheckley |
RW Franson |
| Risk to Seize, A |
NG Britton |
Rules, The
Time-tested Secrets
for Capturing the Heart of Mr. Right |
Ellen Fein
& Sherrie Schneider |
RW Franson |
| Serenity |
Joss Whedon |
RW Franson,
DH Franson |
Speaking through Texts
manifest culture; & action this day
[compilation] |
RW Franson |
Troywards
Troy traveling, to and again recurring |
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[Prospero's island.]
Ariel (in song):
Full fathom five thy father lies.
Of his bones are coral made;
Those are pearls that were his eyes;
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell ...
William Shakespeare
The Tempest, 1.2.400-406
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Shakespeare scene and line numbering
throughout Troynovant as in
The Norton Shakespeare
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Britain at Troynovant
British Empire & Commonwealth
history, geography, literature
Personae at Troynovant
emanant Olympians
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Sonnet writing was a courtly and aristocratic performance, and Shakespeare was decidedly not a courtier or an aristocrat. Yet the challenge of this form proved agreeable to him. To be a very public man — an actor onstage, a successful playwright, a celebrated poet; and at the same time to be a very private man — a man who can be trusted with secrets, a writer who keeps his intimate affairs to himself and subtly encodes all references to others: this was the double life Shakespeare had chosen for himself. If his astonishing verbal skills and his compulsive habit of imaginative identification, coupled with deep ambition, drove him to public performance, his family secrets and his wary intelligence — perhaps reinforced by the sight of the severed heads on London Bridge — counseled absolute discretion.
Stephen Greenblatt
Will in the World
How Shakespeare Became Shakespeare (2004)
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