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Shakespeare: The World as StageAt the time of ShakespeareБЂ™s death few would have supposed that one day he would be thought the greatest of English playwrights. Francis Beaumont, John Fletcher, and Ben Jonson were all more popular and esteemed. The First Folio contained just four poetic eulogies-a starkly modest number. When the now obscure William Cartwright died in 1643, five dozen admirers jostled to offer memorial poems. БЂњSuch are the vagaries of reputation,БЂ« sighs Schoenbaum in his Documentary Life. This shouldnБЂ™t come entirely as a surprise. Ages are generally pretty incompetent at judging their own worth. How many people now would vote to bestow Nobel Prizes for Literature on Pearl Buck, Henrik Pontoppidan, Rudolf Eucken, Selma Lagerlц¶f, or many others whose fame could barely make it to the end of their own century? In any case Shakespeare didnБЂ™t altogether delight Restoration sensibilities, and his plays were heavily adapted when they were performed at all. Just four decades after his death, Samuel Pepys thought Romeo and Juliet БЂњthe worst that ever I heard in my lifeБЂ«-until, that is, he saw A Midsummer NightБЂ™s Dream, which he thought БЂњthe most insipid ridiculous play that ever I saw in my life.БЂ« Most observers were more admiring than that, but on the whole they preferred the intricate plotting and thrilling twists of Beaumont and FletcherБЂ™s MaidБЂ™s Tragedy, A King and No King, and others that are now largely forgotten except by scholars ...» |
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