Latinized Greek Drama in Shakespeare's Writing of "Hamlet"

Schleiner, Louise

doi:10.2307/2870800

Cited by 18 publications

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“…41 Schleiner studied the influence of Latinised Greek drama in Shakespeare's plays -as in early modern England, indirect circulation of Greek material was more frequent via Latin translations -and she argues that 'at least some passages of Euripides' Orestes and Aeschylus' Oresteia (in the latter namely the graveyard and matricide scenes of the Libation Bearers) by some means influenced Hamlet'. 42 Orestes declares that I think that if I had asked my father face to face whether I should kill my mother, he would have put out his hand repeatedly to my chin, begging me never to thrust a sword into my mother's throat since he was not going to come back to life and I in my wretchedness would have to endure ills like these. (Orestes, LCL, ll.…”

Section: Jupiterian Portraits and The House Of Atreusmentioning

confidence: 99%

‘Hyperion’s curls, the front of Jove himself’ (3.4.56): mythological portraits in Hamlet’s closet scene

Lafont

2024

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The article shows how Renaissance humanism — the rediscovery of classical learning — is dramatised in Hamlet to pit an idealised past against a corrupted present. It focuses on the ‘closet scene’ (3.4), that, for the benefit of Gertrude’s eyes — and the audience’s —, represents Hamlet’s father, a solar king, against Hamlet’s ‘father’s brother’, a satyr, in a vivid stage image that echoes Hamlet’s line in a previous soliloquy: ‘So excellent a king, that was to this / Hyperion a satyr’ (1.2.139-40). Such contrasting mythological portraits question Gertrude’s refusal to grieve her spouse until then, even suggesting a matricidal impulse in Hamlet.

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Section: Jupiterian Portraits and The House Of Atreusmentioning

confidence: 99%

‘Hyperion’s curls, the front of Jove himself’ (3.4.56): mythological portraits in Hamlet’s closet scene

Lafont

2024

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“…Sanravius' Oresteia, that is, took the form of a tragicomedy, with mad rage at its pivot. In its form, then, it looks a great deal like 53 Schleiner (1990); Silk (2004); on Shakespeare and Euripides, see Pollard (2017). See, too, Showerman (2011), for whom Greek learning and alternative Shakespearian authorship theories may dovetail.…”

Section: Renaissance Artes Poeticae and Shakespeare's Horatian Bearmentioning

confidence: 99%

Exit Pursued by Horace: Bears, Shakespeare, and the Classical Tradition

Kachuck¹

2021

Classical Receptions Journal

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This article puts the bear back in Horace, demonstrating the role bears have played from antiquity through the Renaissance as the great disruptor of the classical literary artefact, simplex et unum. The first section of the article treats bear’s place in ancient poetics. The second section exposes its role in Horace’s corpus, demonstrating how it instantiates both historical interpretive conflicts over one of Aristotle’s definition of the poet’s vocation and a wide range of Roman cultural and literary developments in the late first-century bce. The third and final section finds Horace’s bear stalking Renaissance artes poeticae and starring as the unstable genre-crossing centre of Shakespeare’s ‘The Winter’s Tale’ (1611). This article shows that Shakespeare’s bear has as much to do with the history of poetics (and the War of the Poets) as with the material history of stagecraft, which has often been the intriguing focus of scholarship on the bear. In addition to heightening our sense of the monstrous qualities of Augustan literature, and to troubling our notions about the classicism of classical literature, this article clarifies how classical poetics could function, in its own time and thereafter, as both analytic field and a literary genre sui generis.

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2007

Tragedy in Transition

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Latinized Greek Drama in Shakespeare's Writing of "Hamlet"

Cited by 18 publications

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‘Hyperion’s curls, the front of Jove himself’ (3.4.56): mythological portraits in Hamlet’s closet scene

‘Hyperion’s curls, the front of Jove himself’ (3.4.56): mythological portraits in Hamlet’s closet scene

Exit Pursued by Horace: Bears, Shakespeare, and the Classical Tradition

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