Shakespeare at Troynovant:
inspirations via William Shakespeare (1564-1616);
by, about, tangential, 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.

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


— works by Shakespeare, reviewed —

Norton Shakespeare, The William Shakespeare RW Franson
Romeo and Juliet William Shakespeare RW Franson


— essays; and works about Shakespeare, reviewed —

Ado Connie Willis RW Franson
  [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


— tangential mentions of Shakespeare —

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
Local Habitation and a Name, A
  the inspiration of words by reality
What Art Is
  The Esthetic Theory of Ayn Rand
Louis Torres
   & Michelle Marder Kamhi
WH Stoddard


— Shakespeare, quoted —

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
Poetic Troynovant
  renewing Troy in dreaming rhyme
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
  Troy traveling, to and again recurring

[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

Shakespeare scene and line numbering
throughout Troynovant as in
The Norton Shakespeare

Britain at Troynovant
British Empire & Commonwealth
history, geography, literature

Personae at Troynovant
an alternate Contents via emanant Olympians

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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