Shakespeare and the Goddess of Complete Being by Ted Hughes

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Synopsis

A work of criticism argues that the entire Shakespearean corpus can be seen as one huge, complex, ever-evolving work that stems from a mixture of the Bard's two early poems: ""Venus and Adonis"" and ""The Rape of Lucrece.""
 

About Ted Hughes

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Ted Hughes was born on August 17, 1930 in England and attended Cambridge University, where he became interested in anthropology and folklore. These interests would have a profound effect on his poetry. In 1956, Hughes married famed poet Sylvia Plath. He taught at the University of Massachusetts at Amherst from 1957 until 1959, and he stopped writing altogether for several years after Plath's suicide in 1963. Hughes's poetry is highly marked by harsh and savage language and depictions, emphasizing the animal quality of life. He soon developed a creature called Crow who appeared in several volumes of poetry including A Crow Hymn and Crow Wakes. A creature of mythic proportions, Crow symbolizes the victim, the outcast, and a witness to life and destruction. Hughes's other works also created controversy because of their style, manner, and matter, but he has won numerous honors, including the Somerset Maugham Award in 1960, and the Queen's Medal for Poetry in 1974. His greatest honor came in 1984, when he was named Poet Laureate of England. Ted Hughes died in 1998.
 
Published April 13, 1992 by Faber & Faber. 464 pages
Genres: Literature & Fiction. Non-fiction

Unrated Critic Reviews for Shakespeare and the Goddess of Complete Being

Publishers Weekly

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For English poet Hughes, Shakespeare was ``a prophetic shaman of the Puritan revolution,'' his plays mythic reenactments of the holy war between Catholic and Puritan fanaticism. This arcane, often far

Aug 31 1992 | Read Full Review of Shakespeare and the Goddess o...

Publishers Weekly

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For English poet Hughes, Shakespeare was ``a prophetic shaman of the Puritan revolution,'' his plays mythic reenactments of the holy war between Catholic and Puritan fanaticism.

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London Review of Books

Like Emily Dickinson, Hughes aims to push writing beyond writing, towards free expressive performance, but unlike Dickinson he doesn’t – at least in this study – know how to employ formal brevity as the ground of unconditioned Being.

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