Shakespair Sonnet Replies to the 154 Sonnets of William Shakespeare Martin Bidney 9781517697945 Books
Download As PDF : Shakespair Sonnet Replies to the 154 Sonnets of William Shakespeare Martin Bidney 9781517697945 Books
Shakespeare's Sonnets (published in 1609 but mostly written in the 1590s) offer surprises everywhere, but two big ones in particular. These relate to the plot and to the range of the poet's passionate feeling. The story line has the makings of a high suspense love drama, but the author wants, more crucially, to explore his thoughts on a myriad of topics in what feels like verse journaling - moody, mercurial, unpredictable, and intense. That's why the genre of the narrative hovers between a play and what we'd now call a psychological novel. Complicating both the dramatic tension and the introspective depth is the bisexual range of the poet's passionate temperament. The fact that his boyfriend and mistress are attracted to each other will account for some of the strong conflicts in the speaker's mind. But the wild oscillations of his feeling toward each of them are also rooted in his widely receptive sexual nature. I'm a dialogic poet, carrying on a long tradition of friendly rivalry among verse writers. Here I undertake a book-length dialogue in sonnets with Shakespeare. The best way to respond to a poem that won't let go of you is to write another poem and try to make it worthy of the first. Often I sum up a lyric from a new perspective. Or I'll respond with parallel or contrasting memories and imaginings of my own. Poets, philosophers, mythic figures, musicians, or novelists may enter my replies. Psychological sidelights will be many. The possibilities revealed by the genre of lyrical response appear unlimited. There's no better con-verse-ation partner than Shakespeare, who gave me a deep love for his favorite lyric form. Entering into it, I assumed a stranger-self, and it made a stranger me.
Shakespair Sonnet Replies to the 154 Sonnets of William Shakespeare Martin Bidney 9781517697945 Books
Martin Bidney’s Shakespair: Sonnet Replies to the 154 Sonnets of William Shakespeare is more than a tour de force, though certainly it is a brilliant enterprise in itself; many a poet might ask, “Why didn’t I think of this?” Bidney’s volume is, beyond display of a certain bravado in matching wits with the Bard, a dramatization of how one poet can ignite another to a poetry of his or her own. And why not let that other poet be the world’s greatest? Yes, Shakespair is a dialogue, sonnet by sonnet, but to my mind it is more a trialogue; the speaker of Bidney’s poems frequently engages the speaker of Shakespeare’s as a “he,” or later on a “she,” not a “you,” as he implicitly addresses us, his readers, to ponder together what it is that Shakespeare has written.And these sonnets are not a little strange, as, for example, the first thirty-nine that obsessively implore his male friend to have progeny. “Ten children—quite an order,” Bidney’s speaker replies sardonically. It is strange to modern readers how humble, humiliated, and debased the great Bard often feels relative to the young man, and later the dark woman, and to hear him speak of his own “barren rhyme.” Bidney’s speaker calls him on this: “I have to ask if he, the highest bard,/ Most fertile in poetic progeny,/ May find it not indeed a trifle hard/ To hint mere fallow field or barren tree” (16).
Bidney is sensitive to the remarkable sexuality and gender dimension of the sonnets, often regarded as the closest we come to autobiographical portrait in Shakespeare’s work, when he plays, for example, with multiple meanings of his own name “Will.” “Let me not to the marriage of true minds/ Admit impediments” leads off a sonnet (116) often read at heterosexual weddings, but it is still the young man of whom the poet is speaking. And Sonnet 129, the famed expression of sex nausea (“Th’ expense of spirit in a waste of shame/ Is lust in action”), appears early on in the sonnets addressed to the woman. In his Introduction as in his sonnets, Bidney concludes not that Shakespeare was gay and/or misogynistic but that “human sexuality is a continuum, a spectrum” and that Shakespeare’s sonnets, like his plays, are an eloquent expression of eros in its full complexity.
The shifting of affect throughout the Shakespeare sequence is notable, as the speaker is by turns despondent and exhilarated, defeated and defiant. By means of humor, wise observation, word play, and a range of reference to many pre- and post-Shakespearean poets, Bidney’s sonnets manage in the end to be life-affirming and exhilarating.
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Shakespair Sonnet Replies to the 154 Sonnets of William Shakespeare Martin Bidney 9781517697945 Books Reviews
The Bard of Binghamton! Nobody reinvents the great "Shakespair" like this poet!
Martin Bidney enters into a marvelous dialogue with the sonnets. He adds to their richness by his keen insights into each sonnet, and all this in the rhymes he creates! A pleasure to read, filled with so much to contemplate and admire, both in Shakespeare's work and Bidney's. Highly recommended. A great livre de chevet.
Martin Bidney matches the Bard in music, magic and wit. I loved it! As you could probably tell from the cover alone, Prof. Bidney's sonnets are full of humor and verve. His images are nothing short of amazing. I was quite impressed by the cleverness and joy on display, and thoroughly enjoyed reading. Shakespair will give you another reason to love life. Guaranteed.
Martin's book Shakespair has educated me on much of Shakespeare love life and ideas I did not know about him until then. I like Mr.Bidney's replies. If you're into Shakespeare, I would really recommend this book. Great read!
What a great way to discuss the poems of a great one – starting a dialogue (through time) with him. Martin Bidney is one of the best dialogic poets, which means he uses the works of other poets to answer them, to discuss some specific elements in them or simply give his point of view regarding them. Though those are not just some simple "answers"; highly metaphorical, Martin Bidney opens up a variety of elements, shows many influences and teaches the reader with every verse the richness of modern – and preceding – poetry.
He makes it look easy to adapt to the various styles and lyrical forms; masterfully, his "answers" blend in very well with the original sonnets by Shakespeare which are also published in this edition.
If you enjoy reading poems, especially Shakespeares, and want to get a new touch on the so called "dialogical poetry" - try this one, you won't regret it!
Transcends time. Thank you.
Martin Bidney’s Shakespair Sonnet Replies to the 154 Sonnets of William Shakespeare is more than a tour de force, though certainly it is a brilliant enterprise in itself; many a poet might ask, “Why didn’t I think of this?” Bidney’s volume is, beyond display of a certain bravado in matching wits with the Bard, a dramatization of how one poet can ignite another to a poetry of his or her own. And why not let that other poet be the world’s greatest? Yes, Shakespair is a dialogue, sonnet by sonnet, but to my mind it is more a trialogue; the speaker of Bidney’s poems frequently engages the speaker of Shakespeare’s as a “he,” or later on a “she,” not a “you,” as he implicitly addresses us, his readers, to ponder together what it is that Shakespeare has written.
And these sonnets are not a little strange, as, for example, the first thirty-nine that obsessively implore his male friend to have progeny. “Ten children—quite an order,” Bidney’s speaker replies sardonically. It is strange to modern readers how humble, humiliated, and debased the great Bard often feels relative to the young man, and later the dark woman, and to hear him speak of his own “barren rhyme.” Bidney’s speaker calls him on this “I have to ask if he, the highest bard,/ Most fertile in poetic progeny,/ May find it not indeed a trifle hard/ To hint mere fallow field or barren tree” (16).
Bidney is sensitive to the remarkable sexuality and gender dimension of the sonnets, often regarded as the closest we come to autobiographical portrait in Shakespeare’s work, when he plays, for example, with multiple meanings of his own name “Will.” “Let me not to the marriage of true minds/ Admit impediments” leads off a sonnet (116) often read at heterosexual weddings, but it is still the young man of whom the poet is speaking. And Sonnet 129, the famed expression of sex nausea (“Th’ expense of spirit in a waste of shame/ Is lust in action”), appears early on in the sonnets addressed to the woman. In his Introduction as in his sonnets, Bidney concludes not that Shakespeare was gay and/or misogynistic but that “human sexuality is a continuum, a spectrum” and that Shakespeare’s sonnets, like his plays, are an eloquent expression of eros in its full complexity.
The shifting of affect throughout the Shakespeare sequence is notable, as the speaker is by turns despondent and exhilarated, defeated and defiant. By means of humor, wise observation, word play, and a range of reference to many pre- and post-Shakespearean poets, Bidney’s sonnets manage in the end to be life-affirming and exhilarating.
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