By London Review of Books
Clare Bucknell and Colin Burrow attempt, over twelve episodes, to chart a stable course through some of the most unruly, vulgar, incoherent, savage and outright hilarious works in all of English li
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The podcast currently has 11 episodes available.
By the end of 1895 Oscar Wilde’s life was in ruins as he sat in Reading Gaol facing public disgrace, bankruptcy and, two years later, exile. Just ten months earlier the premiere of The Importance of Being Earnest at St James’s Theatre in London had been greeted rapturously by both the audience and critics. In this episode Colin and Clare consider what Wilde was trying do with his comedy, written on the cusp of this dark future. The ‘strange mixture of romance and finance’ Wilde observed in the letters of his lover, Alfred Douglas, could equally be applied to Earnest, and the satire of Jane Austen before it, but is it right to think of Wilde’s play as satirical? His characters are presented in an ethical vacuum, stripped of any good or bad qualities, but ultimately seem to demonstrate the impossibility of living a purely aesthetic life free from conventional morality.
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Read more in the LRB:
Colm Tóibín on Wilde's letters: https://www.lrb.co.uk/the-paper/v23/n08/colm-toibin/love-in-a-dark-time
Colm Tóibín the Wilde family: https://www.lrb.co.uk/the-paper/v39/n23/colm-toibin/the-road-to-reading-gaol
Frank Kermode: https://www.lrb.co.uk/the-paper/v09/n19/frank-kermode/a-little-of-this-honey
Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.
Get in touch: [email protected]
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Few poets have had the courage (or inclination) to rhyme ‘Plato’ with ‘potato’, ‘intellectual’ with ‘hen-peck’d you all’ or ‘Acropolis’ with ‘Constantinople is’. Byron does all of these in Don Juan, his 16,000-line unfinished mock epic that presents itself as a grand satire on human vanity in the tradition of Cervantes, Swift and the Stoics, and refuses to take anything seriously for longer than a stanza. But is there more to Don Juan than an attention-seeking poet sustaining a deliberately difficult verse form for longer than Paradise Lost in order ‘to laugh at all things’? In this episode Clare and Colin argue that there is: they see in Don Juan a satire whose radical openness challenges the plague of ‘cant’ in Regency society but drags itself into its own line of fire in the process, leaving the poet caught in a struggle against the sinfulness of his own poetic power, haunted by its own wrongness.
Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:
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Read more in the LRB:
Clare Bucknell: Rescuing Lord Byron
https://www.lrb.co.uk/the-paper/v45/n23/clare-bucknell/his-own-dark-mind
Marilyn Butler: Success
https://www.lrb.co.uk/the-paper/v04/n21/marilyn-butler/success
John Mullan: Hidden Consequences
https://www.lrb.co.uk/the-paper/v25/n21/john-mullan/hidden-consequences
Thomas Jones: On Top of Everything
https://www.lrb.co.uk/the-paper/v21/n18/thomas-jones/on-top-of-everything
Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.
Get in touch: [email protected]
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What kind of satirist was Jane Austen? Her earliest writings follow firmly in the footsteps of Tristram Shandy in their deployment of heightened sentiment as a tool for satirising romantic novelistic conventions. But her mature fiction goes far beyond this, taking the fashion for passionate sensibility and confronting it with moneyed realism to depict a complex social satire in which characters are constantly pulled in different directions by romantic and economic forces. In this episode Clare and Colin focus on Emma as the high point of Austen’s satire of character as revealed through conversational style, and consider how the world Austen was born into, of revolutionary thought and new money, shaped the moral and material universe of all her novels.
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Read more in the LRB:
Barbara Everett
https://www.lrb.co.uk/the-paper/v18/n03/barbara-everett/hard-romance
John Bayley
https://www.lrb.co.uk/the-paper/v09/n03/john-bayley/yawning-and-screaming
Marilyn Butler
https://www.lrb.co.uk/the-paper/v09/n12/marilyn-butler/jane-austen-s-word-process
Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.
Get in touch: [email protected]
Hosted on Acast. See acast.com/privacy for more information.
'Tristram Shandy' was such a hit in its day that you could buy tea trays, watch cases and cushions decorated with its most famous characters and scenes. If much of the satire covered in this series so far has featured succinct and damning portrayals of recognisable city types, Sterne’s comic masterpiece seems to offer the opposite: a sprawling and irreducible depiction of idiosyncratic country-dwellers that makes a point of never making its point. Yet many of the familiar satirical tricks are there – from radical shifts in scale to the liberal use of innuendo – and in this episode Clare and Colin look at the ways in which the novel stays true to the traditions of satire while drawing on Cervantes, Rabelais, Locke and the fashionable notion of ‘sentiment’ to advance a new kind of nuanced social comedy.
Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up:
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Read more in the LRB:
Clare Bucknell on syphilis:
https://www.lrb.co.uk/the-paper/v41/n14/clare-bucknell/colonel-cundum-s-domain
John Mullan on Sterne:
https://www.lrb.co.uk/the-paper/v24/n11/john-mullan/shandying-it
Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.
Get in touch: [email protected]
Hosted on Acast. See acast.com/privacy for more information.
Nobody hated better than Alexander Pope. Despite his reputation as the quintessentially refined versifier of the early 18th century, he was also a class A, ultra-pure, surreal, visionary mega-hater, and The Dunciad is his monument to the hate he felt for almost all the other writers of his time. Written over fifteen years of burning fury, Pope’s mock-epic tells the story of the Empire of Dullness and its lineage of terrible writers, the Dunces. Unlike other satires featured in this series so far, it makes no effort to hide the identities of its targets. Clare and Colin provide an ABC for understanding this vast and knotty fulmination, and explore the feverish, backstabbing and politically turbulent world in which it was created.
Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up:
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Read more in the LRB:
John Mullan: Clubs of Quidnuncs
https://www.lrb.co.uk/the-paper/v22/n04/john-mullan/clubs-of-quidnuncs
Barbara Everett: Tibbles
https://www.lrb.co.uk/the-paper/v07/n18/barbara-everett/tibbles
Colin Burrow: Puppeteer Poet
https://www.lrb.co.uk/the-paper/v44/n08/colin-burrow/puppeteer-poet
Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.
Get in touch: [email protected]
Hosted on Acast. See acast.com/privacy for more information.
In 'The Beggar’s Opera' we enter a society turned upside down, where private vices are seen as public virtues, and the best way to survive is to assume the worst of everyone. The only force that can subvert this state of affairs is romantic love – an affection, we discover, that satire finds hard to cope with. John Gay’s 1727 smash hit ‘opera’, which ran for 62 performances in its first run, put the highwaymen, criminal gangs and politicians of the day up on stage, and offered audiences a tuneful but unnerving reflection of their own corruption and mortality. Clare and Colin discuss how this satire on the age of Walpole came about, what it did for its struggling author, and why it’s an infinitely elusive, strangely modernist work.
Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up:
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Read more in the LRB:
Frank Kermode: Liveried
https://www.lrb.co.uk/the-paper/v17/n09/frank-kermode/liveried
E.S. Turner: Delightful to be Robbed
https://www.lrb.co.uk/the-paper/v24/n09/e.s.-turner/delightful-to-be-robbed
Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.
Get in touch: [email protected]
Hosted on Acast. See acast.com/privacy for more information.
According to one contemporary, the Earl of Rochester was a man who, in life as well is in poetry, ‘could not speak with any warmth, without repeated Oaths, which, upon any sort of provocation, came almost naturally from him.’ It’s certainly hard to miss Rochester's enthusiastic use of obscenities, though their precise meanings can sometimes be obscure. As a courtier to Charles II, his poetic subject was most often the licentiousness and intricate political manoeuvring of the court’s various factions, and he was far from a passive observer. In this episode Clare and Colin consider why Restoration England was such a satirical hotbed, and describe the ways in which Rochester, with a poetry rich in bravado but shot through with anxiety, transformed the persona of the satirist.
Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up:
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Read more in the LRB:
Germaine Greer: Doomed to Sincerity
https://www.lrb.co.uk/the-paper/v21/n18/germaine-greer/doomed-to-sincerity
Terry Eagleton: In an Ocean of Elizabeths
https://www.lrb.co.uk/the-paper/v36/n20/terry-eagleton/in-an-ocean-of-elizabeths
Christopher Hill: Reason, Love and Life
https://www.lrb.co.uk/the-paper/v02/n22/christopher-hill/reason-love-and-life
Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.
Get in touch: [email protected]
Hosted on Acast. See acast.com/privacy for more information.
What did English satirists do after the archbishop of Canterbury banned the printing of satires in June 1599? They turned to the stage. Within months of the crackdown, the same satirical tricks Elizabethans had read in verse could be enjoyed in theatres. At the heart of the scene was Ben Jonson, who for many centuries has maintained a reputation as the refined, classical alternative to Shakespeare, with his diligent observance of the rules extracted from Roman comedy. In this episode, Colin and Clare argue that this reputation is almost entirely false, that Jonson was as embroiled in the volatile and unruly energies of late Elizabethan London as any other dramatist, and nowhere is this more on display than in his finest play, Volpone.
Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up:
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Read more in the LRB:
Blair Worden: The Tribe of Ben
https://www.lrb.co.uk/the-paper/v34/n19/blair-worden/the-tribe-of-ben
Terence Hawkes: Jonson and digestion
https://www.lrb.co.uk/the-paper/v20/n10/terence-hawkes/lore-and-ordure
Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.
Get in touch: [email protected]
Hosted on Acast. See acast.com/privacy for more information.
In their second episode, Colin and Clare look at the dense, digressive and often dangerous satires of John Donne and other poets of the 1590s. It’s likely that Donne was the first Elizabethan author to attempt formal verse satires in the vein of the Roman satirists, and they mark not only the chronological start of his poetic career, but a foundation of his whole way of writing. Colin and Clare place the satires within Donne’s life and times, and explain why the secret to understanding their language lies in the poet's use of the ‘profoundly unruly parenthesis’.
Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up:
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Read more on John Donne in the LRB:
Catherine Nicholson: Who was John Donne?
https://www.lrb.co.uk/the-paper/v45/n02/catherine-nicholson/batter-my-heart
Blair Worden: Donne and Milton's Prose
https://www.lrb.co.uk/the-paper/v36/n12/blair-worden/things-the-king-liked-to-hear
Tobias Gregory: Lecherous Goates
https://www.lrb.co.uk/the-paper/v38/n20/tobias-gregory/lecherous-goates
Colin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.
Get in touch: [email protected]
Hosted on Acast. See acast.com/privacy for more information.
Clare and Colin begin their twelve-part series on satire with the big question: what is satire? Where did it come from? Is it a genre, or more of a style, or an attitude? They then plunge into their first text, The Praise of Folly by Desiderius Erasmus, a prose satire from 1511 that lampoons pretty much the whole of sixteenth century life in the voice of Folly herself.
Erasmus’s influential work grew partly out of his close friendship with Thomas More, and their shared love of the 2nd century satirist Lucian, but also emerged at a moment (a few years before Luther’s 95 theses) when the worldliness of the Catholic Church could by satirised without necessarily being heretical. Folly’s harshest critiques are levelled at Erasmus’ particularly bugbear, those theologians who resisted humanist reformers (such as Erasmus) who sought to make textually accurate translations of scripture. But she also targets the whole panoply of human weaknesses, arguing (controversially) that not only is folly a necessary human quality that we couldn’t survive without, but that Christianity is folly and Christ himself was a fool.
Non-subscribers will only hear extracts from most of the episodes in this series. To listen in full, and to all our other Close Readings series, sign up:
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Further Reading in the LRB:
James McConica: A Foolish Christ
https://www.lrb.co.uk/the-paper/v15/n21/j.b.-trapp/the-miller-s-tale
J.B. Trapp: On Erasmus
https://www.lrb.co.uk/the-paper/v15/n21/j.b.-trapp/the-miller-s-tale
M.A. Screech: Possible Enemies
https://www.lrb.co.uk/the-paper/v05/n11/m.a.-screech/possible-enemies
James Wood: Thomas More
https://www.lrb.co.uk/the-paper/v20/n08/james-wood/the-great-dissembler
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The podcast currently has 11 episodes available.