Photo de l'auteur

Marchette Chute (1909–1994)

Auteur de Shakespeare of London

32+ oeuvres 1,682 utilisateurs 18 critiques

A propos de l'auteur

Crédit image: Richmond History Center

Œuvres de Marchette Chute

Shakespeare of London (1949) 578 exemplaires
Stories from Shakespeare (1956) 393 exemplaires
An Introduction to Shakespeare (1863) 208 exemplaires
Geoffrey Chaucer of England (1946) 139 exemplaires
The Wonderful Winter (1954) 101 exemplaires
Ben Jonson of Westminster (1953) 57 exemplaires
The Innocent Wayfaring (1943) 43 exemplaires
Jesus of Israel (1961) 22 exemplaires
Search for God (1947) 14 exemplaires
The worlds of Shakespeare (1963) 13 exemplaires
Around and about;: Rhymes (1957) 6 exemplaires

Oeuvres associées

Winter Poems (1994) — Contributeur — 1,168 exemplaires
Eric Carle's Dragons, Dragons (1991) — Contributeur — 712 exemplaires
Treasury of Christmas Stories (1960) — Contributeur — 314 exemplaires
Never Take a Pig to Lunch and Other Poems About the Fun of Eating (1994) — Contributeur — 294 exemplaires
The Family Read-Aloud Christmas Treasury (1989) — Contributeur — 277 exemplaires
Ten Tales of Christmas (1972) — Contributeur — 149 exemplaires
Merrily Comes Our Harvest In: Poems for Thanksgiving (1978) — Contributeur — 30 exemplaires

Étiqueté

Partage des connaissances

Nom canonique
Chute, Marchette
Nom légal
Chute, Marchette Gaylord
Date de naissance
1909-08-16
Date de décès
1994-05-06
Sexe
female
Nationalité
USA
Lieu de naissance
Wayzata, Minnesota, USA
Lieu du décès
Montclair, New Jersey, USA
Lieux de résidence
Wayzata, Minnesota, USA (birthplace)
Études
University of Minnesota
Professions
biographer
poet
Relations
Chute, Beatrice Joy (sister)
Organisations
American Academy of Arts and Letters (Literature ∙ 1957)
PEN American Center (president)
Courte biographie
Marchette Chute was a noted biographer whose most popular works were on the lives of Shakespeare, Chaucer and Ben Jonson.

Membres

Critiques

This book picks up where the author's book "The search for God "leaves off. It covers the culmination of man's search for God and the appearance of Jesus Christ.
 
Signalé
PendleHillLibrary | Jun 19, 2023 |
This book is an attempt to record the spiritual history a race of men who loved God so deeply that they set out to inquire about Him. The men who searched for God had no more violent antagonists than the devout men of religion who thought they were saving God, when they were merely trying to save their conception of him. :You destroy reverence," Job was told by his shocked friends as soon as he began asking questions.
 
Signalé
PendleHillLibrary | Jun 19, 2023 |
Chapter 10 contains an unflattering and inaccurate description of the Puritans.
 
Signalé
MarijoT | Feb 27, 2023 |
Marchette Chute’s aim in writing this “life and times” of William Shakespeare was to limit herself to what can be determined from contemporary sources. I was pleasantly surprised at what she could tease out of the limited available evidence and weave it into an enjoyable, informative narrative.
Along the way, she also portrays the world of Elizabethan theater. I learned much I didn’t know about how plays were created and staged. While Shakespeare towered above other playwrights—which many of them seemed willing to recognize, even if reluctantly—many of them were also skilled craftsmen.
What then set Shakespeare apart? Chute writes that many plays of the previous generation had been comparatively simple affairs that relied on broad humor and spectacle. Their hold on the stage was challenged by a set of university-educated aspiring playwrights, most memorably Christopher Marlowe. The dons at Oxbridge had schooled them in theory, especially concerning the unities they should observe. These principles, as old as Aristotle, had been hardened to dogma. Shakespeare, Chute reports, had little interest in theory.
Chute points to two aspects in which Shakespeare excelled. One was the luxuriant flow of his language, and the other his gift for transcending the types usually portrayed on the stage, replacing them with well-rounded, memorable characters.
Another fact set him apart from rival playwrights: He began as an actor before ever trying his hand at a script and remained one throughout his career. As a result, he knew from ample experience in London theaters, on tour, and in royal palaces what worked in front of an audience. In addition, he was a member of London’s leading troop for most of his career. This meant that as he wrote, he knew the actors who would bring his characters to life. And unlike other playwrights, whose work was done once a theater company accepted the script and paid for it, he remained involved in every step of preparing each production.
His career path set him apart from other playwrights in another way: he became wealthy, not by writing but through his share of the receipts of his acting company (the other full members of the troop profited equally well). Chute details his care in investing his earnings, primarily in real estate in his hometown.
In addition to being an astute businessman, I learned that Shakespeare seems to have been an amiable man, slow to take offense. In this way, too, he cut a different figure from Kit Marlowe, Ben Jonson, and others of the playwright guild.
Chute devotes some space to questions such as the extent of the canon and whether someone else wrote the plays. Suggestions that Shakespeare was a front for a nobleman who chose not to publish under his own name seem rooted in class snobbery. As appreciation for Shakespeare’s excellence rose, for some, it became unthinkable that the grandson of a tenant farmer could have authored them. Nor does the argument from his lack of time at a university carry weight. In Chute’s telling, university men who wrote good plays, such as Marlowe and Jonson, did so despite being hobbled by the theoretical strictures they absorbed there.
As to the vexed question of canon: ironically, here, too, it is Shakespeare’s excellence that opened the door to theories of collaboration and misattribution. He was so good, the argument goes, that he was incapable of writing even one mediocre line. Yet accepting “Henry VI” as his demonstrates that he didn’t arrive fully formed but had to learn as he went. And admitting that “Henry VIII” (written after he retired from the stage) and not “The Tempest” was his last shows that even the deepest springs of genius are not inexhaustible and that he was wise to retire when he did.
Finally, I was interested in Chute’s observation that timing was a part of Shakespeare’s success. He arrived in London at a time when there was an enthusiastic theater-going public and before the Puritan ascendance that silenced the stage for two generations following Shakespeare’s death. This interplay of individual genius and the contingencies of time and place gives pause for thought.
… (plus d'informations)
1 voter
Signalé
HenrySt123 | 7 autres critiques | Aug 15, 2022 |

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Statistiques

Œuvres
32
Aussi par
8
Membres
1,682
Popularité
#15,284
Évaluation
4.0
Critiques
18
ISBN
58
Langues
1

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