By Christopher Moore
Manhattan occasions bestselling writer Christopher Moore channels William Shakespeare and Edgar Allan Poe within the Serpent of Venice, a satiric Venetian gothic that brings again the Pocket of puppy Snogging, the eponymous hero of idiot, together with his sidekick, Drool, and puppy monkey, Jeff.
Venice, decades in the past. 3 well-liked Venetians look ahead to their so much loathsome and foul dinner visitor, the erstwhile envoy of england and France, and widower of the murdered Queen Cordelia: the rascal idiot Pocket.
This trio of crafty plotters - the service provider, Antonio; the senator, Montressor Brabantio; and the naval officer, Iago - have lured Pocket to a depressing dungeon, promising a night of spirits and debauchery with an extraordinary Amontillado sherry and Brabantio's attractive daughter, Portia.
But their invitation is, after all, bogus. The wine is drugged. the lady isn't even within the urban limits. wanting to rid themselves as soon as and for all the guy who has always foiled their grand quest for strength and wealth, they've got lured him to his demise. (How can one of these small guy, be this sort of large obstacle?). yet this idiot is not any idiot . . . and he's acquired various tips (and hand gestures) up his sleeve.
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Extra resources for The Serpent of Venice: A Novel
Of all literary artists, Shakespeare has been most admired. The reason may be that he comes closest to success in giving us the sense both that we know what cannot be known and that what we know is the unknowable thing we want to know and not something else. I have tried to demonstrate that in the sonnets Shakespeare copes with the problem of the conflicting obligations of a work of art by multiplying the number of ordering principles, systems of organization, and frames of reference in the individual sonnets.
True drama requires at least two voices (so that even Beckett’s monologues often include an offstage voice, or a tape of a voice, to fulfill this requirement). Some feminist critics, mistaking lyric for a social genre, have taken offense that the women who figure as dramatis personae within sonnet sequences are “silenced,” meaning that they are not allowed to expostulate or reply. In that (mistaken) sense one would have to see all addressees in lyric as “silenced” (God by George Herbert, Robert Browning by E.
Instead, I will take one sonnet, number 15, and use it to make a summary demonstration of the kinds and interactions of patterns in Shakespeare’s sonnets generally: When I consider everything that grows Holds in perfection but a little moment, That this huge stage presenteth nought but shows The Value of the Sonnets 19 Whereon the stars in secret influence comment; When I perceive that men as plants increase, Cheered and checked even by the selfsame sky, Vaunt in their youthful sap, at height decrease, And wear their brave state out of memory: Then the conceit of this inconstant stay Sets you most rich in youth before my sight, Where wasteful Time debateth with Decay To change your day of youth to sullied night; And, all in war with Time for love of you, As he takes from you, I ingraft you new.