Katharine M. Wilson – författare

In the course of some research into the musical element in English poetry, Dr Wilson read the work of the Elizabethan sonneteers chronologically and was struck by a suspicion that Shakespeare’s sonnets were parodies. Later she carried out a more thorough investigation, and this book, originally published in 1974, is the product: her early impressions had been justified beyond all expectation.Her investigation involved examining the background of each of Shakespeare’s sonnets, and this in itself is a contribution to scholarship. A surprising number of them are shown to be direct parodies of particular sonnets; all of them guy the sonnet convention, and the more difficult ones are easily explained by this hypothesis. Fresh correspondences between Shakespeare and his predecessors have come to light and his relationship with them is seen to be mocking. This is demonstrated in his borrowings from Ovid also, while the opening seventeen sonnets gain point as parody of Erasmus on marriage.The book opens with a short note on the origin of the sonnet in song, chivalric love and Plato. The sonnet theme in Shakespeare’s early comedies is treated freshly and the author throws light on the plays from a new angle. In the final chapter, among other themes, the implication of dating is considered, and here too some new material is discussed. However, Dr Wilson is aiming at a wider readership than that of scholars alone. She has a view of Shakespeare as a young man catering for "young-man laughter", as she puts it, and she never loses sight of this aspect in her study. Although the academic basis is there, the presentation is not academic. Her aim is clearly to share the joke with her readers.

In the course of some research into the musical element in English poetry, Dr Wilson read the work of the Elizabethan sonneteers chronologically and was struck by a suspicion that Shakespeare’s sonnets were parodies. Later she carried out a more thorough investigation, and this book, originally published in 1974, is the product: her early impressions had been justified beyond all expectation.Her investigation involved examining the background of each of Shakespeare’s sonnets, and this in itself is a contribution to scholarship. A surprising number of them are shown to be direct parodies of particular sonnets; all of them guy the sonnet convention, and the more difficult ones are easily explained by this hypothesis. Fresh correspondences between Shakespeare and his predecessors have come to light and his relationship with them is seen to be mocking. This is demonstrated in his borrowings from Ovid also, while the opening seventeen sonnets gain point as parody of Erasmus on marriage.The book opens with a short note on the origin of the sonnet in song, chivalric love and Plato. The sonnet theme in Shakespeare’s early comedies is treated freshly and the author throws light on the plays from a new angle. In the final chapter, among other themes, the implication of dating is considered, and here too some new material is discussed. However, Dr Wilson is aiming at a wider readership than that of scholars alone. She has a view of Shakespeare as a young man catering for "young-man laughter", as she puts it, and she never loses sight of this aspect in her study. Although the academic basis is there, the presentation is not academic. Her aim is clearly to share the joke with her readers.

This book is the result of investiging whether Ode to a Nightingale could be interpreted as the record of an actual song that moved Keats so deeply as to involve, in Jung’s terms, an experience of the Self. . It is in effect a biographical study of one aspect of Keats’ life of the imagination. It suggests why he became a poet, shows how his attitude to his poetry changed, how in Jungian terms he first met his ‘shadow’, rejected it, then came to accept it, and how this affected his poetry.The meaning of the few psychological terms used in the book are clarified by illustration from Keats’ own writing, thus contributing to its understanding at the same time.An intimate relationship between his letters and the poems is shown. First published in 1964, the study throws light on well-worn themes such as what Keats meant by beauty, his theory of ‘negative capability’, why he abandoned Hyperion. It gives a fresh interpretation of Endymion and of aspects of the two versions of Hyperion, Lamia, The Eve of St Agnes, and the other great odes. Among details is has something to say on why La Belle Dame kissed her knight precisely four times.