Came across a comment in Kenneth McLeish and Stephen Unwin's Faber Pocket Guide to Shakespeare's Plays (which is just excellent, by the way) that describes one of the essential qualities of Shakespeare's writing in a way so concise and accurate that it's worthy of its subject: "hardly a word is lazily used". Yup. That's exactly it. This thought comes the closest to describing one of the most enjoyable aspects of reading him - the fact that he can make even words or expressions with which we think we are familiar seem fresh and thought-provoking. It's that quality of poetry and/or art in general that Ezra Pound once described as "the combination of the obvious and the unexpected".

Anyway, I like not only the above comment but its context as well, so here's the whole passage: "His plays live not merely for the dazzle of the language - hardly a word is lazily used - or the dynamism and fascination of the story-telling, but for the way he roots profound moral, ethical and spiritual matters in every-day reality. Even in his most fantastical plays, real people, with all their contradictions, are placed in specific and meticulously-realized social worlds. Although some of the detail is now dead, the authenticity of those characters and those worlds remain: the plays provide images of truth. By constantly developing dramatic and dialectical opposites, Shakespeare creates the illusion of life stretching out in every direction".

Well said, chaps.

Just a short note today re Stratford's upcoming season (2012, I mean): I'm not sure why the name change to the Stratford Shakespeare Festival was necessary a few years back, because the bard content has actually significantly declined recently. And now, the news comes that there's to be only three next year. Bit of a drag, that, in my opinion. The plays in question (Cymbeline, Henry V, Much Ado About Nothing) aren't the problem (of course). There should simply be more of them - at least five per season. Or else at least change the name back. (On the bright side, when they do them, they do them very well. I'm sure I'll be giving each of the three above-mentioned productions standing ovations a year or so from now.)

Finally got to see Julie Taymor's film version of The Tempest, and enjoyed it immensely. She takes a lot of liberties in some ways, but everything is done with real intelligence and style. The treatment of the play's songs, for instance, I found very fresh and interesting. (I wonder if there's another work of literature that comes so close to exposing the essence of music.) In fact, all of the thematic content resonates really strongly. There are some terrific performances as well, with Ben Whishaw as Ariel (his John Keats in Bright Star from 2009 was equally excellent) and Djimon Hounsou as Caliban standing out in particular. Also liked Russell Brand's Trinculo a lot, and Felicity Jones' Miranda was very strong. Her listening ability (crucial in Shakespearean acting) points to a big future. Some of the bigger names, Helen Mirren, Chris Cooper and David Strathairn, were surprisingly reserved in their interpretations now that I think about it, but I enjoyed them as well. I'm going to watch it again soon, and write more about it at that point, but I can certainly recommend it right now. Check it out as soon as you can, and the same goes for her version of Titus Andronicus (Titus from 1999).