Speare has been more feted in print than ever, in the mainstream as well as in the overflowing and sometimes murky underground river of academic publications. "Enough!" we may well cry (as we sometimes cry at the unending proliferation of productions of the plays). Not, however, in the case of Sir Frank Kermode, whose profoundly conceived and elegantly executed Shakespeare's Language (2000) was a complex but luminous contribution to the understanding of the greatest single body of dramatic work in any language, one of the most refreshing in recent times; any new commentary from him on the subject is eagerly awaited. Despite a brief flirtation with structuralism, he is no grand theorist. Instead, he is that rather old-fashioned phenomenon: a
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