bardolatry

Trying to stop short of bardolatry, but it really is astonishing.

And on this street especially, we can indulge our bardolatry."

This explains the bardolatry which has dominated so much writing about Shakespeare.

By the nineteenth century Shakespeare's reputation had advanced to the point of what came to be known as bardolatry.

In other words, bardolatry defines Shakespeare as the master of all human experience and of its intellectual analysis.

Bloom's cult of character helps to explain why he gives himself over to Bardolatry with such religious fervor.

(Not the least irritating thing about Bardolatry is the suitability of its idol for worship.)

It had a major impact on the rising tide of bardolatry that led to Shakespeare becoming established as the English national poet.

Written as a companion to the general reader and theatergoer, Bloom declares that bardolatry "ought to be even more a secular religion than it already is."

I have always been resistant to bardolatry, to the constant search for proof that he was wiser, more powerful, more obviously the best than anyone else ever.

A witty satire on the excesses of bardolatry, the story reflects James's skepticism about the authorship of Shakespeare's plays.

The playwright and critic George Bernard Shaw mocked the cult of Shakespeare worship as "bardolatry".

The serious stance of Bardolatry has its origins in the mid-18th century, when Samuel Johnson referred to Shakespeare's work as "a map of life".

And I was curious to learn about the views of those who were repelled the farthest away by bardolatry: those who deny he even wrote the plays.

"Bardolatry is defined as 'excessive veneration of Shakespeare'," Niall says as we walk down a thoroughfare called Worship Street.

In September 1769 Garrick staged a major Shakespeare Jubilee in Stratford-upon-Avon which was a major influence on the rise of bardolatry.

It was also a period of rising bardolatry, the deification of Shakespeare's genius, and a widespread, almost hyperbolic veneration for the philosophical genius of Francis Bacon.

The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry".

The play is described by critic Robert Brustein as a "lusty antidote to all forms of Bardolatry, including the perverse and benighted kind that considers the bard a beard".

With the legendary actor-manager David Garrick serving as Shakespeare's high priest, bardolatry swept mid-18th-century England to the point that painters, too, reproduced the words and scenes that actors portrayed onstage.

By the beginning of the 19th century, adulation was in full swing, with Shakespeare singled out as a transcendent genius, a phenomenon for which George Bernard Shaw coined the term "bardolatry" in 1901.

The 1769 Shakespeare Jubilee was an example of what was derisively called bardolatry as Shakespeare was held up as an example of transcendent genius, the ideal of the Romantic poet.

The essential characteristic of bardolatry is that Shakespeare is presented as not only the greatest writer who ever lived, but also as the supreme intellect, the greatest psychologist, and the most faithful portrayer of the human condition and experience.

Early Baconians were influenced by Victorian bardolatry, which portrayed Shakespeare as a profound intellectual, "the greatest intellect who, in our recorded world, has left record of himself in the way of Literature", as Thomas Carlyle stated.

The critic Harold Bloom revived bardolatry in his 1998 book Shakespeare: The Invention of the Human, in which Bloom provides an analysis of each of Shakespeare's thirty-eight plays, "twenty-four of which are masterpieces."