by Emma Smith
, rather than at a modern edition, which will have smoothed out these interesting and revealing textual niggles. There’s more about the new theatre of Blackfriars in Sarah Dustagheer’s Shakespeare’s Two Playhouses: Repertory and Theatre Space and the Globe and the Blackfriars, 1599–1613 (Cambridge University Press, 2017).
CHAPTER 19: THE WINTER’S TALE
Samuel Beckett’s prose work ‘Worstward Ho’ (1983) was published in Nohow On (John Calder Publishing, 1992). Greene’s Pandosto is reprinted in Geoffrey Bullough’s Narrative and Dramatic Sources of Shakespeare.
CHAPTER 20: THE TEMPEST
Michael Dobson’s book The Making of the National Poet: Shakespeare Adaptation and Authorship, 1660–1769 (Clarendon Press, 1992) is excellent on the establishment of ‘Shakespeare’, and the quotation from Pope is taken from it. The Enchanted Island is reprinted in Sandra Clark’s anthology Shakespeare Made Fit: Restoration Adaptations of Shakespeare (J. M. Dent, 1997). Auden’s poetic sequence ‘The Sea and the Mirror’ was published in For the Time Being (Faber, 1945). Gordon McMullan’s book Shakespeare and the Idea of Late Writing (Cambridge University Press, 2007) discusses the connotations of ‘lateness’ in stimulating and learned ways. Lytton Strachey’s comment on The Tempest comes from his 1904 essay ‘Shakespeare’s Final Period’ and was published in his Books and Characters (Chatto and Windus, 1922); Edward Dowden’s Shakespeare: A Critical Study of this Mind and Art was first published in 1875 and is much reprinted. Gary Taylor’s caustic commentary was published in The Guardian on 3 May 2004, the anniversary of Shakespeare’s fortieth birthday (given calendrical differences). Freud’s Beyond the Pleasure Principle was first published in 1920 and included in volume 18 of the Standard Edition of the Complete Psychological Works of Sigmund Freud, edited by James Strachey. Thomas Kyd’s The Spanish Tragedy is widely available in print, including in my Five Revenge Tragedies (Penguin Classics, 2012), and online at
Acknowledgements
This Is Shakespeare has its genesis in wide discussions about Shakespeare in lots of different academic, theatrical and literary contexts, and I am thankful for all those conversations. More specifically, I would like to acknowledge the audiences at the Faculty of English, University of Oxford, and beyond, who have listened to these ideas in an earlier form via the lecture series podcast ‘Approaching Shakespeare’ (available from Apple Podcasts), and especially those who have been willing to discuss them with me. In preparing the lectures for publication, I am indebted to Esther Osorio Whewell, and also to Catherine Clarke, Chloe Currens, David Dwan, Polly Findlay, Kate Harvey, Laurie Maguire, Moses Mathias, Alex Preston, Peter Robinson, Josie Rourke and Viv Smith for their feedback, dialogue and support. I am grateful to the many other Shakespeareans in the theatre and in academia whose work has deeply influenced my thinking and my approach over many years, and to all the Hertford students with whom I’ve had the privilege of puzzling over Shakespeare together. This book is for Elizabeth Macfarlane, with love.
Index
The page references in this index correspond to the print edition from which this ebook was created, and clicking on them will take you to the the location in the ebook where the equivalent print page would begin. To find a specific word or phrase from the index, please use the search feature of your ebook reader.
A
Acts and Monuments (Foxe) 117
Admiral’s Men 118, 171
Adorno, Theodor 163
Aeneid (Virgil) 269
agency 3, 71–2, 74–5, 197, 241–5, 248–53
Alchemist, The (Jonson) 315
Alice’s Adventures in Wonderland (Carroll) 89
All for Love (Dryden) 262
All is True (Henry VIII) (Shakespeare and Fletcher) 14, 34, 306
Alleyn, Edward 171, 172
All’s Well That Ends Well (Shakespeare) 86, 197, 207, 314, 321
Almereyda, Michael 161
Anatomy of Melancholy, The (Burton) 239–40, 241, 243, 254
Anouilh, Jean 71, 81
Antigone (Anouilh) 71
Antony and Cleopatra (Shakespeare) 255–70, 272
Ariosto, Orlando Furioso 134
Aristotle 223, 290
As You Like It (Shakespeare) 87, 155, 157, 190, 197, 198, 253, 297, 299, 321
Auden, W. H. 221, 307–8
– ‘Prospero to Ariel’ 308
– ‘The Sea and the Mirror’ 308
authorial intention 272, 273, 298
authorship controversy 173
B
Bamber, Linda, Comic Women, Tragic Men 257
Barton, John 60, 63
Bate, Jonathan 216
Baudrillard, Jean 151
Beardsley, Monroe C., ‘The Intentional Fallacy’ 272
Beckett, Samuel 43, 163, 231, 232
– Waiting for Godot 43, 231–2
– Worstward Ho 291
Benedict, Ruth 262, 266
Bergson, Henri 51
– Le Rire (Laughter) 50
Beyond the Pleasure Principle (Freud) 313
Bhardwaj, Vishal 161
Bible 16, 122
Bingo (Bond) 274
biographical scholarship 173–5, 274, 277–8, 306, 309–10
Bishops’ Ban 157, 158, 160
Blackfriars theatre 284, 308
blank verse 56, 61, 124, 180, 231
blocking figures 79, 133–4, 144, 222, 315
Bloom, Henry 119, 127
Bogdanov, Michael 60
Bond, Edward, Bingo 274
Boyd, Michael 31
Bradley, A. C. 229–30, 236
– Shakespearean Tragedy 230
Branagh, Kenneth 129, 140, 172
Bringing Up Baby (film) 141
Brook, Peter 231
Brooke, Arthur, The tragicall history of Romeus and Juliet 73–4
Burbage, Richard 26, 27–8, 214, 256–7
Burke, Edmund 227
Burton, Richard 9
Burton, Robert, The Anatomy of Melancholy 239–40, 241, 243, 254
C
‘Cardenio’ (Shakespeare and Fletcher) 306
Carroll, Lewis, Alice’s Adventures in Wonderland 89
Catholicism 169, 170
celebrity 255, 265, 266
censorship 65, 157, 158–60
Césaire, Aimé 324
– Une Tempête 318
Chamberlain’s Men see Lord Chamberlain’s Men
Chaplin, Charlie 48
– Modern Times 41, 48
Chaste Maid in Cheapside, A (Middleton) 201
Chimes at Midnight (film) 126
Christianity 216, 230, 231
Chronicles (Holinshead) 245, 247
Cibber, Colly 26
Cicero 182
Cinthio (Giovanni Battista Giraldi) 195, 197
city comedy 200–201
Coleridge, Samuel Taylor 49, 228, 229
colonialism 318–19
comedy
– Antony and Cleopatra 268
– city comedy 200–201
– The Comedy of Errors 40, 45, 49–51
– farce 49–50, 268
– Hamlet 173
– Measure for Measure 193–4, 197–200, 202–7
– The Merchant of Venice 103
– A Midsummer Night’s Dream 88, 92, 95, 97
– Much Ado About Nothing 131, 143
– New Comedy 133
– Othello 220
–22
– romantic comedy 88, 92, 131, 191, 199, 206
– Romeo and Juliet 75, 79–80
– The Tempest 307
– and tragedy 45, 79–80, 143, 173, 186–7, 221–2, 290–92
– Twelfth Night 179, 186–9, 191
– The Winter’s Tale 289, 292, 295, 296
Comedy of Errors, The (Shakespeare) 39–51, 70, 96, 293, 299, 310
Coriolanus (Shakespeare) 26, 266, 271–85, 298
Coronado, Celestino 161
Crisp, Quentin 161
cuckoldry 138, 222
Cumberbatch, Benedict 2
Cymbeline (Shakespeare) 87, 297, 306
D
Daemonologie (James I) 250
Daltry, Roger 46
Dante, Inferno 148
Davenant, William, The Enchanted Island 304–5
Davies, Russell T. 85
death 179, 201–2, 205, 231, 236, 307, 308
Dench, Judi 172
desire
– Measure for Measure 194, 196, 197, 200, 201
– A Midsummer Night’s Dream 84–5, 92–5, 97
– same-sex desire 109, 186
– Twelfth Night 177, 184, 186
– The Winter’s Tale 296–9
deus ex machina device 32–3, 194
DiCaprio, Leonardo 78
diegesis 294, 305
Disney, Walt 83, 161
Dollimore, Jonathan 232–3
Doran, Gregroy 165
doubling 39–40, 42–4, 46, 95–7, 161–2, 166, 190, 299
Dowden, Edward 311–12, 315, 317
Dr Faustus (Marlowe) 310, 313
dramatic irony 299, 300
dreams 92–4, 97, 150–51, 153, 300
Dryden, John 304, 324
– All for Love 262
– The Enchanted Island 304–5
Duffy, Carol Ann 137
dumbshows 60, 63, 171
E
Eagleton, Terry 223
Edward II (Marlowe) 56, 310
Eliot, T.S. 40, 163
Elizabeth I, Queen 64–5, 167, 169, 171, 250
Elton, W. R. 231
Emmerich, Roland 121
Enchanted Island, The (Dryden and Davenant) 304–5
English Shakespeare Company 60
epilogues 321–4
Everett, Barbara 231
Everyman (play) 45–6
Eyre, Richard 166
F
Faerie Queene, The (Spenser) 70, 170
Falstaff character 28, 113, 115–22, 125, 126–8, 267
farce 49–50, 268
father figures
– Hamlet 166–7, 174
– 1 Henry IV 119, 125
– The Winter’s Tale 296–8
The Female Eunuch (Greer) 9
feminism 21, 218
Field, Richard 272–3
First Folio collection 13, 35, 44, 80–81, 234–5, 281, 282, 309
Fletcher, John 306, 308, 311, 324
– All is True (Henry VIII) 14, 34, 306
– ‘Cardenio’ 306
– The Tamer Tamed 14–15, 20
– The Two Noble Kinsmen 14, 134, 182, 306, 308
Forman, Simon 252
Foxe, John, Acts and Monuments 117
Frayn, Michael, Noises Off 49–50
Freud, Sigmund 100, 163, 167, 171, 173, 277, 282, 313
– Beyond the Pleasure Principle 313
– The Interpretation of Dreams 167
– The Psychopathology of Everyday Life 277
friendship 182, 186
Frye, Northrop 190–91
Fuseli, Henry, Macbeth paintings 255
G
Galileo Galilei 3
Garrick, David 26, 163
gender
– and female roles 258
– Measure for Measure 199–200
– Much Ado About Nothing 137–8
– The Taming of the Shrew 15, 16, 20–21
– Twelfth Night 185, 189
Gesta Romanorum 100
ghosts 164–6, 169, 170–71, 300
Gibson, Mel 2
Gielgud, John 172, 305
Giraldi, Giovanni Battista (Cinthio) 195, 197
Globe theatre 158, 252, 253, 269, 284, 288, 306
Golding, Arthur 156
Goold, Rupert 60
Gorboduc (Norton and Sackville) 171
Greenaway, Peter 305
Greenblatt, Stephen 170
Greene, Robert, Pandosto 295–6, 298, 299, 301
Greer, Germaine, The Female Eunuch 9
grief 173–5, 291
grotesque 232
guilt 262, 263, 264, 265, 291
H
Haider (film) 161
Hall, Joseph 158
hamartia 290
Hamlet (Shakespeare) 2, 33, 57, 116, 119, 161–75, 224, 285, 310, 314
Harvey, Gabriel 158
Hawke, Ethan 161
Hawks, Howard 141
Hazlitt, William 119, 228, 276
Hemingway, Ernest 234
1 Henry IV (Shakespeare) 28, 34, 113–28, 147, 156, 166, 194, 267, 287
2 Henry IV (Shakespeare) 67, 117, 126, 128
Henry V (Shakespeare) 13, 34, 57, 65, 67, 157
Henry VI plays (Shakespeare) 25, 36, 57, 174
Henry VIII (All is True) (Shakespeare and Fletcher) 14, 34, 306
Hero and Leander (Marlowe) 310
Heston, Charlton 172
Heywood, Thomas 186–7, 222
His Girl Friday (film) 141
History of King Lear, The (Tate) 225, 226, 227
history plays
– Coriolanus 280
– Hamlet 166, 168
– 1 Henry IV 113
– King Lear 235, 236
– Macbeth 245
– Richard II 54, 62, 63, 64, 66
– Richard III 31–6
Hobbes, Thomas, Leviathan 72
Holbein, Hans, The Ambassadors 177
Holinshead, Raphael 55, 245, 246, 247, 250
– Chronicles 245, 247
Holler, Wenceslaus 288
Hollow Crown (TV series) 56
homosexuality 109, 112, 181–2, 186, 191
Hooke, Robert, Micrographia 3
Horace 32
Hoskins, Bob 221
hysteron proteron 75, 76, 79, 81
I
iambic pentameter 1, 25
identity 44–5, 49, 219, 280, 282, 285
imitatio 70
incest 296–7, 298, 299, 301
Independence Day (film) 121
Inferno (Dante) 148
inset plays 18, 171, 314
intention 272, 273, 298
The Interpretation of Dreams (Freud) 167
intersectionality 218, 219
Irving, Henry 119
Islam 216
J
James I, King 203, 223, 246, 250, 288
– Daemonologie 250
Jew of Malta, The (Marlowe) 310
Johnson, Samuel 118, 226–7, 233
Jolson, Al 33
Jonson, Ben 210, 239, 312, 315
– The Alchemist 315
Joyce, James, Ulysses 162
Julius Caesar (Mankiewicz film) 255
Julius Caesar (Shakespeare) 53, 116, 145–60, 266, 272, 323
K
Kani, John 209
Kantorowicz, Ernst 58
Kemp, Will 143
Kermode, Frank 318
Kerr, David 85
King John (Shakespeare) 174–5
King Lear (Shakespeare) 40, 57, 75, 129, 145, 190, 223–37, 287, 297, 322
King’s Men 256, 288, 324
Kitchen, Michael 46
Kott, Jan 95, 231–2
– Shakespeare Our Contemporary 63, 163, 231
Kyd, Thomas 172, 239, 323
– The Spanish Tragedy 170–71, 314
L
Lacan, Jacques 163
Lamb, Charles 83
Lamb, Mary 83
Landseer, Sir Edwin, Titania
and Bottom 89
laughter 50, 51
Lennox, Charlotte 206
– Shakespear Illustrated 193
Leonard, Robert Sean 140
Leviathan (Hobbes) 72
Lion King, The (film) 161
Lives of the Noble Grecians and Romans (Plutarch) 156, 272–3
Lochhead, Liz, ‘Men Talk’ 198
Loncraine, Richard 33
Lord Chamberlain’s Men 25, 26, 66, 117, 118, 143, 215, 256, 324
Love’s Labour’s Lost (Shakespeare) 187
Lucas, George 33, 34
Luhrmann, Baz, Romeo and Juliet (film) 69, 78
Luther, Martin 169
M
Macbeth (Shakespeare) 33, 48, 72, 145–7, 239–54, 256–7, 264, 271, 287, 299
‘Macbeth Murder Mystery, The’ (Thurber) 242–3
