The Cambridge Companion to Shakespearean Tragedy (Cambridge Companions to Literature) PDF
Preview The Cambridge Companion to Shakespearean Tragedy (Cambridge Companions to Literature)
TheCambridgeCompaniontoShakespeareanTragedy The Companion acquaints the student reader with the forms, contexts, and critical and theatrical lives of the ten plays considered to be Shakespeare’s tragedies.Shakespeareantragedyisahighlycomplexanddemandingtheatre genre,butthethirteenessays,writtenbyleadingscholarsinBritainandNorth America,areclear,concise,andinformative.Theyaddressthewaysinwhich Shakespeareantragedyoriginated,developed,anddiversified,aswellashowit hasfaredonstage,astext,andincriticism.Topicscoveredincludetheliterary precursorsofShakespeareantragedies(medieval,classical,andcontemporary), culturalbackgrounds(political,religious,social,andpsychological),andthe sub-genres of Shakespeare’s tragedy (love tragedy, revenge tragedy, and clas- sical tragedy), as well as the critical and theatrical receptions of the plays. Thebookexaminesthefourmajortragediesand,inaddition,TitusAndroni- cus,RomeoandJuliet,JuliusCaesar,AntonyandCleopatra,Coriolanus,and TimonofAthens. ClaireMcEachernisAssociateProfessorattheDepartmentofEnglish,Univer- sity of California, Los Angeles. She is the author of The Poetics of English Nationhood, 1512–1612 (Cambridge, 1996), and co-editor (with Debora Shuger)ofReligionandCultureintheEnglishRenaissance(Cambridge,1997). THE CAMBRIDGE COMPANION TO SHAKESPEAREAN TRAGEDY EDITED BY CLAIRE McEACHERN published by the press syndicate of the university of cambridge ThePittBuilding,TrumpingtonStreet,Cambridgecb21rp,UnitedKingdom cambridge university press TheEdinburghBuilding,Cambridge,cb22ru,UK 40West20thStreet,NewYork,ny 10011-4211,USA 477WilliamstownRoad,PortMelbourne,vic 3207,Australia RuizdeAlarco´n13,28014Madrid,Spain DockHouse,TheWaterfront,CapeTown8001,SouthAfrica http://www.cambridge.org (cid:1)C CambridgeUniversityPress2002 Thisbookisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithout thewrittenpermissionofCambridgeUniversityPress. Firstpublished2002 Reprinted2004 PrintedintheUnitedKingdomattheUniversityPress,Cambridge TypefaceSabon10/13pt SystemLATEX2ε [tb] AcataloguerecordforthisbookisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata TheCambridgeCompaniontoShakespeareanTragedy/editedbyClaireMcEachern. p. cm.–(CambridgeCompanionstoLiterature) Includesbibliographicalreferencesandindex. isbn 0521790093–isbn 0521793599(pb.) 1.Shakespeare,William,1564–1616–Tragedies–Handbooks,manuals,etc. 2.Tragedy–Handbooks,manuals,etc. i.McEachern,ClaireElizabeth,1963– ii.Series. pr2983.c28 2002 822.3(cid:2)(cid:2)3–dc21 2002067262 isbn 0521790093hardback isbn 0521793599paperback CONTENTS Listofillustrations pagevii Listofcontributors viii Preface ix Chronology xi Listofabbreviations xiii 1 WhatisaShakespeareantragedy? 1 tom mcalindon 2 Thelanguageoftragedy 23 russ mcdonald 3 TragedyinShakespeare’scareer 50 david bevington 4 Shakespeareantragedyprintedandperformed 69 michael warren 5 ReligionandShakespeareantragedy 86 huston diehl 6 Tragedyandpoliticalauthority 103 michael hattaway 7 Genderandfamily 123 catherine belsey 8 Thetragicsubjectanditspassions 142 gail kern paster v contents 9 Tragediesofrevengeandambition 160 robert n. watson 10 Shakespeare’stragediesoflove 182 catherine bates 11 Shakespeare’sclassicaltragedies 204 coppe´lia kahn 12 ThecriticalreceptionofShakespeare’stragedies 224 r. a. foakes 13 AntonyandCleopatrainthetheatre 241 barbara hodgdon Selectbibliography 264 Index 272 vi ILLUSTRATIONS 1. Hamlet,1603Quarto.Sigsh2v–h3r.Courtesyofthe HuntingtonLibrary. page82 2. HerbertBeerbohmTree’sproductionofAntonyand CleopatraatHisMajesty’sTheatre,London,December 1906.Antony’swelcomeinthemarketplace.Permissionof theShakespeareCentreLibrary. 242 3. TrevorNunn’s1972productionofAntonyandCleopatra, ShakespeareMemorialTheatre,withRichardJohnsonas Antony,JanetSuzmanasCleopatra,1.1.Photo:JoeCocks StudioCollection,ShakespeareBirthplaceTrust. 247 4. PeterBrook’sShakespeareMemorialTheatreproductionof AntonyandCleopatra,1978,withGlendaJacksonas Cleopatra,5.2.CourtesyoftheShakespeareBirthplaceTrust, JoeCockscollection. 255 5. The1999Shakespeare’sGlobeproductionofAntonyand CleopatrawithMarkRylanceasCleopatra.Photo:John Tramper,courtesyofShakespeare’sGlobe. 256 6. PeterBrook’sShakespeareMemorialTheatreproductionof AntonyandCleopatra,1978.HaulingAntonytothe monument,4.16.GlendaJacksonasCleopatra,AlanHoward asAntony.CourtesyoftheShakespeareBirthplaceTrust,Joe CocksStudiocollection. 259 7. StephenPimlott’s1999productionofAntonyandCleopatra, ShakespeareMemorialTheatre,withFrancesdelaTouras Cleopatra,5.2.CourtesyoftheShakespeareBirthplaceTrust, MalcolmDavies. 261 vii CONTRIBUTORS catherine bates, UniversityofWarwick catherine belsey, UniversityofCardiff david bevington, UniversityofChicago huston diehl, UniversityofIowa r. a. foakes, UniversityofCalifornia,LosAngeles michael hattaway, UniversityofSheffield barbara hodgdon, DrakeUniversity coppélia kahn, BrownUniversity tom mcalindon, UniversityofHull russ mcdonald, UniversityofNorthCarolina,Greensboro gail paster, GeorgeWashingtonUniversity michael warren, UniversityofCalifornia,SantaCruz r. n. watson, UniversityofCalifornia,LosAngeles viii PREFACE The Cambridge Companion to Shakespearean Tragedy seeks to acquaint the undergraduate reader with the forms, contexts, kinds, and critical and theatricallivesofthetenplaysweconsiderShakespeare’stragedies:TitusAn- dronicus, Romeo and Juliet, Hamlet, Othello, King Lear, Macbeth, Julius Caesar,AntonyandCleopatra,Coriolanus,andTimonofAthens.Thefol- lowing thirteen essays address the ways in which Shakespearean tragedy originated,developed,anddiversified,aswellashowithasfaredonstage, onthepage,andincriticalhistory. Thefirstfouressaystakeuptheformsanddefinitionsofthegenrewhich Shakespeare inherits and develops. Tom McAlindon introduces the mod- els of tragedy that Shakespeare had to work with, and by which he has beenevaluated;RussMcDonaldreviewstherhetoricalresourceswhichfuel Shakespeare’s tragic voice; David Bevington undertakes a holistic account of Shakespeare’s repeated revisitations of the form throughout his career (often in plays not considered tragedies), and Michael Warren provides an account of the curious nature of the material texts on which critical cas- tlesarebuilt.ThefouressayswhichfollowtreattheTudor–Stuartpolitical and social identities which inform these plays. Huston Diehl considers the religiousculturesofShakespeare’smoment,andMichaelHattaway,thepo- litical. Catherine Belsey introduces us to the early modern family, and Gail Pastertothemysteriousrealmoftheearlymodernbody.Thenextthreees- says,on‘themes’,addresstraditionalsub-genresofShakespeareantragedy– the plays of revenge and ambition, love, and classical history – albeit from newperspectives.R.N.Watsonre-evaluatesthecontemporaryhistoricaland philosophicalunderstandingsoftherevengeform;CatherineBatesexplores theparadoxesofloveandlossthattragedyforces,andCoppe´liaKahnren- dersthewayinwhichearlymodernunderstandingsofclassicalcivilization informthetextureofthefiveGreco-Romanplays.Thefinaltwopieces,on criticalandtheatricalfortunes,treatthewaysinwhichreadingandplaying have shaped our experience of these plays. R. A. Foakes traces the critical ix
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