Renaissance Studies Commons^™

Moral Ecology In Shakespeare's Tragedies: Nature, Animals, And Conscience As Ethical Agents In Hamlet, Macbeth, And King Lear, Md. Abu Bakkar

Journal of Language, Literature, and Arts

Shakespeare's tragedies repeatedly dramatize a universe in which moral transgression produces consequences that extend beyond individual psychology to affect society, nature, and the non-human world. This study examines how Hamlet, Macbeth, and King Lear construct a system of moral ecology, understood as a framework of ethical causality in which human actions generate interconnected consequences across psychological, social, and natural orders. Using qualitative close reading informed by moral criticism, ecocriticism, animal studies, and early modern cosmology, the study analyzes selected passages representing natural disturbance, animal imagery, and conscience as forms of ethical response. The findings show that the three …

The Substance Of Reality: Moral Perfectionism In Shakespeare's Hamlet., David Wright

Electronic Theses and Dissertations

Through a selection of and close reading of key passages, I offer an interpretation of Hamlet that seeks to illuminate the play as an important work of moral philosophy, and to situate the play within a strand of moral philosophy named moral perfectionism by Stanley Cavell. Indeed, Hamlet is a masterpiece of Renaissance drama, but when read with attention to moral perfectionism, the play yields additional layers of meaning. Hamlet is a “philosophical drama” that navigates the “moral calling of philosophy”—a text that seems to, almost uncannily, elicit the audience to think reflectively, to ask fundamental human questions along …

Recognizing Traps And Frightening Wolves: Foxes And Lions As A Representative Of Machiavellian Political Ideology In Shakespeare’S Comedies, Grace A. Powell

Student Scholar Showcase

While William Shakespeare’s plays and sonnets have been discussed time and time again over the past few centuries, one topic that has been less traversed is the connection between his Comedies and Niccolò Machiavelli’s political ideologies. This project will explore references of lions and foxes in Shakespeare’s Comedies and the leaders and monarchs within them to determine how beliefs about Machiavelli’s political ideology influenced Shakespeare’s literature and became symbols for leadership and power. This project will be important for gaining historical context on Machiavellian political discourse and how it was represented in the contemporary dramatic literature of William Shakespeare. I …

Stomach And Womb: Early Modern Recipes For The Perinatal Woman, Grace E. Beacham

English Theses - Archive

Stomach and Womb examines the recipes from early modern obstetrical treatises and midwifery manuals, revealing an ontology of parturiency that winds through the concurrent Shakespearean plays, Twelfth Night and The Winter’s Tale. Gynecological and obstetrical texts from the era detail how pregnant women were to order themselves after conception with utmost concern for their diet, governing the outputs of their bodies by managing the inputs, the foods they ingested before, during, and after pregnancy and childbirth. Further, the associated images of the stomach and the womb during this time present an essential link between foodways and a construct of …

Contagious Animality: Species, Disease, And Metaphor In Early Modern Literature And Culture, Jeremy Cornelius

LSU Doctoral Dissertations

In my dissertation, Contagious Animality: Species, Disease, and Metaphor in Early Modern Literature and Culture, I close read examples of Renaissance drama alongside their contemporary cultural texts to examine anxieties around social differences as constructed and mediated through what I call “contagious animality” in early modern English culture. Animal metaphors circulated anxieties around social differences on the early modern cultural stage in English drama where animality elicits uncertainties about identitarian constructions of difference. In this vein, I close read formal elements and their interactions with early modern culture to argue that animal metaphors transmit modes of speciating difference in …

Re-Dress As Redress: Shakespeare’S Comedy Of Errors, Jane Foster Woodruff

Quidditas

DELNO C. WEST AWARD WINNER

Writing near the end of a century-long ‘explosion’ of Tudor theatre, Shakespeare benefitted from a variety of influences, both sacral and secular. Among his literary influences were the works of classical dramatists (Sophocles, Seneca, Plautus, and the like), who had used their plays to editorialize on contemporary societal issues. To this same end, in his early historical play Richard III Shakespeare chose to address a multiplicity of problematic themes, the most obvious being that, although Richard’s ambition and his lethality had been sufficient to win him a crown, they were insufficient to preserve it: power …

The Bond Of Empathy In Medieval And Early Modern Literature, David Strong

Research in Medieval and Early Modern Culture

This study examines the various means of becoming empathetic and using this knowledge to explain the epistemic import of the characters’ interaction in the works written by Chaucer, Shakespeare, and their contemporaries. By attuning oneself to another’s expressive phenomena, the empathizer acquires an inter- and intrapersonal knowledge that exposes the limitations of hyperbole, custom, or unbridled passion to explain the profundity of their bond. Understanding the substantive meaning of the characters’ discourse and narrative context discloses their motivations and how they view themselves. The aim of this book is to explore the place of empathy in select late medieval and …

The Consolation Of Exempla: Gower’S Sources Of Hope And “Textual Healing” In The Confessio Amantis, Curtis Runstedler

Accessus

This article examines the role of exempla as the root cause of hope and healing in John Gower's Confessio Amantis. I argue that these exempla provide remedial action in the text. The exempla are sources of metaphorical healing in the text, functioning as what I have termed “textual healing,” that is the medicinal aspects of the text that helps remedy Amans (and the reader, to a certain extent) back to full health. This article also draws upon reading the Confessio Amantis as a consolatio poem, linking it to Boethius' Consolation of Philosophy in particular. I also discuss the role …

Shakespeare As Opera In English: Britten's Dream And Adès' The Tempest, Joanne E. Gates

Presentations, Proceedings & Performances

I assert that we learn Shakespeare better when we study him against the adaptation. Some of the adaptation choices made by opera composers and librettists-- and especially by stage designers in recent productions-- provoke us to critique a production concept for its innovative staging, forcing us to learn more about Shakespeare's original. The recent Metropolitan's The Tempest conveys the 2004 Thomas Adès Tempest as if an 18th century impresario Prospero had conjured or appropriated the contents of the Milan opera house to his island. Meredith Oakes's libretto simplifies much of Shakespearean language to efficient rhyming couplets, yet this opera eloquently …

Remixing The Canon: Shakespeare, Popular Culture, And The Undergraduate Editor, Andie Silva

Publications and Research

This essay explores the benefits and challenges of using digital editing as a platform for social knowledge production. First, I discuss the underlying impetus for the project, my choice of Scalar as a digital platform, and a number of specific assignments designed to develop skills toward the final edition. Next, I analyze examples from student work, considering the larger implications of students’ annotation choices and the thematic focus each of them chose for their acts. Finally, I outline some of the potential pitfalls of this course. My aim is to privilege students’ discovery, negotiation, and ownership of ideas. As a …

England's Fairest Creatures, Madison Hart

Graduate Theses/Dissertations

Set in 1616 Jacobean England, surrounding a tragic chamber pot incident, the place setting of the small fishing town of Lechlade, England, begins our story. From generations of fisherman, Elias Eaton, is the first Eaton not to bear a son. Instead, his fierce daughter in her mid-twenties, Julia, our protagonist, helps her father at the docks daily. Although Julia is a champion for women of her time, she dreams of there being something more out there for her than the town that has shackled Eatons for centuries. Julia’s mother, Sybil, is the daughter to the town baker. Her literate father …

A Seventeenth-Century Air History In Conversation With Antony And Cleopatra, Laura S. Deluca

Binghamton University Undergraduate Journal

This article works to unpack the recurrences of air-related language utilized in Shakespeare’s Antony and Cleopatra. Throughout this play, the notions of breath, wind, air, and vapor are consistently referenced, demonstrating the way in which atmospheric intangibility was a key point of exploration for contemporary scientists and philosophers. Through this analysis, it is clear that Shakespeare employs breath in three ways: the breath of (public) life, a lack of breath, and, most importantly, breath as a symbol of power and autonomy, which at times overlaps with the breath of life in ways that demonstrate contemporary conceptualizations of living beings. The …

Teaching The Structure Of Hamlet: The "To Be Or Not To Be" Soliloquy Repositioned In Recent Film Adaptations, Joanne E. Gates

Presentations, Proceedings & Performances

At a crucial turning point in online access to quality productions of Shakespeare, the (April 2010) Great Performances airing of Hamlet (with David Tennant and Patrick Stewart), the occasion arose to turn the open access to it into teaching strategies. Along with all else quirky about it, the production accepts what seems to be a trend in recent film adaptations, dating from at least Zeffirelli's with Mel Gibson in 1991; that is, to rearrange the sequence of Hamlet's 2.2 and 3.1 soliloquies. The precedent dates to the 1603 First Quarto, perhaps, but everything else about the first quarto …

Wherein To Catch The Conscience Of The Queen: Dystopian Politics In Elizabethan Drama, Helen Fielding

Senior Honors Theses

Though established English history portrays Elizabeth I (1533-1603) as uniting England under the new Protestant religion, recent historical evidence reveals that extensive counter-currents still existed. This thesis examines how the politico-religious beliefs of Elizabethan and Jacobean playwrights manifest themselves in their drama, particularly through imagery and allusions. It draws especially from Frances Yates to assert that imagery of white magic, Christian Cabala, and alchemy in these dramatists’ works refers to the pure imperial reform movement of Elizabeth’s reign, and also from Clare Asquith to illuminate a reading of Shakespeare as a playwright who encoded in his plays a Catholic message …

Convents And Novices In Early Modern English Dramatic Works: In Medias Res, Vanessa L. Rapatz

Late Tudor and Stuart Drama

Convents and Novices in Early Modern English Dramatic Texts: In Medias Res attends to the religious, social, and material changes in England during the century following the Reformation, specifically examining how the English came to terms with the meanings of convents and novices even after they disappeared from the physical and social landscape. In five chapters, it traces convents and novices across a range of dramatic texts that refuse easy generic classification: problem plays such as Shakespeare's Measure for Measure; Marlowe's comic tragedy The Jew of Malta; Margaret Cavendish's closet dramas The Convent of Pleasure and The Religious …

Labouring For The Lost Love, Christine S. Williams

Quidditas

Shakespeare’s Love’s Labour’s Lost often is considered a “problem play” because of its emphasis on word-play and its extreme “topicality” to a 16th-century, London audience. Yet imaginative staging reveals that the play actually provides excellent opportunities for connecting with our current millennial students and audience members.

The Role Of Rumor And The Prodigal Son: Shakespeare’S Sources And Fathers And Sons In The Second Henriad, Steven Hrdlicka

Quidditas

This article challenges traditional, critical interpretations of Shakespeare’s character Prince Hal by examining changes Shakespeare makes to sources he used, in particular the anonymous play Famous Victories of Henry V. Shakespeare does not portray a “prodigal” Prince Hal character as has often been argued by critics, but instead carefully follows Holinshed’s observations that the prince was virtuous in youth and that rumors about the prince’s supposed prodigal behavior were spread by those who were in the service of Henry IV. These rumors were aimed to cause conflict between father and son. Shakespeare’s inclusion of these two important details found in …

“Nothing But Sit, And Sit, And Eat, And Eat”: The Cantankerous Teacher In The Taming Of The Shrew, Eric L. De Barros

Quidditas

By definition, all comedies must end by praising and/or celebrating the elimination of a serious threat to the patriarchy order, and Shakespeare sets up the final scene of The Taming of the Shrew, one of his earliest comedies, to do just that. In short, by the time we reach Lucentio and Bianca’s wedding banquet, Petruccio has effectively tamed Katherine of her shrewishness. However, despite this scene of and cause for celebration, Petruccio remains oddly dissatisfied, as he responds to Lucentio’s encouragement of the sitting, chatting, and eating appropriate to such a festive occasion with these mood-killing words: “Nothing but …

Shylock And Joachim Gaunse: And A Real Jew, Michael T. Walton

Quidditas

Joachim Gaunse, a Bohemian metallurgist, was brought to England to help evaluate the resources of the New World. During a visit to Bristol in 1589, he defended his Jewish rejection of Jesus. The reaction of those who heard this real Jew gives some indication of how theater audiences may have responded to Shakespeare’s Shylock.

‘Robes And Furr’D Gowns Hide All’: Edgar’S Role(S) In King Lear, Annette Lucksinger

Quidditas

Despite his centrality in the play, Edgar’s role in King Lear has rarely attracted sustained analysis. To be sure, scholarly neglect doubtless results from Edgar’s own elusiveness, from the disguises that grant him access to the major characters in the play, disguises that encourage others to read in him what they wish to see. Analyzing what other characters see or fail to see in Edgar’s disguises offers important light on his character and his role in the play. A Lacanian analysis of Lear’s reading of Edgar’s role as Poor Tom shows that Lear’s effort to establish (or to re-establish) his …

Much Ado And Pride And Prejudice: Twin Characters And Parallel Plots, Ace G. Pilkington

Quidditas

Much Ado About Nothing and Pride and Prejudice are telling a similar story which centers on Beatrice and Benedick in the first case and Darcy and Elizabeth in the second. The article also argues that Jane Austen had Much Ado in mind while writing Pride and Prejudice, but this second proposition is not readily provable (as such borrowings often are) by direct quotation and comparison. Jane Austen’s familiarity with Shakespeare and the similarity of her plot suggest the truth of this second proposition, but more important for this paper are the comparisons between the narratives themselves since they tell important …

A Tale Of Two Shakespeares: Staging Shakespeare At Conservative Christian Colleges, Christine Sustek Williams

Quidditas

American Theatre publishes an annual list of the top ten plays in production in regional theatres each year and simply removes all Shakespeares from consideration. Otherwise the top ten list would simply be the top ten Bard List. However, when it comes to attempting Shakespeare on the college stage, I argue that many theatre teachers in higher education think twice, or even thrice, before brushing off the old complete works. Most students are quite intimidated when they reach for Shakespeare, having been told for many years that his work is hard to read and harder to understand. Add to that …

Politics And Play: The National Stage And The Player King In Shakespeare’S Henry V And Macbeth, Kristin M.S. Bezio

Quidditas

This article examines the intersection between theatrical and political discourse in early modern England. It argues that that the dialog surrounding early modern discourses of monarchy intersects specifically with theatrical notions of performance by means of the social contract implicit in English Common Law. The link between the political stage and the theater is perhaps most transparent in the metaphor of the theatrum mundi. Because the theatrum mundi requires the active participation of the audience, they must always be included in the theatrum mundi as participatory citizens in its illusory world. They are drawn into the conversation between stage …

Review Essay: “Will In Overplus” A Review Of Shakespeare Biographies, Stephannie S. Gearhart

Quidditas

Whoever hath her wish, thou hast thy Will,

And Will to boot, and Will in overplus;

More than enough am I that vex thee still

William Shakespeare, Sonnet 135, ll.1-3

It seems to be a kind of Respect due to the Memory of Excellent Men,

specially of those whom their Wit and Learning have made Famous,

to deliver some Account of themselves, as well as their Works, to Posterity.

For this Reason, how fond do we see some People of discovering any little

Personal Story of the great Men of Antiquity, their Families, the common

Accidents of their Lives, and …

Using John Wilders To Teach Shakespeare’S Second Tetralogy, Edmund M. Taft

Quidditas

John Wilders. The Lost Garden: A View of Shakespeare’s English and Roman History Plays. Totowa, NJ: Rowman & Littlefield, 1978. 154 pp.

“O thoughts of men accurst!

Past and to come seems best; things present, worst.”

(2 Henry 4.1.3.107-108)

Tracing Shakespeare’S Sea-Change: From The Tempest To The New York Times, Joshua L. Comer

Quidditas

An historical approach to the changing use of a Shakespearean phase, like “sea- change,” offers a case study in the long-standing power and evolving meaning of Shakespeare’s language. While all sea-changes today are not so major as those of which Ariel sang in The Tempest, the rich language of Ariel’s song has acquired a significant place in the history of American journalism.

Rendering Shakespearean Rhetoric Visible In The Boydell Shakespeare Gallery, Katherine Kickel

Quidditas

Traditionally, the Boydell Shakespeare Gallery is considered an important moment in England’s art history narrative. In this essay, I argue that the Boydell collection also reflects a new preference for reading Shakespeare’s plays in the eighteenth century via its editorial illustration of parts of the plays that would not normally be emphasized in theatrical productions.

Enchanted Islands Floating On The Foam Of Perilous Seas, Jean Macintyre

Quidditas

In localizing The Tempest on “an uninhabited island,” the 1623 Shakespeare Folio associates the setting with the floating island that some masque machines represented. Such machines acted as movable stages to transport masquers from within the set to the spot from which their dances would begin; other masques allege that their immobile sets were also floating islands. Though the stages, permanent or temporary, on which The Tempest was performed were not mobile, they nonetheless were a kind of island surrounded by spectators, on which the magician Prospero, aided by Ariel, writes, casts, and directs a play whose roles are unwittingly …

Romancing The Chronicles: 1 Henry Iv And The Rewriting Of Medieval History, Bradley Greenburg

Quidditas

This essay explores the ways Shakespeare’s 1 Henry IV deploys Welshness as a counterforce to English national stability. I argue that the critical habit of equating the genre of romance with untruthfulness or silliness does not pay close enough attention to what Shakespeare does in his history plays. The Hal he gives us, whose youth and military training in Wales he suppresses, is, generically, a romance character. But, instead of a knight in his father’s service (where his adventures would be securely in the service of the realm), or knight errant, he is an errant haunter of bad company, an …

Allen D. Breck Award Winner: The Presence Of The Past: Shakespeare In South Africa, Natasha Distiller

Quidditas

In what ways has Shakespeare—as a collection of texts, as cultural capital, as a tool of a colonial education system as powerful as the bible and the gun—manifest in South African culture? Today I will sketch the presence of the past in a way which aims to draw out the South African in Shakespeare as much as the Shakespearean in South Africa. I do this following the post-colonial call to redress the imbalance of knowledges between the West and the Rest, and in order to break a simplistic cultural binary which posits “African,” colonized culture on one side and “European,” …