In a lecture on Tom Stoppard’s Rosencrantz and Guildenstern are Dead, Ian Johnston makes this helpful distinction between existentialist drama and the Theater of the Absurd. “In the Theatre of the Absurd the protagonists are discovered in a world which they do not, indeed they cannot, . . . . Continue Reading »
INTRODUCTION It is often said that fourth acts in Shakespeare plays are weak. Action slows down, the principal character is sometimes off stage, and the drama seems to dissipate before the final catastrophe. Act 4 of Macbeth begins with Macbeth’s renewed contact with the witches, but then . . . . Continue Reading »
This scene, like the scene that opens Act 3, shows Hamlet encountering a woman who in his mind has betrayed him. Again, he has been sent for, and probably suspects that it is another setup like the one with Ophelia. He has just come from the play, ready to drink hot blood and to kill, and he is . . . . Continue Reading »
FO Matthiessen described Melville’s Pierre as “an American Hamlet,” a novel that attempts to “translate” Shakespeare into 19th-century American life. In part, this is a matter of Melville matching characters and plots: “Lucy’s pale innocence fails Pierre as . . . . Continue Reading »
At the beginning of his book on Deconstruction , Jonathan Culler notes that critical theory, seen “as an attempt to establish the validity or invalidity of particular interpretive procedures,” is profoundly indebted to New Criticism: This movement “not only instilled the . . . . Continue Reading »
All page numbers are from the Heany translation. The central focus of the first two fights is Heorot, the mead-hall of Hrothgar. The mead-hall is the focus of a complex of imagery. (The last fight has a similar origin, as Beowulf’s hall is destroyed by the dragon. The house is a place where . . . . Continue Reading »
Beowulf reflects the tensions between the Christian culture spreading throughout Northern Europe and the pagan cultures into which it came into conflict. The poem has its place within this clash of civilizations in the first 500 years AD. It is a product of the history of missions. The Germanic . . . . Continue Reading »
SERPENT KING Among other things, Hamlet is a dramatic reflection on philosophical anthropology: What is a man? and What are the conditions of human experience and existence? This is related to the theme we explored a few weeks ago under the heading of “action”: What are the rules and . . . . Continue Reading »
What characterizes the Renaissance sensibility of the self? Two things, perhaps: First: not the playing of roles, but the consciousness of playing roles, the consciousness that creates an ironic distance between role and role-player. Richard II is entirely expressed in his assigned role; Henry V . . . . Continue Reading »
Jeffrey Knapp suggests that, though Shakespeare was probably raised a Catholic, he chose to conform to the established religion but without taking a high profile at church. In a comment that rings true, Knapp suggests that above all Shakespeare “deplored sectarianism. Shakespeare’s . . . . Continue Reading »
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