By David Scott Kastan
The main conventional statement of Shakespeare scholarship is that he's our modern. Shakespeare After Theory provocatively argues that he's no longer, yet what worth he has for us needs to not less than commence with a attractiveness of his distance from us.
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Example text
He seems to work comfortably within the collaborative economies of the theater, never purposefully turning to print to assert or clarify his literary achievement. He oversaw none of his plays through the press, and his name did not even appear on a title-page until 1598, when Cuthbert Burby included it on the title-page of his quarto of Love’s Labour’s Lost. Shakespeare’s name gradually did come to mark the editions of his plays. ” The assertion, however, does not establish Shakespeare’s artistic authority over this new edition.
To a literary critic interested in the individuality of a particular work, that some idea is demonstrably thinkable is of consequence (although this is precisely the reason that to most historians a literary critic’s reading of a text, however alert and ingenious, is of little concern, as the text derives its value from its very idiosyncracy); to a historian interested in what was thought, the exemplarity of a work is the source of its value (which is why to most literary critics the readings of historians seem insufficiently attentive to the particularities of the text and ultimately somewhat obvious).
Shakespeare’s King Lear and Shakespeare’s Hamlet, as their covers proclaim, turn out to be something less than truth in advertising. They are more properly Alfred Harbage’s King Lear or Kenneth Muir’s, Harold Jenkins’s Hamlet or Maynard Mack’s, the editorial work of selecting and consolidating material from the variant evidence of the early textual witnesses producing a text that, ironically, in its very commitment to Shakespeare’s authority (a commitment to “the principle,” as the Victorian editor Charles Knight said, “that not a line which appears to have been written by Shakespeare ought to be lost”9) is different from any that Shakespeare ever intended, as well as different, by virtue of its individual editorial decisions, from any other edited version.