By Simon Barker
This unique research explores a necessary element of early-modern cultural historical past: the way in which that war is represented within the theatre of Shakespeare and his contemporaries.The ebook contrasts the Tudor and Stuart prose that referred to as for the institution of a status military within the identify of country, self-discipline and subjectivity and the drama of the interval that invited critique of this valuable. Barker examines modern dramatic texts either for his or her radical place on battle and, with regards to the later drama, for his or her subversive statement on an rising idealisation of Shakespeare and his paintings. The booklet argues that the early-modern interval observed the institution of political, social and theological attitudes to struggle that have been to develop into accredited as traditional in succeeding centuries. Barker's analyzing of the drama of the interval unearths the discontinuities during this venture as a fashion of commenting at the use of the earlier inside of sleek conflict. The ebook can also be a survey and research of literary idea during the last twenty-five years relating to the difficulty of conflict - and develops a controversy in regards to the percentages for the examine of literature and struggle sooner or later. Features*Interdisciplinary strategy addressing the early-modern interval as one in every of specific value within the heritage of struggle. *Examines the best way that the interval contributed to shaping glossy attitudes to conflict. *Sets Shakespeare within the context of these dramatists who preceded him, in addition to his contemporaries and successors. *Surveys the paintings of the earlier and considers the way forward for feedback in terms of battle.
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Additional resources for War and Nation in the Theatre of Shakespeare and His Contemporaries
Sample text
Jorgensen (1956), Shakespeare’s Military World, Berkeley, CA: University of California Press. 12. Curtis Breight (1996), Surveillance, Militarism and Drama in the Elizabethan Era, Basingstoke: Macmillan, 1996. 13. Richard Courtney (1994), Shakespeare’s World of War: The Early Histories; Toronto: Simon & Pierre; Nick de Somogyi, Shakespeare’s Theatre of War, Burlington, VT and Aldershot: Ashgate; Bruce R. Smith (2000), Shakespeare and Masculinity, Oxford: Oxford University Press; Nina Taunton (2001), 1590’s Drama and Militarism: Portrayals of War in Marlowe, Chapman and Shakespeare’s Henry V, Burlington, VT and Aldershot: Ashgate; and Alan Shepard, Marlowe’s Soldiers (2002), Burlington, VT and Aldershot: Ashgate.
Yet there are also challenges for military writers over such matters as gender identity (caused by a perceived decline in codes of masculinity) and what is seen as a general sense of decadence associated with a state of peace that was seemingly undermining national confidence and political strategy. I start with an incident reported by Desiderius Erasmus when Henry VIII of England challenged John Colet for preaching an antiwar sermon just as troops were about to embark on an expedition to France.
Those visiting the theatre and/or the town have varying degrees of association with Shakespeare, from the visiting scholar to the weekend punter. In the years between the wars, however, there was more at stake for some observers in the relationship between Stratford, Shakespeare and what is now called ‘the Shakespeare industry’. The concern was with the qualitative nature of the visitor’s participation. H. V. Morton wistfully remembered the Stratford of before the Great War ‘as a quiet little heaven where it was always May, with the nightingales shaking silver in the dark trees at night and the Avon mooning under Hugh of Clopton’s grand old bridge’: There was Mr Frank Benson – as he was in those days – the local deity, seen often in swift and god-like transit on a decrepit bicycle, the high priest of the Stratford Festival.