Shakespeare and Emotions

Transcription

1 Shakespeare and Emotions

2 Palgrave Shakespeare Studies

3 Shakespeare and Emotions Inheritances, Enactments, Legacies Edited by R. S. White Australian Professorial Fellow and Professor of English and Cultural Studies, The University of Western Australia, Australia Mark Houlahan Senior Lecturer, University of Waikato, New Zealand Katrina O Loughlin Postdoctoral Research Fellow, Australian Research Council Centre of Excellence for the History of Emotions, The University of Western Australia, Australia

4 Selection and editorial matter R. S. White, Mark Houlahan and Katrina O Loughlin 2015 Individual chapters Contributors 2015 Softcover reprint of the hardcover 1st edition All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number , of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin s Press LLC, 175 Fifth Avenue, New York, NY Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave and Macmillan are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN ISBN (ebook) DOI / This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. Typeset by MPS Limited, Chennai, India.

5 Contents Acknowledgments Notes on Contributors vii viii 1 Reclaiming Heartlands: Shakespeare and the History of Emotions in Literature 1 R. S. White Part I Emotional Inheritances 2 Of comfort and dispaire : Plato s Philosophy of Love and Shakespeare s Sonnets 17 Danijela Kambaskovic 3 Locus amoenus or locus violens? Shakespearean Emotions Expressed Through an Ovidian Model 29 Bríd Phillips 4 Once upon a Time: Cymbeline, Fairy Tales, and the terrifying truths of the inner life 39 Ciara Rawnsley 5 another comfort : Virginity and Emotion in Measure for Measure 49 Andrew Lynch 6 French Feeling: Language, Sex and Identity in Henry V 59 Stephanie Downes 7 Power, Vulnerability and Sexuality: Representations of Margaret of Anjou in a London Chronicle and Shakespeare s 3 Henry VI 69 Mary-Rose McLaren Part II Shakespearean Enactments 8 My heart dances : Performing Emotion through Shakespeare s Rhythms 83 Peter Groves 9 The teares of ten thousand spectators : Shakespeare s Experiments with Emotion from Talbot to Richard II 95 Ruth Lunney 10 Emotional Education and Leadership in the Henriad 108 Martin Dawes v

6 vi Contents 11 Say how I loved you : Queering the Emotion of Male Same-Sex Love in The Merchant of Venice 116 Anthony Guy Patricia 12 Making a Virtue of Giddiness: Rethinking Troilus (E)Motion 124 Alison V. Scott 13 I shall split all/in pleasure of my spleen! : Troilus and Cressida and the Expression of Emotion 137 Ronald Bedford 14 Displacement: Maps and Emotions in Othello 146 Christopher Wortham 15 Lear in the Storm: Shakespeare s Emotional Exploration of Sovereign Mortality 155 Jennifer Hamilton 16 Sociable Tears in The Tempest 164 Heather Kerr Part III Emotional Legacies and Re-enactments 17 Only Connect: Dramaturgy and a Living Shakespeare 175 Philippa Kelly 18 Cabbages and Kings: Curating the Objects and Emotions of English Encounter with the World through Shakespeare 186 Susan Broomhall 19 Tis Master s Voice: A Seventeenth-Century Shakespeare Recording? 198 Andrew Lawrence-King 20 Recognition in Shakespeare and Hegel 218 Simon Haines 21 The days that we have seen : History and Regret in Henry IV, Parts One and Two, The Hollow Crown (2012) 231 Rosemary Gaby 22 Whose Nostalgia? Geoffrey Rush and The Merry Wives of Windsor, Brisbane Elizabeth Schafer 23 Afterword 251 Mark Houlahan Selective Bibliography 256 Index 263

7 Acknowledgments The essays in this book represent a small selection of contributions first delivered at the conference Shakespeare and Emotions held at The University of Western Australia in December They have been completely revised for this book. The conference was jointly organized and funded by the Australian and New Zealand Shakespeare Association and the Australian Research Council Centre of Excellence for the History of Emotions (project number CE ). The editors wish to thank these organizations, and also the anonymous peer reviewers from Palgrave Macmillan. Individual authors wish to acknowledge the following for permissions to reproduce images: in Elizabeth Schafer s chapter, thanks to Ian Poole for permitting his photographs of the Brisbane production of The Merry Wives of Windsor; Andrew Lawrence-King would like to thank the Pepys Library, Magdalene College, Cambridge for permission to reproduce the opening page of Morelli s musical setting of To bee, or not to bee c.1680 (MS 2591), and the Bodleian Library, University of Oxford, for permission to reproduce the woodcut from Kempe s Nine Daies Wonder (1600), shelfmark 4 L 62 Art. (12), Title Page (detail). All other technical illustrations in the chapter are Andrew Lawrence-King s and he remains the copyright holder. The editors would like to thank Ben Doyle and Tomas René at Palgrave for their patient guidance through the labyrinth of publishing. vii

8 Notes on Contributors Ronald Bedford studied at Cambridge University and has taught at the Universities of Cambridge, Exeter and Giessen (Germany), and latterly at the University of New England, Armidale, Australia. In addition to numerous journal articles, reviews and bibliographical work, he is the author of several books on early modern literature, drama and culture, including the philosophy of religion, poetics, drama and autobiographical practice. Susan Broomhall is Professor of Early Modern History at The University of Western Australia. She was a Foundation Chief Investigator in the Australian Research Council Centre of Excellence for the History of Emotions, where her work analysed medieval and early modern objects and emotions, particularly as they are presented in modern museum, heritage and tourism environments. Her research, published and forthcoming as articles and book chapters, explores: the interpretation of medieval and early modern objects in the history of emotional processes and practices; the affective origins of specific medieval and early modern objects; the emotional interpretation of medieval and early modern objects in museum, gallery and tourism contexts; and the concept of affective materiality. She is now an Australian Research Council Future Fellow within the Centre, focusing on emotions and power in the correspondence of Catherine de Medici. Martin Dawes was born in Winnipeg and holds a PhD in English Literature from McGill University, where he investigated the ways in which the myth of Orpheus the enchanter served the poetics and politics of John Milton and his rivals. He has lectured on poetics at McGill University, and published articles in Milton Quarterly and Essays on Canadian Writing, and chapters in Milton in France and Supernatural and Secular Power in Early Modern England (forthcoming). Stephanie Downes is a Postdoctoral Research Fellow at the University of Melbourne. She has published on aspects of Anglo-French literary culture, including the reception of writing by Christine de Pizan in England, and by Chaucer in France. With Andrew Lynch and Katrina O Loughlin she is the editor of Emotions and War: Medieval to Romantic Literature (forthcoming). Her current research is funded by the ARC Centre of Excellence for the History of Emotions. Rosemary Gaby is a senior lecturer in English at the University of Tasmania and secretary of the Australian and New Zealand Shakespeare Association. She has published widely on early modern drama and Shakespeare in performance, and is currently working on an edition of Henry IV, Part Two for viii

9 Notes on Contributors ix the Internet Shakespeare Editions. Recent publications include Open-Air Shakespeare: Under Australian Skies (Palgrave Macmillan) and an edition of Henry IV, Part One for the Internet Shakespeare Editions and Broadview Press. Peter Groves is head of Literary Studies in English at Monash University, and teaches poetry and early modern literature there; he is currently investigating the movement of poetry and the forensic potential (for attribution studies) of a rigorous, objective and detailed model of metre. His most recent book is Rhythm and Meaning in Shakespeare: A Guide for Readers and Actors (2013). Simon Haines is Chair Professor of English and Director of the Research Centre for Human Values at the Chinese University of Hong Kong. His publications include Poetry and Philosophy from Homer to Rousseau: Romantic Souls, Realist Lives (Palgrave, 2005) and most recently Redemption in Poetry and Philosophy: Wordsworth, Kant and the Making of the Post-Christian Imagination (2013). He coedited the prize-winning Reader in European Romanticism (2010, 2014). He is currently working on two books about Shakespeare. Jennifer Hamilton is an Adjunct Professor in Ecocriticism at New York University Sydney and a Visiting Fellow in Environmental Humanities at the University of New South Wales. Her research explores how the more than human world actively shapes human stories. Her current monograph project, Shakespeare s Pitiless Storm, explores the changing significance of Lear s cataclysm from the seventeenth to the twenty-first century. Mark Houlahan is Senior Lecturer and Convenor of the English Programme at the University of Waikato, Hamilton, New Zealand. He has edited Twelfth Night (with David Carnegie) for the Broadview/Internet Shakespeare (Broadview, 2014); and also online at [ With his colleague Kirstine Moffat, he is currently completing a collection of steampunk essays: Steampunks and Times Transshifters: Histories, Narratives, Genres. Danijela Kambaskovic is Research Associate, Australian Research Council Centre of Excellence for the History of Emotion at The University of Western Australia. She has published scholarly research on Shakespeare, Renaissance poetry and the five senses in pre-modern religious, ethical and medical writing, and is an award-winning poet. Philippa Kelly is Resident Dramaturg for the California Shakespeare Theater. She moved from Australia to America 12 years ago. Kelly has published nine books, the most recent of which is The King and I (2011), an autobiographical exploration of Australian culture through the prism of King Lear. She has published many articles and programme pieces on Shakespeare, early modern individuality, dramaturgy and feminist theatre

10 x Notes on Contributors practice. With Lydia Garcia, she has been awarded a Bly Creative Capacity Grant from the Literary Managers and Dramaturgs of America to write a handbook on dramaturgy and diversity. Heather Kerr is Senior Lecturer in English and Creative Writing at the Faculty of Humanities and Social Sciences, University of Adelaide. She is an associate investigator in the Change programme of the ARC Centre of Excellence for the History of Emotions. Current research includes a study of Charlotte Turner Smith s Petrarchan melancholy and eighteenth-century literary personification and the concept of Social Love. Andrew Lawrence-King is Professor of Early Harp at the Guildhall School of Music and Drama, London, and teaches also at the Royal Danish Academy of Music, Copenhagen Opera. An orchestral and choral director, Baroque gesture specialist, he is the world s leading exponent of Early Harps. As harp soloist, he won the 2011 Grammy for Dinastia Borgia directed by Jordi Savall. In 2013, he won the Golden Mask, Russia s top theatrical award, as music director for the earliest surviving opera, Cavalieri s Anima e Corpo (1600); his duo recital with Savall won Australia s prestigious Helpmann Award; and he directed the first modern production of Landi s La Morte d Orfeo (1619) at the St Petersburg Philharmonia. He is an RYA Ocean Yachtmaster, trains in seventeenth-century Rapier (School of European Swordsmanship), and is a qualified (non-clinical) hypnotist. As Senior Visiting Research Fellow at the Australian Research Council Centre of Excellence for the History of Emotions, (CHE), he investigates Early Opera and Flow. Ruth Lunney is Conjoint Lecturer, School of Humanities and Social Science, University of Newcastle, Australia. Her research focuses on the English drama of the 1580s and 1590s, with interests in early audiences, theatrical practices, and children s theatre. She is the author of the prize-winning Marlowe and the Popular Tradition: Innovation in the English Drama before 1595 (2002, 2012), and editor of John Lyly (2011) in the Ashgate University Wits series, the first-ever collection of essays on this author. Other publications include Recent Studies on John Lyly ( ) for ELR (2011), essays on Marlowe and Shakespeare, and book and theatre reviews. Forthcoming is a chapter on Dido, Queen of Carthage in Christopher Marlowe at 450, edited by Sara Munson Deats and Robert A. Logan. She is also co-author with Bill Lunney of Forgotten Fleet 2 (2004), the definitive history of the US Army Small Ships Section in New Guinea, Andrew Lynch is a Professor in English and Cultural Studies, and a Chief Investigator in the ARC Centre of Excellence for the History of Emotions, where his main project is The Emotions of War in Medieval Literature. He has written widely on medieval literature and its modern afterlives in Europe, America and Australia. He has recently published International Medievalism

11 Notes on Contributors xi and Popular Culture, coedited with Louise D Arcens (2014) and Understanding Emotions in Early Europe, coedited with Michael Champion (forthcoming). Mary-Rose Mclaren is a Senior Lecturer in Education at Victoria University in Melbourne. She teaches in drama education, creativity and the arts, and pedagogy, and is particularly interested in strategies for teaching Shakespeare to pre-service teachers. Her research work on the London chronicles in the fifteenth and sixteenth centuries informs her understanding of Shakespeare s sources and the cultural context in which he wrote. Katrina O Loughlin is Postdoctoral Research Fellow at the Australian Research Council Centre of Excellence for the History of Emotions, (CHE), at The University of Western Australia. Her area of research is English literature, particularly eighteenth-century writing, travel writing, cultural history, gender and cultural exchange. She has published on various aspects of the history of literature and the emotions, including eighteenthcentury satire, and representations of war in landscape; her monograph Women s Travel Writing of the Eighteenth Century: The Paper Globe is forthcoming from Cambridge University Press. Her next research project, for which she has recently been awarded an Australia Research Council Discovery Early Career Research Award (DECRA ), explores the forging of international intellectual and emotional bonds among women in the eighteenth and early nineteenth centuries. Anthony Guy Patricia is Lecturer in English at Concord University in Athens, West Virginia. He teaches courses on Shakespeare, the History of the English Language, World Literature, and Freshman Composition. His book Queering the Shakespeare Film: Gender Trouble, Gay Spectatorship and Male Homoeroticism is forthcoming from Bloomsbury Publishing in London as a title in The Arden Shakespeare list. He has delivered papers in panel sessions and contributed original work to various research seminars at annual meetings of the Shakespeare Association of America throughout the United States and Canada since He has also presented his work on Shakespeare at professional conferences in England and Czechoslovakia. His articles and reviews have appeared in edited collections such as Presentism, Gender, and Sexuality in Shakespeare (Palgrave Macmillan, 2009), as well as in academic periodicals including Journal of the Wooden O Symposium and Upstart: A Journal of English Renaissance Studies and Popular Culture Review. Bríd Phillips is a doctoral candidate at the University of Western Australia and also holds an additional scholarship with the Australian Research Council s Centre of Excellence for the History of Emotions, (CHE). Her current research is focused on the use of colour as an emotional tool in the drama of William Shakespeare. She previously completed undergraduate and masters degrees at the University of Western Australia in the field of medieval and early modern studies. She has presented several papers

12 xii Notes on Contributors and has published research related to metaphorical place and emotional expression in Chaucer and Shakespeare. Ciara Rawnsley is an early career researcher, currently working within the Australian Research Council Centre of Excellence for the History of Emotions, (CHE) at The University of Western Australia. Her role is to help develop and manage a new, web-based resource for researchers studying the history of pre-modern emotions. Her research interests are in Shakespeare, emotions and folk and fairy tales. She has published in the Journal for Early Modern Studies and has contributed chapters to two volumes on Shakespeare and emotions. She is also currently coediting Small Graves: Death, Emotion and Childhood (Palgrave Macmillan, forthcoming). Elizabeth Schafer is Professor of Drama and Theatre Studies at Royal Holloway, University of London. She has published performance histories of The Taming of the Shrew and Twelfth Night in the Cambridge Shakespeare in Production series, and is currently writing a performance history of Merry Wives for Manchester University Press. Alison V. Scott teaches Literature at The University of Queensland. She is author of Selfish Gifts: The Politics of Exchange and English Courtly Literature, (2006) and Literature and the Idea of Luxury in Early Modern England (in press), and coeditor of Ben Jonson and the Politics of Genre (2009). R. S. (Bob) White is a foundation Chief Investigator for the Australian Research Council Centre of Excellence for the History of Emotions, (CHE), and Leader of the Centre s Meanings Programme. He has been an Australian Professorial Fellow and is Winthrop Professor of English at The University of Western Australia. He has published many books and articles on Shakespeare and on the younger Romantics, and among his recent works published by Palgrave Macmillan are Pacifism in English Poetry: Minstrels of Peace (2008) and John Keats: A Literary Life (2010), which has been reissued in paperback. He is a past President of the Australian and New Zealand Shakespeare Association and a Fellow of the Australian Humanities Academy. Christopher Wortham was appointed Professor of Theatre Studies and English Literature at the University of Notre Dame Australia in Fremantle after retiring from The University of Western Australia, where he retains the position of Emeritus Professor. He was for some years Editor of the journal Parergon. He continues to serve on a number of international editorial and advisory boards.