English responses to the accession of King James VI and I
This chapter examines English responses to King James VI's accession to England’s throne as registered in the rich and various texts that constitute 1603 succession literature. Voicing relief as well as anxiety, these early Jacobean texts hail the arrival of a male, Protestant king; however, they also evince a struggle to make sense of the arrival of a foreign monarch who, for the first time in history, ruled Great Britain. The succession literature of 1603 emerges from this chapter as a prime repository for gauging the English reception of James.
The introduction sets the landscape by looking at events through the sixteenth and seventeenth centuries. By touching on key moments from the reigns of previous monarchs and their role in shaping Britain (from separate entities into a unified ‘empire’), the context for the following chapters is laid out.
This chapter explores Shakespeare's Macbeth, which was composed and performed at the height of Anglo-Scottish union debate and just as the plethora of union tracts and treatises were circulating. Rather than simply reading ‘the Scottish play' in relation to union debate and dialogue, this chapter treats the play as the profound reflection of an English subject of a Scottish monarch, who was, of course, also that playwright’s patron. Macbeth may not be a British play in the manner of King Lear and Cymbeline, but it does revisit and rewrite Shakespeare’s earlier inscriptions of nationhood as voiced in the Elizabethan history plays by situating them within a larger British-Irish geopolitical framework. Rather than abandoning the patriotic and nationalistic voices that punctuate Shakespeare's earlier histories, this King's Men's play seriously scrutinises such voices. The result, I argue, is not a pro- or anti-union play but instead a play that invites its early modern viewers and readers to reassess Britain's intra- and Britain and Ireland's inter-island relations under the rule of a multisceptred monarch.
The subject of Britain reads key early seventeenth-century texts by Bacon, Daniel, Drayton, Hume, Jonson, Shakespeare and Speed within the context of the triple monarchy of King James VI and I, whose desire to create a united Britain unleashed serious debate and reflection concerning nationhood and national sovereignty. This book traces writing on Britain through a variety of discursive forms: succession literature, panegyric, union tracts and treatises, plays, maps and histories. Attending to the emergence of new ideologies and new ways of thinking about collective identities, The subject of Britain seeks to advance knowledge by foregrounding instances of fruitful cultural production in this period. Bacon’s and Hume’s pronouncements on the common ancestry, the cultural proximity of Britain’s inhabitants, for instance, evinces Jacobean imaginings of peoples and nations joining together, however tenuously. By focusing on texts printed in not just London but also Edinburgh as well as manuscript material that circulated across Britain, this book sheds valuable light on literary and extra-literary texts in relation to the wider geopolitical context that informed, indeed enabled, their production. By combining the historical study of literary and non-literary texts with the history of political thought and the history of the book broadly defined, The subject of Britain offers a fresh approach to a signal moment in the history of early modern Britain. Given its interdisciplinary nature, this book will appeal to literary historians and historians of early modern Britain as well as undergraduates and postgraduates.
This chapter considers panegyrics written in the wake of James’s arrival in London by three major authors: Michael Drayton, Samuel Daniel and Ben Jonson. These so-called occasional texts are situated within the wider context of these three authors' literary works and careers in order to shed light on how each author responded to James's accession, handled the transition from Tudor to Stewart and (re)imagined Britain. This chapter firmly establishes this book's attention to the material contexts of Jacobean literature: forms of textual production (print and manuscript cultures); the various cultural sites from which literature emerged and within which it circulated (country houses, civic functions, social/literary networks/coteries); and the role that textual culture played in shaping knowledge communities and individual and collective identities. To answer the charge that union ideas faded with the failure of Anglo-Scottish union, this chapter concludes by turning to the vibrant handwritten worlds of the early seventeenth century in order to supply material evidence of reading and writing subjects thinking through questions of not only dynastic but also cultural and national union.
Beginning with a macabre performance of a scene from King Lear in Deadwood, this chapter focusses on the Shakespearean dramaturgy of this TV drama. The overarching claim is that David Milch rethinks the Western genre by tapping into Shakespeare’s trope of the world as stage. Al Swearengen’s monologues with the head of a dead Sioux chief as well as the way he conceives of his balcony as his private stage, are read in conjunction with the theatricalization of power in Hamlet. The dramatic tension between legitimate and rogue power at issue in Al’s claim to sovereignty also brings the genre of comedy into play. Characters and the role they play in the dramatic action in Measure for Measure and As You Like It are crossmapped with the set of characters that perform their parts on the thoroughfare of this camp town. The topsy-turvy world of comedy is further revisited in the enmeshment of parallel storylines in Deadwood. Oscillating between the various players and those who orchestrate the drama, this serial mode of narration draws into focus that there is no one unequivocal centre, putting into question the omnipotence of Al’s visual regime. At the same time, Shakespeare is shown once again to write the prototypical American myth, the Western frontier.
The reading offered in the final chapter is not predicated on any explicit citation of Shakespeare in The Americans. Instead, it conceives of cold war politics in Washington D.C. in the 1980s in terms of Shakespeare’s carnevalesque comedies of transgression. On the one hand, the fact that cross-dressed Viola and the Fool find themselves shuttling between the court of Orsino and Olivia in Twelfth Night is used to theorize the position of the disguised Russian agents, playing their part of subterfuge in the struggle between the U.S. and the Soviet Union. On the other hand, the confusion A Midsummer Night’s Dream performs by making use of a magic love juice is used to think through the enchantment ideology works by transforming the vision of those whose eyes (and minds) it infects. The spy work the Jennings undertake is read in terms of a carnevalesque play with identities, taking place in a heterotopic space that transforms the ordinary city into a dreamlike stage. As in the comedies, this means that while their performance of Americanness invariably moves toward a moment of disenchantment, waking from this dream draws into focus the conundrum of closure in serial drama, which by definition is open-ended.
A series of first female presidents from Commander in Chief to House of Cards
This is the first of two chapters focussed on the representation of the first female president in TV drama. It begins with a reading of House of Cards and Claire Hale Underwood’s rise to power through the lens of Macbeth. In a second step, it offers a typology of queenship in Shakespeare’s plays, with the Princess in Love’s Labour’s Lost as a representative of the comedies on one end, Queen Margaret as a representative of the history plays in the center, and villainesses from the tragedies, such as Tamar in Titus Andronicus on the other end. The point of connection is that in Shakespeare’s plays as in TV drama a mixture of cultural fascination and anxiety regarding female sovereignty is put on display. In a final step, this chapter offers an overview of the first wave of women to gain access to the Oval Office on screen – Caroline Reynolds in Prison Break, Mackenzie Allen in Commander in Chief, Allison Taylor in 24 and Elaine Barrish in Political Animals. Elizabeth McCord in the final season of Mme Secretary is shown to offer yet a further variation on the female politician’s struggle for acknowledgement in face of severe opposition from her peers.
The introduction begins by drawing attention to the ubiquitous presence of Shakespeare in contemporary TV drama and then turns to an engagement with the critical scholarship regarding his adaptation and appropriation in new media. It addresses the fact that what is unique about this study is that the TV shows to be discussed offer a revisitation and rereading of his plays that transform these into something different without making any claim to fidelity. At the same time, two different aspects regarding this transhistorical and transmedial dialogue are drawn into focus. On the one hand, contemporary TV drama cites and resignifies Shakespeare. On the other hand, a critical reading, having noticed this exchange, or rather discovered a line of connection between the two, can profit from it. The critical concept proposed for this hermeneutic process is crossmapping. The overarching claim is that despite the historical distance and the difference in dramatic format, Shakespeare’s aesthetic formalisation of intense passions are still a barometer for what can be shaped, thought and performed today, not least of all because we are again thinking, writing and living in a period of interim.
For a discussion of the second wave of first female presidents in serial TV drama, Derrida’s critical term rogue is deployed so as to underscore the fragility of their legitimacy. At issue is the way they repeat and refigure the previous female presidents in TV drama, underscoring both the anxiety regarding their political power as well as their resilience as politicians. Bringing Shakespeare’s ambivalent representation of queenship into play, the crossmapping pairs Selena Meyer in the political satire Veep with the humiliation of the queens in A Midsummer Night’s Dream. Elizabeth Keane in the conspiracy thriller Homeland is read as a resuscitation of Queen Margaret in the first tetralogy, given that she, too, is caught up in an internal strife among her peers. The couple, Olivia Pope and Melanie Grant in Scandal, in turn, is read as a feminist refiguration of Antony and Cleopatra. Their battle for the Oval Office is read as a jubilatory spin on the defamed exotic queen of this late Roman play, with ancient Egypt revisited in the deep state allegedly embedded in Washington D.C. and its corrupt politics. The open-ended serial format is shown to play into a need to articulate the ambivalences attached to the political figure of the first female president.