Search results

Three case studies
Author: Richard Hillman

This book explores English tragedy in relation to France with a frank concentration on Shakespeare. Three manifestations of the 'Shakespearean tragic' are singled out: Hamlet, Antony and Cleopatra and All's Well That Ends Well, a comedy with melancholic overtones whose French setting is shown to be richly significant. Hamlet has occasioned many books on its own, including a recent study by Margreta De Grazia, Hamlet without Hamlet, whose objective is to free the text from the 'Modern Hamlet'. The influence of Michel de Montaigne on Hamlet is usually assumed to have left its traces in more or less precise verbal or intellectual correspondences. The book proposes two further sources of French resonance accessible to auditors of the ultimate early modern English tragedy. It talks about two French Antonies. One is the steadfast friend of Caesar and avenging Triumvir, as heralded in Jacques Grévin's César and vividly evoked in Robert Garnier's Porcie. The other is the hedonist who ruins himself for Cleopatra, as first brought on stage in France by Étienne Jodelle in Cléopâtre captive, then substantially fleshed out in Garnier's own Marc Antoine. The distance between the tragedies and All's Well comes down to the difference between horizontal and vertical lifeless bodies. When he grafted the true-to-life histoire tragique of Hélène of Tournon onto the fairy-tale of Giletta of Narbonne, Shakespeare retained the latter's basic family situation. Shakespeare's Helena succeeds where the King has failed by exploiting her position as an outsider.

Making room for France
Richard Hillman

will be arguing (in Chapter 3 ) that familiarity and exoticism interplay within them in roundabout ways. As for the farther removed forms of exoticism announced by settings more remote, and by the non-French models often identifiable as major influences – or indeed primary sources – I propose that even these may sometimes have come at least partially into view for contemporaries through literary and cultural filters in place just across the Channel. Notes 1 Richard Hillman, French Reflections in the Shakespearean Tragic: Three Case Studies (Manchester

in The Shakespearean comic and tragicomic
Open Access (free)
Representations of Irish political leaders in the ‘Haughey’ plays of Carr, Barry and Breen
Anthony Roche

which suggested itself, as much on the political as on the theatrical stage, was the figure of the Shakespearean tragic hero. Was Haughey a great man brought down by the machinations of his political enemies, a figure of great intelligence and talent betrayed by a singular flaw in that same nature, or a small man devoted to the street tactics of survival and deluded by his own hubris? When Haughey stepped down from the office of Taoiseach in 1992, he did so by quoting from Othello: ‘I have done the state some service, and they know’t; / No more of that.’6

in Irish literature since 1990
Abstract only
Richard Hillman

explorations, French Reflections in the Shakespearean Tragic: Three Case Studies (forthcoming). 2 See Shakespeare, Marlowe and the Politics of France , 2002 , esp. pp. 1–29. 3 See French Reflections , Chapter 3

in French origins of English tragedy
Abstract only
Richard II, La Guisiade and the invention of tragic heroes
Richard Hillman

plausible human one in the ‘mature’ Shakespearean tragic mould. But then, on the other side of the Channel the English call their own, that mould had yet to be moulded. Notes 1 La Guisiade , ed. Lobbes, 1990 , p. 166 (‘Advertissement au Lecteurs sur la continuation de ceste Tragedie’); trans. Hillman 2005 , p. 269. I

in French origins of English tragedy
The RSC’s Coriolanus 1972–73
Robert Ormsby

Television Today 1 November 1973), ‘the house [was] hushed as it can only be when a master talent is at work’ ( Daily Express 23 October 1973). These comments function like cinematic close-ups, revealing not simply Williamson’s performance but what the reviewers desired in Shakespearean tragic theatre. That is, to the extent that critics narrowed down their response to Coriolanus to an analysis of a

in Coriolanus
Feminine fury and the contagiousness of theatrical passion
Kristine Steenbergh

Modern England: Justice and Political Power, 1558–1660 ( Cambridge : Cambridge University Press , 2004 ). Roach , J. R. , The Player’s Passion: Studies in the Science of Acting ( Ann Arbor : University of Michigan Press , 1993 ). Rowe , K. , ‘ Minds in company: Shakespearean tragic emotions ’, in A Companion to Shakespeare’s Works, vol. 1: The

in Doing Kyd
Reflections on the narrative mode of Fools of Fortune
Michael O’Neill

that calls forth a self-defining answer. The phrase ‘as little chance for any one of us’ has as its most evident meaning the idea that all three are ‘fools of fortune’. But it also suggests that, in each case, they have been taken out of the world of ‘chance’ into a place where they are chosen by (and yet also choose) their destiny. The novel’s engagement with Shakespearean tragic drama is here most apparent. The ending is a space of duplicitous possibility: if Willie and Marianne are fugitives from an awareness of fatedness, the novel makes it clear such an impulse

in William Trevor
The Merchant of Venice, Measure for Measure, Twelfth Night
Richard Hillman

symbolically is obviated by comic plot mechanisms. Certainly, the Law of Mercy is given its eloquent spokesperson in Portia-Bellario (anticipating Isabella in Measure for Measure ), but the lawyer’s trick by which she applies it merely justifies Antonio as a purely innocent victim of diabolical malice. His argosies are subsequently restored by a dramatic universe complicit with the magic of Belmont. The entire weight of fallen human nature, the capacity for suffering from the standard Shakespearean tragic causes – disillusion, in justice – is shifted onto the

in The Shakespearean comic and tragicomic
Revealing the unconscious in chiastic symmetry
Robert Lanier Reid

: Clarendon, 1971), 195–224. 72 On this three-part structure of Macbeth , see Jones, Scenic Form , 195–224. On Shakespearean tragic structure as three stages of self-discovery, see M. Mack, ‘The Jacobean Shakespeare: Some Observations of the Construction of the

in Renaissance psychologies