Judeo Christian Thought In Shakespeare S Plays

Shakespeares works contain some of the most time-honored truths in Western civilization, and Shakespeare himself was a forward-thinking, enlightened man who wanted us to explore the way things were during his life, suggesting that we could all be better than what we are by human nature. Yet these now-revered Shakespearean truths were not created in a vacuum, and though Shakespeare was a product of the Renaissance, the England in which he lived was heavily influenced by Judeo-Christian thought. In Judeo-Christian Thought in Shakespeares Plays, author Thomas Arthur Bunger explores the continuing thread of Judeo-Christian thought that can be traced through the playwrights work. He offers an in-depth look at ten of Shakespeares plays as they relate to morality in the King James Bible, with Hamlet, Macbeth, Othello, King Lear, The Merchant of Venice, Henry V, Richard III, The Tempest, Julius Caesar, and Romeo and Juliet forming the basis for finding this thread. Shakespeare is not just a treasure of Western civilization; he is a treasure for the whole world, and his characters and their motives speak to humanity in general. There must, therefore, be something more to his insights than simply Western thought, and perhaps the inherent truth of living the godly life is what draws so many, everywhere, to Shakespeare.

Scholars have already demonstrated that Shakespeare 's language abounds in Biblical allusions and references, but Mr. Bryant now undertakes to show us how such details may bear on the full meaning of the plays. Seeking to interpret Shakespeare's plays as Christian poetry, Mr. Bryant has developed in this significant work a new critical approach which may have far-reaching consequences for future Shakespearean scholarship. In an introductory essay the author shows that the typological view of Scripture was a familiar one to the Christians of Shakespeare 's time; he suggests that for Shakespeare, as for many of his contemporaries, the Bible had only one subject—Christ—to which everything in both Testaments in some way referred. This interpretation of Scripture, Mr. Bryant believes, had an appreciable effect on Shakespeare's handling of many of the traditional stories on which he based his plays. The author then demonstrates, in twelve essays, how typological patterns may be traced in the plays and how Biblical allusions suggest and strengthen these analogies. In both Richard II and Hamlet, Mr. Bryant finds references to the story of Cain and Abel which give a new focus to his reading of these plays. Passages from the Gospels bear upon his interpretations of Troilus and Cressida and Measure for Measure, and the epistles of St. Paul upon his readings of The Merchant of Venice and the two parts of Henry IV. Mr. Bryant then attacks the popular idea that tragedy is incompatible with Christian doctrine; his essay defining Christian tragedy is illustrated in chapters on Macbeth, Antony and Cleopatra, and Othello. The concluding essays deal with Cymbeline and The Winter's Tale as tragicomedies given depth by their Christian materials. Mr. Bryant's fresh and challenging interpretations of these representative tragedies, histories, and comedies will not meet with universal assent, but they are certain to provoke the interest of both scholarly and lay readers. The increasing number of students who wish to trace the relationships between secular literature and Christian thought will find in this pioneer work a new insight into the nature of Christian poetry.

This volume focuses on hospitality as a theoretically and historically crucial phenomenon in Shakespeare's work with ramifications for contemporary thought and practice. Drawing a multifaceted picture of Shakespeare's scenes of hospitality—with their numerous scenes of greeting, feeding, entertaining, and sheltering—the collection demonstrates how hospitality provides a compelling frame for the core ethical, political, theological, and ecological questions of Shakespeare's time and our own. By reading Shakespeare's plays in conjunction with contemporary theory as well as early modern texts and objects—including almanacs, recipe books, husbandry manuals, and religious tracts — this book reimagines Shakespeare's playworld as one charged with the risks of hosting (rape and seduction, war and betrayal, enchantment and disenchantment) and the limits of generosity (how much can or should one give the guest, with what attitude or comportment, and under what circumstances?). This substantial volume maps the terrain of Shakespearean hospitality in its rich complexity, demonstrating the importance of historical, rhetorical, and phenomenological approaches to this diverse subject.

The first fifty volumes of this yearbook of Shakespeare studies are being reissued in paperback.

Reading Shakespeare in Jewish Theological Frameworks: Shylock Beyond the Holocaust uses Jewish theology to mount a courageous new reading of a four-hundred-year-old play, The Merchant of Venice. While victimhood and antisemitism have been the understandable focus of the Merchant critical history for decades, Lion urges scholars, performers, and readers to see beyond the racism in Shakespeare's plays by recovering Shakespearean themes of potentiality and human flourishing as they emerge within the Jewish tradition itself. Lion joins the race conversation in Shakespeare studies today by drawing on the intellectual history and oppression of the Jewish people, borrowing from thinkers Franz Rosenzweig and Abraham Joshua Heschel as well as Hannah Arendt, Walter Benjamin, Jacques Derrida, Emmanuel Levinas, and rabbis from the Talmud to today. This volume interweaves post-confessional, Protestant, Catholic, Muslim, Jewish, and mystical ideas with Shakespeare's poetry and opens conversations of prophecy, love, spirituality, care, and community. It concludes with brief critical sketches of Antony and Cleopatra, Hamlet, and Macbeth to demonstrate that Shakespeare when interpreted through Jewish theological frameworks can point to post-credal solutions and transformed societal paradigms of repair that encourage action and the shaping of a finer world.

Offering a wide range of scholarly perspectives, Religions in Shakespeare’s Writings explores Shakespeare’s depictions, throughout his canon, of various religions and matters related to them. This collection’s fifteen essays explore matters pertaining to Catholic, Anglican, and Puritan Christianity, the Albigensian heresy of the high middle ages, Islam, Judaism, Roman religion, different manifestations of religious paganism, and even the “religion of Shakespeare” practiced by Shakespeare’s nineteenth-century admirers. These essays analyze how Shakespeare depicts both tensions between religions and the syntheses of different religious expressions on topics as diverse as Shakespeare’s varied portrayals of the afterlife, religious experience in Measure for Measure, and Black natural law and The Tempest. This collection also explores the political ramifications of religion within Shakespeare’s works, as well as Shakespeare’s multifaceted uses of the Bible. Additionally, while this collection does not present a Shakespeare whose particular religious beliefs can definitely be known or are displayed uniformly throughout his canon, various essays consider to what extent Shakespeare’s individual works demonstrate a Christian foundation. Contributors include John D. Cox, Cyndia Susan Clegg, Grace Tiffany, Matthew J. Smith, Bethany C. Besteman, Sarah Skwire, Feisal Mohamed, Benedict J. Whalen, Benjamin Lockerd, Bryan Adams Hampton, Debra Johanyak, John E. Curran, Emily E. Stelzer, David V. Urban, and Julia Reinhard Lupton.

Essay from the year 2008 in the subject English - Literature, Works, grade: 2+, Harvard University (Department of English), course: Shakespeare and Modern Culture, language: English, abstract: In Shakespeare's Merchant of Venice, the Jewish character of Shylock refers to the biblical story of Jacob tricking his uncle Laban (1.3.68-98) by tampering with the procreative process of Laban's flock of sheep (Genesis 30.25-43). In the following, I will try to point out why Shylock tells this story, and in which literary context he ruminates upon it. Besides a critical comparison of how his speech interacts with the original biblical story, I will furthermore discuss this analogy foremost in terms of its religious and dramatic functions within the play. Against this background, it will be made evident that 'usury' as a negative Jewish stereotype, presumed by the judging eyes of medieval Christians, is put in the centre of consideration here. It will be argued that as a general declaration in MoV, a superiority of the New Testament to the Old Testament, of Christianity to Judaism, can be derived, and that this conclusion is strongly linked with the majoritarian mindset in Shakespeare's times and cultural sphere, rather than with Shakespeare's personal attitude towards Jews or Judaism, an often supposed attitude of unprovable nature.