Shakespeare Nature

This is a new, third edition of this pioneering work in feminist and literary criticism.When first published in 1975, Shakespeare and the Nature of Women inaugurated a new wave of Shakespeare scholarship, offering a sustained critique of inherited male thinking about women, theological, literary, and social issues in Shakespeare's plays.Almost thirty years later, it continues to be the cornerstone of writing about women in this period and the springboard for new research.This new edition includes a new preface, and updated bibliography, and developments in feminist thinking about Shakespeare.

Lucretius and Shakespeare on the Nature of Things maps large, new vistas for understanding the relationship between De rerum natura and Shakespeare’s works. In chapters on six important plays across the canon (King Lear, Macbeth, Hamlet, The Merchant of Venice, The Tempest, and A Midsummer Night’s Dream), it demonstrates that Shakespeare articulates his erotics of being, his “great creating nature” (The Winter’s Tale), by drawing on imagery he learned from Ovid and other classical poets, but especially from Lucretius, in his powerful epic that celebrates Venus and her endless creativity. Responding to Lucretius’s widely admired Latinity in his exposition of the life of man in nature, Shakespeare emerges as an early modern materialist who writes poetry that is effectively “atomic,” marked (as we might say today) by fission (hendiadys, for example) and fusion (synoeciosis, for example), joining and splitting, splitting and joining language and character as no other poet has ever done – To give away yourself keeps yourself still; My grave is like to be my wedding bed; I begin/To doubt the equivocation of the fiend/That lies like truth. Readers of Shoaf’s book will encounter anew, through both fresh evidence and close reading, Shakespeare’s universally acknowledged commitment to the art of nature and the nature of art. With Lucretius’s poetry as inspiration, Shakespeare becomes the poet of the material, both in art and in nature, immensely creative with his dædala lingua like dædala natura – his wonder-crafting tongue like wonder-working nature.

Analysing Shakespeare's historical background and craft, Spencer's 1943 study investigates the intellectual debates of Shakespeare's age, and the effect these had on the drama of the time. The book outlines the key conflict present in the sixteenth century - the optimistic ideal of man's place in the universe, as presented by the theorists of the time, set against the indisputable and ever-present fact of original sin. This conflict about the nature of man, argues Spencer, is perhaps the deepest underlying cause for the emergence of great Renaissance drama. With detailed reference to Shakespeare's great tragedies, the book demonstrates how Shakespeare presents the fact of evil masked by the appearance of good. Shakespeare's last plays, especially The Winter's Tale and The Tempest, are also analysed in detail to show how they embody a different view from the tragedies, and the discussion is related to the larger perspective of general human experience.

Shakespeare and the Nature of Women was the first full-length feminist analysis of the plays of Shakespeare and his contemporaries, ushering in a new era in research and criticism. Its arguments for the feminism both of the drama and the early modern period caused instant controversy, which still engrosses scholars. Dusinberre argues that Puritan teaching on sexuality and spiritual equality raises questions about women which feed into the drama, where the role of women in relation to authority structures is constantly renegotiated. Using a critical language which predates Foucault and other major theorists, Shakespeare and the Nature of Women argues that Renaissance drama highlights ways in which the feminine and the masculine are socially constructed. The presence of the boy actor on stage created an awareness of gender as performance, now crucial to contemporary feminist thought. Shakespeare and the Nature of Women claimed for women a right to speak about the literary text from their own place in history and culture. The author's Preface to the second edition traces contemporary developments in feminist scholarship, which still wrestles with the book's main thesis: Renaissance feminism, feminist Shakespeare.

Shakespeare Among the Animals examines the role of animal-metaphor in the Shakespeare stage, particularly as such metaphor serves to underwrite various forms of social difference. Working through texts such as Shakespeare's Midsummer Night's Dream , Jonson's Volpone , and Middleton's A Chaste Maid in Cheapside , different chapters of the study focus upon the allegedly natural character of femininity, masculinity, and ethnicity, while a fourth chapter considers the nature of the natural world itself as it appears on the Renaissance stage. Addressing each of these topics in turn, Shakespeare Among the Animals explores the notions of cultural order that underlie early modern conceptions of the natural world, and the ideas of nature implicit in early modern social practice.

The best conception of love, Marcus Nordlund contends, and hence the best framework for its literary analysis, must be a fusion of evolutionary, cultural, and historical explanation. It is within just such a bio-cultural nexus that Nordlund explores Shakespeare’s treatment of different forms of love. His approach leads to a valuable new perspective on Shakespearean love and, more broadly, on the interaction between our common humanity and our historical contingency as they are reflected, recast, transformed, or even suppressed in literary works. After addressing critical issues about love, biology, and culture raised by his method, Nordlund considers four specific forms of love in seven of Shakespeare’s plays. Examining the vicissitudes of parental love in Titus Andronicus and Coriolanus, he argues that Shakespeare makes a sustained inquiry into the impact of culture and society upon the natural human affections. King Lear offers insight into the conflicted relationship between love and duty. In two problem plays about romantic love, Troilus and Cressida and All’s Well that Ends Well, the tension between individual idiosyncrasies and social consensus becomes especially salient. And finally, in Othello and The Winter’s Tale, Nordlund asks what Shakespeare can tell us about the dark avatar of jealousy.

Reproduction of the original: The Man Shakespeare and His Tragic Liffe Story by Frank Harris