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21 results

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  • Chapter 8 - Transcending Morality, Preventing Violence
  • James Gilligan, New York University, David A.J. Richards
  • Book: Holding a Mirror up to Nature
  • Published online: 25 November 2021
  • Print publication: 02 December 2021, pp 119-136
  • View extract

    Summary

    Shakespeare shows how violence can be prevented by replacing retribution, or revenge, with “restorative justice”: renouncing punishment toward others and the self, thus transcending both shame and guilt ethics, and giving violent offenders the opportunity and means to restore to the community what they had taken from it, thus reconciling with their community. In Measure for Measure, Duke Vincentio conducts a psychological experiment showing how the “retributive” apparatus of the state produced an attempted (judicial) murder and rape, whereas the Duke’s approach prevented all violence, by individuals and the state. The Tempest and The Winter’s Tale illustrate the same principles and outcome. The Merchant of Venice, however, shows how severely restorative justice is compromised when the primary cause and constituent of violence is ignored, and attention is paid only to its symptom or consequence (Shylock’s anger at Antonio’s anti-Semitism).

  • Chapter 6 - Jacobean Royal Premieres?
  • from Part II - The Jacobean Tradition
  • Edited by Sophie Chiari, John Mucciolo
  • Book: Performances at Court in the Age of Shakespeare
  • Published online: 31 October 2019
  • Print publication: 24 October 2019, pp 92-106
  • View extract

    Summary

    Chapter 6 challenges the orthodoxy that plays were essentially premiered on the public stages prior to their performance at court. Jason Lawrence focuses on the royal performances of Othello and Measure for Measure at Whitehall in late 1604, in an attempt to modify some critical statements about these plays. It is Lawrence’s contention that the court performances of both of these plays were effectively prepared as royal premieres for the king. The two new plays share a common source in Cinthio’s prose Hecatommitti, and Lawrence demonstrates how the significant alterations and additions made in each case engage directly with the interests of the new monarch, suggesting that Shakespeare was, at least partially, dramatising stories from his new-found Italian source with these royal performances in mind. Lawrence shows that, in each case, any prior performance might have been intended primarily as a rehearsal for the court appearance. The length of Othello in particular fits with Richard Dutton’s argument about the preparation of longer play texts specifically for Jacobean court performance, although, significantly, in this case it would be for a brand new rather than revised play.

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