Jesting with Death

Click to increase image sizeClick to decrease image size Notes Quoted in Helen Phelps Bailey, Hamlet in France: From Voltaire to Laforgue (Geneva: Librairie Droz, 1964), p. 3. John Dryden, ‘Of Dramatic Poesy: An Essay’, in James Kinsley and George Parfitt (eds), Selected Criticism (Oxford: Clarendon, 1970), pp. 16–76, 50. Quoted in Bailey, p. 4. Ann Thompson, ‘Infinite Jest: The Comedy of Hamlet, Prince of Denmark’, in Peter Holland (ed.), Shakespeare Survey 56 (Cambridge: Cambridge University Press, 2003), pp. 93–104, 97. The Best of Morecambe & Wise, dir. Vic Meredith, perf. Eric Morecambe and Ernie Wise, DVD, BBC, 2001. Catherine Belsey, ‘Sibling Rivalry: Hamlet and the First Murder’, Shakespeare and the Loss of Eden: The Construction of Family Values in Early Modern Culture (Basingstoke: Macmillan, 1999), pp. 129–174. See Michael Neill, Issues of Death: Mortality and Identity in English Renaissance Tragedy (Oxford: Clarendon, 1997), pp. 51–101, to which I am indebted in the following. William Shakespeare, Richard II, ed. Peter Ure, The Arden Shakespeare, Second Series (London: Methuen, 1961), 3.2.160–63. See Charlotte Spivack, The Comedy of Evil on Shakespeare's Stage (Rutherford: Farleigh Dickinson University Press, 1978). Quoted in Spivack, p. 16. Peter Burke, Popular Culture in Early Modern Europe (London: Temple Smith, 1978). All quotations from the play taken from William Shakespeare, Hamlet, eds Ann Thompson and Neil Taylor, The Arden Shakespeare, Third Series (London: Thomson Learning, 2006). See my Shakespeare and Laughter: A Cultural History (Manchester: Manchester University Press, 2008). Philippe Ariès, Western Attitudes Toward Death: From the Middle Ages to the Present, trans. Patricia M. Ranum (Baltimore: The John Hopkins University Press, 1974), pp. 51–52. See, for instance, Claire Gittings, Death, Burial and the Individual in Early Modern England (London: Croom Helm, 1984), and Ralph Houlbrooke, Death, Religion, and the Family in England, 1480–1750 (Oxford: Clarendon, 1998). Gittings, pp. 25–26. Also see David Cressy, Birth, Marriage, Death: Ritual, Religion, and the Life-Cycle in Tudor and Stuart England (Oxford: Oxford University Press, 1997). Catherine Belsey, The Subject of Tragedy: Identity and Difference in Renaissance Drama (London: Methuen, 1985). Charles Taylor, Sources of the Self: The Making of the Modern Identity (Cambridge: Cambridge University Press, 1989). Belsey, The Subject of Tragedy, p. 29. Belsey, The Subject of Tragedy, p. 41. A.C. Bradley, Shakespearean Tragedy (1904; New York: Premier Books, 1965), p. 128. See Sandra Billington, A Social History of the Fool (Brighton: Harvester Press, 1984). See Harold Jenkins, Longer Notes, in Jenkins (ed.), Hamlet, The Arden Shakespeare (London: Methuen, 1982), pp. 464–466. On the concept of the Erasmian fool see especially Walter Kaiser, Praisers of Folly: Erasmus, Rabelais, Shakespeare (Cambridge, MA: Harvard University Press, 1963). On Brandt see Jean-Christophe, Agnew, Worlds Apart: The Market and the Theatre in Anglo-American Thought, 1550–1750 (Cambridge: Cambridge University Press, 1986), pp. 61–63. G. Wilson Knight, ‘The Embassy of Death’, The Wheel of Fire: Interpretations of Shakespearian Tragedy, 4th ed. (1930; London: Methuen, 1954), pp. 17–46, 40. Harry Levin, ‘The Antic Disposition’, in John Jump (ed.), Shakespeare: Hamlet, Casebook Series, (London: Macmillan, 1968), pp. 122–136, 132. Stephen Greenblatt, Hamlet in Purgatory (Princeton, NJ: Princeton University Press, 2001), p. 241. See Belsey, Shakespeare and the Loss of Eden, pp. 129–174. See Erika Michael, The Drawings by Hans Holbein the Younger for Erasmus' ‘Praise of Folly’ (New York: Garland, 1986), pp. 216–229, and F. Saxl, ‘Holbein's Illustrations to the Praise of Folly by Erasmus’, The Burlington Magazine for Connoisseurs 83.488 (1943), pp. 274–279. William Willeford, The Fool and His Scepter: A Study in Clowns and Jesters and Their Audience (Evanston: Northwestern University Press, 1969), p. 234. On similar games with spectatorship in Shakespeare see Barbara Freedman, Staging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy (Ithaca: Cornell University Press, 1991). See Rosalie L. Colie, Paradoxia Epidemica: The Renaissance Tradition of Paradox (Princeton, NJ: Princeton University Press, 1966), pp. 3–40. Michel de Montaigne, The Complete Essays, trans. M.A. Screech (London: Penguin, 1987), book 2, chap. 12, p. 552. On Cusa and the concept of learned ignorance see Ronald Levao, Renaissance Minds and Their Fictions: Cusanus, Sidney, Shakespeare (Berkeley: University of California Press, 1985). For an overview see Marvin Carlson, Performance: A Critical Introduction (London: Routledge, 1996). See Erving Goffman, The Presentation of Self in Everyday Life (1959; London: Penguin, 1990), and Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge,1990). Goffman, p. 245. Belsey, The Subject of Tragedy, p. 86. William Ian Miller, Faking It (Cambridge: Cambridge University Press, 2003). See Maynard Mack, ‘The World of Hamlet’, The Yale Review, 41 (1952), pp. 502–523. Mack, p. 507. See Neill, pp. 35–36. See Mack, p. 507ff. Miller, p. 111. See in particular Hugh Grady, Shakespeare, Machiavelli, and Montaigne: Power and Subjectivity from Richard II to Hamlet (Oxford: Oxford University Press, 2002). Montaigne, ‘On Democritus and Heraclitus’, The Complete Essays, book 1, chap. 50, p. 340

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