Posts Tagged ‘Jonathan Bate’

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William Shakespeare & Others: Book Review

December 4, 2013

A review by Darren Freebury-Jones.

collab

The first thing that strikes me about this edition is the duplicitous title: William Shakespeare & Others: Collaborative Plays. One might expect a series of plays that have, due to a number of authorship tests, been assigned with confidence to Shakespeare as collaborative works: Titus Andronicus, Henry VI Part One, Edward III, Sir Thomas More, Timon of Athens, Pericles, Prince of Tyre, Henry VIII, The Two Noble Kinsmen and the 1602 fourth quarto version of The Spanish Tragedy (the latter, like Sir Thomas More and Henry VI Part One, is not considered an ‘orthodox’ collaboration, but rather a revised text). How wonderful it would have been for such a volume, accompanied with essays exploring the differences between imitation, influence and authorship, the impact collaboration could have on staging (a director might consider the symmetrically patterned staging involved in Peele’s opening act of Titus Andronicus, or inconsistencies in character due to different dramatists’ hands) and a sensible overview of attribution studies and its development. Instead we get a volume in which Jonathan Bate, previously reluctant to acknowledge Shakespearean collaboration, compiles apocryphal plays.[i]

The blurb (and publicity surrounding this book) states confidently that Shakespeare’s hand can be detected in Arden of Faversham. I myself have analysed the famous quarrel scene in this play and detected numerous distinct collocation matches with Thomas Kyd’s accepted works, as well as plays in Brian Vickers’ ‘extended’ canon.[ii] Vickers’ results, however, are frequently snubbed in this edition, as insecurely attributed. Vickers’ methodology of collecting ‘partly idiosyncratic formations’, encompassing verbal and semantic patterns, often in the context of verse structure, is the most advanced and reliable authorship test currently available I feel (a view, I realise, that conflicts with exponents of the status quo ante bellum), and it would have been nice if his findings had been explicated here. Nevertheless, the edition never really takes sides when you delve inside anyway. Will Sharpe touches upon MacDonald P. Jackson’s views[iii] in his essay within the book, ‘Authorship and Attribution’ but concludes, frustratingly, that the domestic tragedy can be deemed ‘one of the finest plays that a young Shakespeare, possibly, never wrote’.[iv] This extent of ambiguity and an unwillingness to expand properly upon opposing scholarly arguments leaves one to ponder what the real purpose of compiling these plays was in the first place. Why works such as Thomas Middleton’s A Yorkshire Tragedy are included, and The Merry Devil of Edmonton is patently rejected, is anybody’s guess.

Redeeming features include emboldened text demonstrating additions to The Spanish Tragedy and Mucedorus. Sir Thomas More makes for an enjoyable reading experience that isn’t disrupted by attempts to replicate the extant manuscript copy, as can be seen in the Oxford Complete Works, second edition. Sir Thomas More is presented as a unified piece of theatre, which is, of course, the fundamental objective of collaboration, and that is commendable. Furthermore (whether by Shakespeare or Kyd), Arden of Faversham deserves to be read and The Spanish Tragedy has every right to be added to the canon as a Shakespearean revision. The presentation of all the plays is excellent and suitably edited for performance, while the interviews by Peter Kirwan give the reader a refreshing insight into the staging of frequently neglected plays.[v]

Unfortunately, from a scholarly perspective, William Shakespeare & Others: Collaborative Plays provides an unsatisfying exploration of models of authorship, while its publication and the way in which its compositors have promoted themselves with talk of fingerprints and decisive evidence (surely confusing for the general public, caught in the cross-fire of affirmation and rejection) cannot be deemed healthy for modern attribution studies.

Visit the publisher’s website here.

Darren Freebury-Jones is a PhD candidate at Cardiff University specialising in imitation and collaboration in Shakespeare’s early plays.


[i] Bate’s recognition of Shakespearean co-authorship through literary fingerprints contrasts somewhat with his prior assertion that ‘with all the arguments based on verbal parallels’ Shakespearean ‘imitation is always as likely as authorship’. Titus Andronicus: New Arden Shakespeare (London: Arden Shakespeare, 1995), p.82.
[ii] Brian Vickers, ‘Thomas Kyd, Secret Sharer’, Times Literary Supplement, 13th April, pp. 13-15.
[iii] Jackson first argued for Shakespeare’s hand in this play in 1963. See MacDonald P. Jackson, ‘Material for an edition of Arden of Faversham’ (B.Litt. thesis: Oxford University, 1963).
[iv] Will Sharpe, ‘Authorship and Attribution’, in William Shakespeare & Others: Collaborative Plays (London: Palgrave Macmillian, 2013).
[v] ‘From Script to Stage: Interviews by Peter Kirwan’, in William Shakespeare & Others: Collaborative Plays (London: Palgrave Macmillian, 2013).

Also recently published by Palgrave: The Creation and Re-creation of Cardenio: Performing Shakespeare, Transforming Cervantes (2013) “Did Shakespeare really join John Fletcher to write Cardenio, a lost play based on Don Quixote? In 2009, the world’s first academic symposium dedicated to the “lost play” was convened in New Zealand. Since then, a flurry of activity has confirmed the play’s place in the literary canon. Drawing on cutting-edge scholarship and organized around the first full-scale production of Gary Taylor’s recreation of the Jacobean play, these sixteen essays suggest the play was not “lost” but was instead deliberately “disappeared” because of its controversial treatment of race and sexuality. Breaking new ground, this collection gives equal attention to Shakespeare, Cervantes, and Fletcher. With an emphasis on the importance of theatrical experiment and performance, a copy of Taylor’s script, a photographic record of Bourus’s production, and historical research by respected scholars in the fields of early modern England and Spain, this book makes a bold and definitive statement about the collaborative nature of Cardenio.” Find out more here.
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The Essay: Montaigne and Shakespeare

January 21, 2011

BBC RADIO 3:

A series of five essays on Montaigne to accompany a major Radio 3 drama about the French essayist called ‘Living with Princes’, written by Stephen Wakelam with Roger Allam as Montaigne to be broadcast on Sunday, January 23, 2010 on Radio 3.

The essays will be written and read by the writer and broadcaster Alain de Botton; the philosopher and historian Theodore Zeldin who will explore to what extent Montaigne’s philosophy on life holds true today; writer and Shakespeare scholar, Jonathan Bate, who will be exploring the relationship between Montaigne and the Bard; the writer and biographer of Montaigne, Sarah Bakewell, on Montaigne’s cat, scepticism and animal souls; and the philosopher A.C.Grayling.

Listen to Jonathan Bate here.

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BritGrad Conference Stratford 2010

June 4, 2010

Peter Roberts and Alun Thomas from Cardiff University will be presenting papers at this year’s BritGrad postgraduate conference at the Shakespeare Institute, Stratford:

Peter Roberts – “Drinking Ijssel: Hamlet V.1.265.”

Alun Thomas – “The Ghosts of History in Richard III.”

The three-day event will also include plenary lectures from several Shakespeare scholars:

Thursday 17 June 2010:

Friday 18 June 2010:

Saturday 19 June 2010:

To view the conference website click here.

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Shakespeare the man from Stratford comes to Cardiff

May 5, 2010

SHAKESPEARE: THE MAN FROM STRATFORD

The New Theatre

Wednesday 15 – Saturday 18 September

Evenings 7.30pm;
Saturday Matinee 2.30pm

STUDENT SPECIAL: For any evening performance (except Saturday) £5.00 each from 6.00pm onwards

By Jonathan Bate

Starring Simon Callow

“Shakespeare is the greatest writer the world has ever known. But we know nothing about him. Or do we? In a magical tour-de-force, Simon Callow, one of Britain’s greatest actors, tracks down the real William Shakespeare, bringing to life both the man and the unforgettable characters – lovers, kings, soldiers and clowns – who have since conquered the world’s stages.

Following the worldwide success of The Mystery of Charles Dickens (West End / Broadway) and hot on the heels of his sell-out hit Dr Marigold & Mr Chops, Callow joins forces with Jonathan Bate, pre-eminent Shakespeare biographer and editor of the Royal Shakespeare Company’s Shakespeare: The Complete Works, to fill the stage with Shakespeare’s real and imagined worlds. A theatrical event not to be missed.” New Theatre Website

This is a date for your diary perhaps.

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