Download Shakespeare and the Rival Playwrights, 1600-1606 by David Farley-Hills PDF

By David Farley-Hills

ISBN-10: 0203159977

ISBN-13: 9780203159972

ISBN-10: 0415040507

ISBN-13: 9780415040501

David Farley-Hills argues that Shakespeare didn't paintings in best isolation, yet spoke back as the other playwright to the economic and creative pressures of his time. during this ebook he deals an interpretation of 7 of Shakespeare's performs within the gentle of pressures exerted by means of his significant modern opponents. The performs mentioned are Hamlet, Troilus and Cressida, All's good That Ends good, Othello, degree for degree, Timon of Athens, and King Lear.

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Extra info for Shakespeare and the Rival Playwrights, 1600-1606

Example text

Once again the signposts point in contrary directions and we are left in a perplexity that is as disorienting as (though not identical with) Hamlet’s own. Such enigmas abound throughout the text, so that small discrepancies, like Horatio’s both appearing to be familiar with Danish customs and ignorant of them,42 and the radical change that comes over Fortinbras’s character in the course of the play, that could be dismissed as a working dramatist’s minor aberrations elsewhere, here contribute to the disorientation that afflicts the reader whenever he attempts to take his bearings.

An earlier date for Part 1 of Iron Age would appear much more likely. Heywood’s two plays would seem to fit into the pattern of reply and counterreply so characteristic of the Elizabethan theatre. Both parts look like a reply to the Dekker and Chettle play for the Admiral’s Men in 1600. 5 As Part 2 of Heywood’s play shows not only the influence of Troilus and Cressida,6 but even more clearly of Hamlet in a ‘closet’ scene between Clitemnestra and Orestes (V, iii) which reveals unmistakable echoes of Hamlet III, iv, it would seem reasonable to suppose that Part 2 followed soon after Troilus, but when Hamlet was still very much in playgoers’ minds.

12. Certainly Heywood does not exaggerate in claiming to be including ‘much matter’ in this second part, for it would be difficult to imagine cramming more action into the two hours’ traffic of the stage. Equally justified is the claim to be conveying unvarnished truth for, as Weiner points out,13 Heywood shows greater fidelity to his ‘historical’ sources than Shakespeare, as well as a greater preference for the classical versions of the events. 14 Both are essentially ‘epic’ theatre in their concentration on action above all else; but in Part 1 the handling of the plot is better paced and Heywood gives greater rhythmic variety to the plotting by inserting scenes where issues are debated.

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