By Gail Marshall, Adrian Poole
Victorian Shakespeare (Volume 2): Literature and tradition explores many of the responses to Shakespeare via prime nineteenth-century novelists, poets and critics together with Dickens, Trollope, Eliot, Tennyson, Browning and Ruskin. via sure key performs, specially Hamlet and Othello, Shakespeare supplied them with methods of puzzling over the authority of the earlier, concerning the emergence of a brand new mass tradition, in regards to the family members among creative and commercial construction, concerning the nature of creativity, approximately racial and sexual distinction, approximately person and nationwide identification.
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Extra info for Victorian Shakespeare, Volume 2: Literature and Culture
Or him a jealous, treacherous, selfish man, like Leontes. [ . . ] But I couldn’t belittle Othello in that way; so, like a fool, I belittled him the other way by making him the dupe of a farcical trick with a handkerchief that wouldn’t have held water off the stage for five minutes. But what Shaw’s Shakespeare should have done turns out to be very much like what Trollope did do in He Knew He Was Right (1868–69). Of course, Emily Trevelyan is neither corrupt nor supersubtle. She’s not even just subtle.
Henderson 15 novel at mid-career, petitioning Leicester on behalf of the theatres against the bear-baiters. Like Sir Walter himself, this Shakespeare is both a man of business and an influential, beloved writer. Other characters, including Sir Walter Raleigh and Queen Elizabeth as well as a picaresque ex-performer called Wayland Smith, consciously quote from his plays at key moments. Indeed, Wayland ‘swaggered with the bravest of them all, both at the Black Bull, the Globe, the Fortune, and elsewhere’ before the audience’s apple-throwing led him to renounce his ‘half share in the company’.
Duncombe ), pp. 8–13, 18–22. The tragedy Leicester also intensified ‘the resemblance between the protagonists of this novel and those of Othello’, according to Richard Ford, Dramatizations of Scott’s Novels (Oxford: Oxford Bibliographical Society, 1979), p. 33, who notes that ‘Hugh Robsart took on the function of Brabantio and died midway through the play’. Similarly, the version performed on Shakespeare’s birthday in 1821 at the Adelphi Theatre was subtitled ‘the Days of Queen Bess’ (and ‘Good Queen Bess’ at Drury Lane in January 1824; see Ford, p.