Notes

Introduction

1. Jan Kott, Shakespeare Our Contemporary, trans. Boleslaw Taborski (New : W.W. Norton, 1974), xix. 2. Julia Reinhard Lupton, Thinking with Shakespeare: Essays on Politics and Life (University of Chicago Press, 2011), 18. 3. Clare Asquith, Shadowplay: The Hidden Beliefs and Coded Politics of (New York: Public Affairs, 2005), xiii. For a Catholic reading of the plays, see Joseph Pearce, Through Shakespeare’s Eyes: Seeing the Catholic Presence in the Plays (San Francisco: Ignatius Press, 2010). For the question of secrecy in Shakespeare, see Richard Wilson, Secret Shakespeare: Studies in Theatre, Religion and Resistance (Manchester University Press, 2004). 4. Park Honan, Shakespeare: A Life ( University Press, 1999), 64. 5. For a useful and lucid discussion of these contested issues, see Arthur F. Marotti, “Shakespeare and Catholicism,” in Theatre and Religion: Lancastrian Shakespeare, ed. Richard Dutton, Alison Findlay, and Richard Wilson (Manchester University Press, 2003), 218–41. 6. See Peter Milward, SJ, “Shakespeare’s Jesuit Schoolmasters,” in Theatre and Religion: Lancastrian Shakespeare, ed. Richard Dutton, Alison Findlay, and Richard Wilson (Manchester University Press, 2003), 58–70. 7. Jack Lynch, Becoming Shakespeare: The Unlikely Afterlife that Turned a Provincial Playwright into the Bard (New York: Walker, 2007). 8. See Foreign Shakespeare: Contemporary Performance, ed. Dennis Kennedy (Cambridge University Press, 1993); Painting Shakespeare Red: An East- European Appropriation, ed. Alexander Shurbanov and Boika Sokolova (Newark: University of Delaware Press, 2001); Four Hundred Years of Shakespeare in Europe, ed. A. Luis Pujante and Ton Hoenselaars (Newark: University of Delaware Press, 2003); Shifting the Scene: Shakespeare in European Culture, ed. Ladina Bezzola Lambert and Balz Engler (Newark: University of Delaware Press, 2004); Shakespeare in the Worlds of Communism and Socialism, ed. Irena R. Makaryk and Joseph G. Price (University of Toronto Press, 2006). 9. See Peter Lake and Michael Questier, The Trials of Margaret Clitherow: Persecution, Martyrdom and the Politics of Sanctity in Elizabethan (: Continuum, 2011), 5–6. 10. See , SJ, The Autobiography of a Hunted Priest, trans. Philip Caraman (San Francisco: Ignatius Press, 1988), 71–77 (“Search at Braddocks”). 11. See Lindsey Hughes, The Romanovs: Ruling Russia 1613–1917 (London: Continuum, 2008), 4. 12. Ellen Schrecker, Many are the Crimes: McCarthyism in America (Princeton University Press, 1998), 166. 13. See Stephen Greenblatt, “Shakespeare in No Man’s Land,” New York Review of Books LVI/20 (December 17, 2009), 58–61 (60).

225 226 Notes to Introduction

14. See Robert Hornsby, Protest, Reform, and Repression in Khrushchev’s Soviet Union (Cambridge University Press, 2013). 15. See Kieran Williams, The Prague Spring and its Aftermath: Czechoslovak Politics 1968–1970 (Cambridge University Press, 1997). 16. For the centralization of censorship under and James I in the figure of the Master of the Revels, see Janet Clare, “Art Made Tongue-Tied by Authority”: Elizabethan and Jacobean Dramatic Censorship (Manchester University Press, 1999), second edition. 17. Ethan H. Shagan, The Rule of Moderation: Violence, Religion and the Politics of Restraint in Early Modern England (Cambridge University Press, 2011), 228. 18. See Seymour Martin Lipset, The First New Nation: The United States in Historical and Comparative Perspective (New York: W.W. Norton, 1979). 19. Vladislav Zubok, Zhivago’s Children: The Last Russian Intelligentsia (Cambridge, MA: Harvard University Press, 2009), 222–23. 20. See Robert Fuller, Naming the Antichrist: The History of an American Obsession (Oxford University Press, 1995). 21. Wendy Z. Goldman, Inventing the Enemy: Denunciation and Terror in Stalin’s Russia (Cambridge University Press, 2011), 34. 22. Stephen Alford, The Watchers: A Secret History of the Reign of Elizabeth I (New York: Bloomsbury Press, 2012), 116. 23. Quoted from Ronald Hingley, Pasternak: A Biography (New York: Alfred A. Knopf, 1983), 3. 24. James Shapiro, Contested Will: Who Wrote Shakespeare? (New York: Simon and Schuster, 2010). 25. See Howard Louthan, The Quest for Compromise: Peacemakers in Counter- Vienna (Cambridge University Press, 1997). 26. Peter Holmes, Resistance and Compromise: The Political Thought of Elizabethan Catholics (Cambridge University Press, 1982), 61. 27. Tom Stoppard, The Real Inspector Hound and Other Plays (New York: Grove Press, 1998), 175–211. 28. Grigori Kozintsev, Shakespeare: Time and Conscience, trans. Joyce Vining (New York: Hill and Wang, 1966). 29. See Spencer Golub, “Between the Curtain and the Grave: The Taganka in the Hamlet Gulag,” in Foreign Shakespeare: Contemporary Performance, ed. Dennis Kennedy (Cambridge University Press, 1993), 158–77. 30. The poem went through two versions, both written in 1946. The second version, which adds the figure of Christ to those of Hamlet and the poet, was written as a response to the purges of August 1946 and the denunciation of the writers Akhmatova and Zoshchenko. See Richard Pevear’s introduc- tion to Boris Pasternak, Doctor Zhivago, trans. Richard Pevear and Larissa Volokhonsky (New York: Pantheon Books, 2010), xviii–xix. 31. Eleanor Rowe, Hamlet: A Window on Russia (New York University Press, 1976), 152. 32. See Robert S. Miola’s introduction to the Norton critical edition of Hamlet (New York: W.W. Norton , 2011), xxvi. 33. See Philip Caraman, 1555–1606 and the (New York: Farrar, Straus, 1964). 34. Alvin Kernan, Shakespeare, the King’s Playwright: Theater in the Stuart Court, 1603–1613 (New Haven: Yale University Press, 1995), 76. Notes to Chapter 1 227

35. For a discussion of this question, see Alfred Thomas, A Blessed Shore: England and Bohemia from Chaucer to Shakespeare (Ithaca: Cornell University Press, 2007), chapter 6. 36. For the belief that Shakespeare has a valid appreciation of freedom, see Stephen Greenblatt, Shakespeare’s Freedom (University of Chicago Press, 2010). 37. Quoted from , Edmund Campion: A Life (San Francisco: Ignatius Press, 2005), 207.

1 Culture and Dissent in Shakespeare’s England and Cold War Europe

1. See Ethan Shagan’s introduction to Catholics and the “Protestant Nation”: Religious Politics and Identity in Early Modern England, ed. Ethan Shagan (Manchester University Press, 2005), 8. 2. See Greg Walker, Writing under Tyranny: English Literature and the Henrician Reformation (Oxford University Press, 2007), 24. The strength of Walker’s book is his emphasis on the political rather than simply the religious opposi- tion to Henry’s policies. 3. Richard Rex, Henry VIII and the English Reformation (Basingstoke: Palgrave Macmillan, 2006), second edition, 25. 4. G.R. Elton, Policy and Police: The Enforcement of the Reformation in the Age of (Cambridge University Press, 1972), 275–76. 5. Sir Thomas Wyatt, Collected Poems, ed. Joost Daalder (Oxford University Press, 1975), 185–86. 6. See Eric Ives, The Life and Death of (Oxford: Blackwell, 2005), 320. 7. See Eamon Duffy, The Voices of Morebath: Reformation and Rebellion in an English Village (New Haven: Yale University Press, 2001), 134. 8. See Eamon Duffy, Fires of Faith: Catholic England under Mary Tudor (New Haven: Yale University Press, 2009). 9. Alexandra Walsham, Charitable Hatred: Tolerance and Intolerance in England, 1500–1700 (Manchester University Press, 2006), 59. 10. K.J. Kesselring, The Northern Rebellion of 1569: Faith, Politics, and Protest in Elizabethan England (Basingstoke: Palgrave Macmillan, 2010), 125–26. 11. Christopher Haigh, English : Religion, Politics and Society under the Tudors (Oxford University Press, 1993), 263. 12. Arnold Pritchard, Catholic Loyalism in Elizabethan England (Chapel Hill: University of North Carolina Press, 1979), 7–8. 13. See Frank Brownlow, “: Elizabeth’s Enforcer and the Representation of Power in King Lear,” in Theatre and Religion: Lancastrian Shakespeare, ed. Richard Dutton, Alison Findlay, and Richard Wilson (Manchester University Press, 2003), 161–78. 14. Christopher Devlin, The Life of Robert Southwell: Poet and (London: Sidgwick and Jackson, 1956), 93. 15. See Hugh Ross Williamson, The Gunpowder Plot (New York: Macmillan, 1952), 33–34. The parallel with Guantanamo Bay is striking. 16. Robert Southwell, An Humble Supplication to Her Maiestie, ed. R.C. Bald (Cambridge University Press, 1953), 3. 228 Notes to Chapter 1

17. John Morris, SJ, The Condition of Catholics under James I: Father Gerard’s Narrative of the Gunpowder Plot (London, 1871), ix–xi. 18. James Sharpe, Remember, Remember: A Cultural History of Day (Cambridge, MA: Harvard University Press, 2005), 26. 19. Thomas M. McCoog, SJ, “‘Playing the Champion’: The Role of Disputation in the Jesuit Mission,” in The Reckoned Expense: Edmund Campion and the Early English Jesuits, ed. Thomas M. McCoog (Woodbridge: Boydell Press, 1996), 119–39 (128). 20. Simon Sebag Montefiore, Stalin: The Court of the Red Tsar (New York: Vintage Books, 2003), 228. 21. , Faith and : The Story of the Gunpowder Plot (New York: Anchor Books, 1996), 268. 22. For the medieval origins of this invented enemy in Christian Europe, see Robert I. Moore, The War on Heresy (Cambridge, MA: Harvard University Press, 2012). 23. David Riggs, The World of Christopher Marlowe (New York: Henry Holt, 2004), 336–38. 24. See Park Honan, Christopher Marlowe: Poet and Spy (Oxford University Press, 2005), 120. 25. Ian Donaldson, : A Life (Oxford University Press, 2011), 114. 26. Eamon Duffy, The Stripping of the Altars: Traditional Religion in England, 1400–1580 (New Haven: Yale University Press, 1992). 27. James Shapiro, A Year in the Life of William Shakespeare: 1599 (New York: Harper Perennial, 2005), 124. 28. Alexandra Walsham, Church Papists: Catholicism, Conformity and Confessional Polemic in Early Modern England (Woodbridge: Boydell Press, 1999). 29. See the classic study by Robert Conquest, The Great Terror: Stalin’s Purge of the Thirties (London: Macmillan, 1968), 328. 30. John Guy, A Daughter’s Love: Sir and His Dearest Meg (Boston: Houghton, Mifflin, Harcourt, 2009), 259. 31. See Mark Nicholls, Investigating Gunpowder Plot (Manchester University Press, 1991), 52–53. 32. Eamon Duffy, Marking the Hours: and their Prayers (New Haven: Yale University Press, 2011), 29. For further examples of defacement, see also chapter 9 (“The Break with ”). 33. Richard Dutton, Ben Jonson, Volpone and the Gunpowder Plot (Cambridge University Press, 2006), 44. 34. For the Lopez case as a real-life context for The Merchant of Venice, see Stephen Greenblatt, Will in the World: How Shakespeare Became Shakespeare (New York: W.W. Norton, 2004), 273–81. 35. Frank Felsenstein, Anti-Semitic Stereotypes: A Paradigm of Otherness in English Popu- lar Culture, 1660–1830 (Baltimore: Johns Hopkins University Press, 1995), 161–63. 36. See Jonathan Brent and Vladimir P. Naumov, Stalin’s Last Crime: The Doctors’ Plot (London: John Murray, 2003). 37. Quoted from Stephen Cohen’s introduction to Anna Larina’s This I Cannot Forget: The Memoirs of Nikolai Bukharin’s Widow, trans. Gary Kern (New York: W.W. Norton, 1991), 19. 38. For Elizabeth’s letters to James concerning Huntly, see Alan Stewart, The Cradle King: A Life of James VI and I (London: Chatto and Windus, 2003), 99. Notes to Chapter 1 229

39. John Bossy, The English Catholic Community 1570–1850 (Oxford University Press, 1975), 12. 40. See the introduction to The Pelican Shakespeare Henry V, ed. Claire McEachern (London: Penguin, 1999). 41. Janet Clare, “Censorship and Negotiation,” in Literature and Censorship in Renaissance England, ed. Andrew Hadfield (New York: Palgrave, 2001), 17–30. 42. For the suspicious circumstances of Marlowe’s death, see Charles Nicholl, The Reckoning: The Murder of Christopher Marlowe (New York: Harcourt Brace, 1992). 43. Quoted from Richard A. McCabe, “‘Right Puisante and Terrible Priests’: The Role of the Anglican Church in Elizabethan State Censorship,” in Literature and Censorship in Renaissance England, ed. Andrew Hadfield (New York: Palgrave, 2001), 75–94 (80). 44. See Mary Heimann, Czechoslovakia: The State that Failed (New Haven: Yale University Press, 2011), 238. 45. For the connection between Shakespeare and Southwell, see Devlin, Robert Southwell, 257–73. For Shakespeare’s use of Southwell’s works, see John Klause, “Politics, Heresy, and Martyrdom in Shakespeare’s Sonnet 124 and Titus Andronicus,” in Shakespeare’s Sonnets: Critical Essays, ed. James Schiffer (New York: Garland, 2000), 219–40. 46. Quoted from Alison Shell, Catholicism, Controversy and the English Literary Imagination, 1558–1660 (Cambridge University Press, 1999), 83. 47. Alison Shell, Shakespeare and Religion (London: Arden Shakespeare, 2010), 95. 48. Richard Marius, Thomas More: A Biography (Cambridge, MA: Harvard University Press, 1984), 472. 49. For the connection between ancient Roman violence in the play and vio- lence in Elizabethan England, see Gary Kuchar, “Decorum and the Politics of Ceremony in Shakespeare’s Titus Andronicus,” in Shakespeare and Religion: Early Modern and Postmodern Perspectives, ed. Ken Jackson and Arthur F. Marotti (University of Notre Dame Press, 2011), 46–78. See also Nicholas R. Moschovakis, “‘Irreligious Piety’ and Christian History”: Persecution as Pagan Anachronism in Titus Andronicus,” Shakespeare Quarterly 53/4 (Winter 2002), 460–86. 50. See Gerard Kilroy, Edmund Campion: Memory and Transcription (Aldershot: Ashgate, 2005), 60. 51. Annabel Patterson, Fables of Power: Aesopian Writing and Political History (Durham, NC: Duke University Press, 1991), 47. 52. See Lev Loseff, On the Beneficence of Censorship: Aesopian Language in Modern Russian Literature, trans. Jane Bobko (Munich: Sagner, 1984). 53. Brian James Baer, “Literary Translation and the Construction of a Soviet Intelligentsia,” in Translation, Resistance, Activism, ed. Maria Tymoczko (Amherst: University of Massachusetts Press, 2010), 149–67 (154). 54. Robert S. Miola, “Jesuit Drama in Early Modern England,” in Theatre and Religion: Lancastrian Shakespeare, ed. Richard Dutton, Alison Findlay, and Richard Wilson (Manchester University Press, 2003), 71–86 (73). 55. See Alison Shell, “‘We are made a spectacle’: Campion’s Dramas,” in The Reckoned Expense: Edmund Campion and the Early English Jesuits, ed. Thomas M. McCoog (Woodbridge: Boydell Press, 1996), 103–18 (111). 230 Notes to Chapter 2

2 “The Heart of My Mystery”: The Hidden Language of Dissent in Shakespeare’s Hamlet and Grigori Kozintsev’s Film Gamlet

1. Peter Thomson, “Shakespeare and the Public Purse,” in The Oxford Illustrated History of Shakespeare on Stage, ed. Jonathan Bate and Russell Jackson (Oxford University Press, 2001), 160–75 (169). 2. For the saturation of language in Stalin’s speeches, see The Landscape of Stalinism: The Art and Ideology of Soviet Space, ed. Eric Naiman and Evgeny Dobrenko (Seattle: University of , 2003). 3. Quoted in Arthur P. Mandel, “Hamlet and Soviet Humanism,” Slavic Review 30/4 (December 1971), 733–47. 4. See Peter Holland, “‘More Russian than a Dane’: The Usefulness of Hamlet in Russia,” in Translating Life: Studies in Transpositional Aesthetics, ed. Shirley Chew and Alistair Stead (Liverpool University Press, 1999), 315–38 (319). 5. “½öîÝàëàèöòíéÝöáçàíàãâçàèúÞéæéìçéàäíÛäèö” For the Russian versions of Pasternak’s translation, see Gamlet Borisa Pasternaka: Versii I Varianti, ed. V. Poplavsky (Moscow: Letny Sad, 2002). 6. The paraphrase was first noted by Anna Kay France, Boris Pasternak’s Translations of Shakespeare (Berkeley: University of California Press, 1978), 26. 7. “Øíé—Þéæéìçéàäìîß÷Üö.” 8. “ÎÜãäìíÝéÝößÛûíFàÜúÜàâìæéÝ / Ðéí÷ãçéæòãí.” 9. “èéÝéÝìàçìæîóÛäíàì÷ÝèîíëàèèéÞéÞéæéìÛ.” 10. See Vladimir Markov, “An Unnoticed Aspect of Pasternak’s Translations,” Slavic Review 20/3 (October 1961), 503–8. Significantly, Kozintsev retains this subversive passage in his film script. 11. Katherine Gardiner Rodgers, “The Lessons of Gethsemane: De Tristitia Christi,” in The Cambridge Companion to Thomas More, ed. George M. Logan (Cambridge University Press, 2011), 259. 12. John Guy, Thomas More (London: Hodder, 2000), 209. 13. Gerard Kilroy, “Requiem for a Prince: Rites of Memory in Hamlet,” in Theatre and Religion: Lancastrian Shakespeare, ed. Richard Dutton, Alison Findlay, and Richard Wilson (Manchester University Press, 2003), 143–60 (146). 14. Stephen Greenblatt, Hamlet in Purgatory (Princeton University Press, 2001), 240–41. 15. Quoted from T.S.R. Boase, Death in the Middle Ages: Mortality, Judgment and Remembrance (New York: McGraw Hill, 1972), 44. 16. Everyman and Medieval Mystery Plays, ed. A.C. Cawley (London: J.M. Dent, 1974), 125–226. 17. Zdeneˇk Strˇíbrný, “Shakespeare in the Cold,” in The Whirligig of Time: Essays on Shakespeare and Czechoslovakia, ed. Lois Potter (Newark: University of Delaware Press, 2007), 214–33 (221). 18. Pushkin, ed. and trans. John Fennell (Harmondsworth: Penguin, 1964), 12. 19. The Selected Poems of Osip Mandelstam, trans. Clarence Brown and W.S. Merwin (New York Review of Books, 2004), 82. 20. John Guy, “Introduction: The 1590s: The Second Reign of Elizabeth I?,” in The Reign of Elizabeth I: Court and Culture in the Last Decade, ed. John Guy (Cambridge University Press, 1995), 1–19 (18). Notes to Chapter 3 231

21. Valentine M. Berezhkov, At Stalin’s Side, trans. Sergei V. Mikheyev (New York: Birch Lane Press, 1994), 202. 22. Christopher Devlin, Hamlet’s Divinity and Other Essays (Carbondale: Southern Illinois University Press, 1963), 42. 23. John Guy, Queen of Scots: The True Life of Mary Stuart (Boston: Houghton Mifflin, 2005), 494. 24. See David N. Beauregard, Catholic Theology in Shakespeare’s Plays (Newark: University of Delaware Press, 2008), 198, footnote 17. 25. Narrative Poems by Alexander Pushkin and Mikhail Lermontov, trans. Charles Johnston (New York: Vintage Books, 1983), 51 (ellipsis in the original). 26. Quoted from Alan Bullock, Hitler and Stalin: Parallel Lives (New York: Alfred A. Knopf, 1992), 488–89. For Larina Bukharin’s memoir, see This I Cannot Forget: The Memoirs of Nikolai Bukharin’s Widow, trans. Gary Kern (New York: W.W. Norton, 1991). 27. Nadezhda Mandelstam, Hope Against Hope: A Memoir, trans. Max Hayward (New York: Atheneum, 1970), 48. 28. Manuel José Prieto, “Reading Mandelstam on Stalin,” New York Review of Books 42/10 (June 10, 2010), 68–72 (69). 29. Jan Kochanowski, Laments, trans. Stanislaw Baranczak and Seamus Heaney (New York: Farrar, Straus and Giroux, 1995), 21. 30. See Arthur F. Marotti, “Manuscript Transmission and the Catholic Martyrdom Account in Early Modern England,“ in Print, Manuscript, and Performance: The Changing Relations of the Media in Early Modern England, ed. Arthur F. Marotti and Michael D. Bristol (Columbus: State University Press, 2000), 172–99. 31. Nicholas Fogg, Hidden Shakespeare: A Biography (Amberley: Stroud, 2012), 94. 32. Ben Jonson, Sejanus, ed. Jonas A. Barish (New Haven: Yale University Press, 1965), 87. 33. For these examples, see Bruce Danner, Edmund Spenser’s War on Lord Burghley (Basingstoke: Palgrave Macmillan, 2011), 161–63. 34. Brian Morton, Shostakovich: His Life and Music (London: Haus Books, 2006), 56. For the composer’s own account of his Fifth Symphony with its deceptively tragic finale, see Testimony: The Memoirs of Dmitri Shostakovich, ed. Solomon Volkov and trans. Antonina W. Bouis (New York: Limelight Editions, 2004), 183.

3 “A Dog’s Obeyed in Office”: Subverting Authority in Shakespeare’s King Lear and Grigori Kozintsev’s Korol’ Lir

1. See Phebe Jensen, “, Festivity and Community: The Simpsons at Gowlthwaite Hall,” in Region, Religion and Patronage: Lancastrian Shakespeare, ed. Richard Dutton, Alison Findlay, and Richard Wilson (Manchester University Press, 2003), 101–20. For the Nidderdale incident and its legal fall-out, see also John L. Murphy, Darkness and Devils: Exorcism and King Lear (: Ohio University Press, 1984), 93–118. 2. Diarmaid MacCulloch, The Later Reformation in England, 1547–1603 (New York: St Martin’s Press, 1990), 144. 3. See , The Gunpowder Plot: The Narrative of Oswald Tesimond alias Greenway, trans. Francis Edwards, SJ (London: The Folio Society, 1973), 36. 232 Notes to Chapter 3

4. Peter Lake, “From Leicester his Commonwealth to Sejanus his Fall: Ben Jonson and the Politics of Roman Catholic Virtue,” in Catholics and the “Protestant Nation”: Religious Politics and Identity in Early Modern England, ed. Ethan Shagan (Manchester University Press, 2005), 128–61 (138). 5. Alan Haynes, The Gunpowder Plot (Stroud: The History Press, 2010), 132. 6. Stefania Tutino, Empire of Souls: and the Christian Commonwealth (Oxford University Press, 2010), 129. 7. See Donna B. Hamilton, Shakespeare and the Politics of Protestant England (Lexington: University of Kentucky Press, 1992), chapter 6. 8. John Edwards, Mary I: England’s Catholic Queen (New Haven: Yale University Press, 2011), 46–47. 9. Jacobus de Voragine, The Golden Legend: Readings on the , trans. William Granger Ryan (Princeton University Press, 1993), vol. 1, 369. 10. See The Norton Anthology of English Literature, ed. Stephen Greenblatt and M.H. Abrams (New York: W.W. Norton, 2006), eighth edition, 1472, footnote 8. 11. Quoted from Karen Winstead, Chaste Passions: Medieval English Virgin Martyr Legends (Ithaca: Cornell University Press, 2000), 83. 12. Stephen Greenblatt, “A Man of Principle,” New York Review of Books LIX/4 (March 8, 2012), 4–6 (6). 13. See Helen Cooper, Shakespeare and the Medieval World (London: Methuen, 2010), 137. 14. Stephen Greenblatt, Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England (Berkeley: University of California Press, 1988), 121–22. 15. The Diary of Baron Waldstein: A Traveller in Elizabethan England, trans. and annotated by G.W. Groos (London: Thames and Hudson, 1981), 25. 16. See Christopher Fletcher, Richard II: Manhood, Youth, and Politics, 1377–99 (Oxford University Press, 2010), 3. 17. Gary Taylor, “Monopolies, Show Trials, Disaster, and Invasion: King Lear and Censorship,” in The Division of the Kingdoms: Shakespeare’s Two Versions of King Lear, ed. Gary Taylor and Michael Warren (Oxford University Press, 1983), 75–119 (104). 18. Katharine Goodland, “Inverting the Pietà in Shakespeare’s King Lear,” in Marian Moments in Early Modern British Drama, ed. Regina Buccola and Lisa Hopkins (Aldershot: Ashgate, 2007), 47–74. 19. Peter Holland, “Two-dimensional Shakespeare: King Lear on Film,” in Shakespeare and the Moving Image: The Plays on Film and Television, ed. Anthony Davies and Stanley Wells (Cambridge University Press, 1994), 50–68 (62). 20. William Shakespeare, King Lear, ed. Kenneth Muir (Cambridge, MA: Harvard University Press, 1952 ), liii. 21. Quoted from Martin Amis, Koba the Dread: Laughter and the Twenty Million (New York: Vintage, 2002), 66. 22. A similar moment of Byzantine power characterized the Belarus production of King Lear at the International Shakespeare Festival held at Shakespeare’s Globe Theatre in London on May 17 and 18, 2012: when Lear extends his steel gauntlet like a prosthetic hand, Goneril and Regan respond by kissing his metallic fingers. 23. See Andreas Höfele, Stage, Stake, and Scaffold: Humans and Animals in Shakespeare’s Theatre (Oxford University Press, 2011). Notes to Chapter 4 233

4 “Faith, Here’s an Equivocator”: Language, Resistance, and the Limits of Authority in Shakespeare’s and Tom Stoppard’s Cahoot’s Macbeth

1. For the sacerdotal use of equivocation, see Holmes, Resistance and Compromise, 121–24. 2. For a reading of Macbeth which presents Malcolm as the true hero of the play and the play as an endorsement of his equivocation, see Richard C. McCoy, “Spectacle and Equivocation in Macbeth,” in Spectacle and Public Performance in the Late Middle Ages and the Renaissance, ed. Robert E. Stillman (Boston: Brill, 2006), 145–56. For Macbeth’s “all too literalistic” imagination, see Donald Foster, “Macbeth’s War on Time,” English Literary Renaissance 16 (1986), 337. 3. See Gary Wills. Jesuits and Witches: Shakespeare’s Macbeth (Oxford University Press, 1996). 4. See Henry N. Paul, The Royal Play of Macbeth: When, Why, and How it was Written by Shakespeare (New York: Macmillan, 1950). 5. See, for example, Michael Hawkings, “History, Politics, and Macbeth,” in Focus on Macbeth, ed. John Russell Brown (London: Routledge and Kegan Paul, 1982); Alan Sinfield, “Macbeth: History, Ideology, and Intellectuals,” in Faultlines: Cultural Materialism and the Politics of Dissident Reading (Berkeley: University of California Press, 1992), 95–108. 6. See Nicholas Brooke’s introduction to the Oxford edition of Macbeth (Oxford University Press, 1990), 73. 7. See Nick Aitchison, Macbeth: Man and Myth (Stroud: Sutton, 1999). 8. See the introduction to Robert Miola’s edition of Macbeth (New York: W.W. Norton, 2004). 9. For an excerpt from this treatise, see Miola, Macbeth, 154–59. 10. Quoted from James Simpson, Burning to Read: English Fundamentalism and Its Reformation Opponents (Cambridge, MA: Harvard University Press, 2007), 153. 11. For the homily, see Miola, Macbeth, 148–54. 12. John Bossy, Christianity in the West 1400–1700 (Oxford University Press, 1985), 99. 13. Robert Southwell, Collected Poems, ed. Peter Davidson and Anne Sweeney (Manchester: Carcanet Press, 2007), 14. 14. René Weis, Shakespeare Unbound: Decoding a Hidden Life (New York: Henry Holt, 2007), 353–54. 15. For a favorable view of Garnet that contradicts the Protestant mythology of the evil Jesuit, see Robert Miola, “Two Jesuit Shadows in Shakespeare: and Henry Garnet,” in Shakespeare and Religion: Early Modern and Postmodern Perspectives, ed. Ken Jackson and Arthur F. Marotti (University of Notre Dame Press, 2011), 25–45. 16. Sarah Beckwith, Signifying God: Social Relation and Symbolic Act in the York Corpus Christi Plays (University of Chicago Press, 2001), 137. 17. James Travers, Gunpowder: The Players behind the Plot (Kew: National Archives, 2005), 110–11. 18. See The Pelican Shakespeare, ed. Stephen Orgel (London: Penguin Books, 2000), xxxviii. 234 Notes to Chapter 5

19. Jonathan Dollimore, “Dr Faustus (c. 1589–92): Subversion through Transgression,” in Christopher Marlowe, Doctor Faustus (London: W.W. Norton, 2005), 323–32 (326). 20. On anti-Marian iconoclasm, see Gary Waller, The Virgin Mary in Late Medieval and Early Modern English Literature and Popular Culture (Cambridge University Press, 2011), chapter 1. 21. For murder and masculinity, see Mary Beth Rose, Gender and Heroism in Early Modern English Literature (University of Chicago Press, 2004). 22. Franz Kafka, “Before the Law,” in Collected Stories, trans. Willa and Edwin Muir (New York: Everyman’s Library, 1993), 175. 23. Peter C. Herman, “Macbeth: Absolutism, the Ancient Constitution, and the Aporia of Politics,” in The Law in Shakespeare, ed. Constance Jordan and Karen Cunningham (Basingstoke: Palgrave Macmillan, 2007), 208–32 (218). 24. Václav Havel, Selected Plays 1963–83 (London: Faber and Faber, 1992), 209. 25. Maik Hamburger, “Shakespeare the Politicizer: Two Notable Stagings in East Germany,” in Shakespeare in the Worlds of Communism and Socialism, ed. Irena R. Makaryk and Joseph G. Price (University of Toronto Press, 2006), 205–9 (205–6). 26. Quoted from Jill L. Levenson, “Stoppard’s Shakespeare: Textual Re-visions,” in The Cambridge Companion to Tom Stoppard, ed. Katherine F. Kelly (Cambridge University Press, 2001), 154–70 (163). 27. John Bull, “Tom Stoppard and Politics,” in The Cambridge Companion to Tom Stoppard, ed. Katherine F. Kelly (Cambridge University Press, 2001), 136–53 (142). 28. Tom Stoppard, “Prague: The Story of the Chartists,” New York Review of Books (August, 1977), 14–15. 29. Orlando Figes, “A Double Game with Stalin,” New York Review of Books LIX/1 ( January 12, 2012), 32–34 (33). 30. Ira Nadel, Tom Stoppard: A Life (New York: Palgrave Macmillan, 2002), xiv. 31. See Annabel Patterson, “‘All is True’: Negotiating the Past in Henry VIII,” in Elizabethan Theater: Essays in Honor of S. Schoenbaum, ed. R.B. Parker and S.P. Zitner (Newark: University of Delaware Press, 1996), 147–66. 32. Tom Stoppard, Rock ’n’ Roll (New York: Grove Press, 2006). 33. Václav Havel, Largo Desolato: A Play in Seven Scenes. English version by Tom Stoppard (New York: Grove Weidenfeld, 1987), 51. 34. See Ernest Gellner, “The Price of Velvet: On Thomas Masaryk and Václav Havel,” Telos 94 (Winter 1992–93), 183–92 (92). See also Alfred Thomas, The Labyrinth of the Word: Truth and Representation in Czech Literature (Munich: Oldenbourg, 1995), chapter 10.

5 “In Fair Bohemia”: The Politics of Utopia in Shakespeare’s The Winter’s Tale and Ingeborg Bachmann’s “Bohemia Lies on the Sea”

1. See the excellent introduction to The Winter’s Tale, ed. Stephen Orgel (Oxford University Press, 1996), 1–83. 2. Zdeneˇk Strˇíbrný, “Place and Time in The Winter’s Tale,” in The Whirligig of Time: Essays on Shakespeare and Czechoslovakia (Newark: University of Delaware Press, 2007), 148–62: “In Shakespeare’s England, there existed at Notes to Chapter 5 235

least two very different notions of Bohemia: one was historical, the other artistic or fictional” (148). 3. Michel Foucault, “Of Other Spaces,” Diacritics 16 (1986), 22–27 (24). 4. Jerzy Limon, Gentlemen of a Company: English Players in Central and Eastern Europe, 1590–1660 (Cambridge University Press, 1985), 149. 5. See Zdeneˇk Strˇíbrný, Shakespeare and Eastern Europe (Oxford University Press, 2000), 19–20. 6. R.J.W. Evans, Rudolf II and His World (London: Thames and Hudson, 1997), 70. 7. Josef Polišenský, The Thirty Years War, trans. Robert Evans (Berkeley: University of California Press, 1971), 49. 8. For Rudolf’s life and times, see Evans, Rudolf II and His World. 9. See Paula Sutter Fichtner, Emperor Maximilian II (New Haven: Yale University Press, 2001). 10. Peter Marshall, The Magic Circle of Rudolf II: Alchemy and Astrology in Renaissance Prague (New York: Walker, 2006), 91–92. 11. Hugh Trevor-Roper, Princes and Artists: Patronage and Ideology at Four Habsburg Courts 1517–1633 (London: Thames and Hudson, 1991), 90. 12. See Katherine Duncan-Jones, Sir , Courtier Poet (New Haven: Yale University Press, 1991), 120–30; Alan Stewart, Philip Sidney: A Double Life (London: Pimlico, 2001), 173–78. 13. Christopher Marlowe, The Complete Plays, ed. Frank Romany and Robert Lindsey (London: Penguin Books, 2003), 348. 14. Quoted from , Edmund Campion: A Biography (London: John Hodges, 1896), 121. 15. Josef Polišenský, “England and Bohemia in Shakespeare’s Day,” in Shakespeare and His Contemporaries: Eastern and Central European Studies, ed. Jerzy Limon and Jay L. Halio (Newark: University of Delaware Press, 1993), 189–204 (194). 16. William Cardinal Allen, A Briefe Historie of the Glorious Martyrdom of Twelve Reverend Priests Father Edmund Campion and His Companions (London: Burnes and Oates, 1907), 7. 17. Julia Reinhard Lupton, Afterlives of the Saints: Hagiography, Typology, and Renaissance Literature (Stanford University Press, 1996), 197. 18. Stephen Greenblatt, Marvelous Possessions: The Wonder of the New World (University of Chicago Press, 1991), 25. 19. Raphael Lyne, Shakespeare’s Late Work (Oxford University Press, 2007), 7. 20. See Shakespeare’s Britain, ed. Jonathan Bate and Dora Thornton, with Becky Allen (London: British Museum Press, 2012), 34–35. 21. Robert S. Miola (ed.), Early Modern Catholicism: An Anthology of Primary Sources (Oxford University Press, 2007), 201. 22. Ruth Vanita, “Mariological Memory in The Winter’s Tale and Henry VIII,” Studies in English Literature 40 (2000), 311–37. 23. Ingeborg Bachmann, “Bohemia Lies on the Sea,” in Darkness Spoken: The Collected Poems, trans. Peter Filkins (Brookline, MA: Zephyr Press, 2006), 616–17. 24. Alfred Thomas, Prague Palimpsest: Writing, Memory, and the City (University of Chicago Press, 2010), 145. 25. Herzzeit: Ingeborg Bachmann—Paul Celan: Der Briefwechsel (Frankfurt am Main: Suhrkamp Verlag, 2008), 14 (my translation). 236 Notes to Epilogue

26. Poems of Paul Celan, trans. Michael Hamburger (New York: Persea Books, 1988), 219. 27. John Felstiner, Paul Celan: Poet, Survivor, Jew (New Haven: Yale University Press, 2001), 287.

Epilogue

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NOTE: Page numbers in italics refer to illustrations. Shakespeare’s plays are indexed under their individual titles. Titles given as index headings are plays unless otherwise indicated. absolutism of monarchs and rulers animals and barbarism dangers of criticism, 49, 50 in Bulgakov’s The Heart of a Dog, Henry VIII as precedent for 136–7 totalitarianism, 30 in Kozintsev’s King Lear, 136 James I and divine right of kings, Anne, St, mother of the Virgin Mary, 151–2, 169, 171 166 demonization of opponents, 165 Anne of Denmark, queen of Scotland Jonson’s critique in Sejanus his and England, 207, 208 Fall, 40, 101–2 Anthony, St, 153 and Renaissance thought, 150–2 Aquinas, St Thomas, 83 Shakespeare’s resistance to, 170, 183 Arcimboldo, Guiseppe, 192 Cordelia in King Lear, 22, 103–5, Arden, Robert, 194, 203 108–9, 131–3 Arundel, Thomas, archbishop of and Hamlet, 69, 78 Canterbury, 115 and Macbeth, 143, 167, 169 asides and dissenting messages, 40 and Richard II, 46, 53 Asquith, Clare, 4–5 Act of Uniformity (1559), 30 atheism: Marlowe as danger to “Aesopian language” society, 48, 49 Kozintsev’s Hamlet, 73–4 Atkinson, Robert, 19, 191 of Shakespeare, 14, 15, 53–4, 56 attainder system in England, 27–8 Catholic motifs in The Winter’s Austria Tale, 201–10 Bachmann’s uneasy relationship and subversion, 55–6, 92, 135 with, 210, 213, 214–15 see also distant settings; see also Habsburg Empire equivocation avant-garde theater, 3–4 Agatha, St, 205 Akhmatova, Anna, 63–4, 93 Babington, Sir Anthony, 55 Alamanni, Luigi, 65 Bachmann, Ingeborg, 6, 25, 224 alchemy in Bohemia, 199 “Bohemia Lies on the Sea”, 210–16 Alford, Stephen, 55, 196 “Prague, January ’64”, 214 Allen, William, Cardinal, 195–6 Bacon, Sir Francis, 18 Alliluyeva, Nadezhda, 132 Baer, Brian James, 56 Almereyda, Michael, 219, 220–1, 222, Baines, Richard, 36 224 barbarism in Kozintsev’s King Lear, ancient Rome 133–7 European Union parallels in film, Barlow, Ambrose, 1–2 222–3 Barton, Elizabeth (Nun of Kent), 28 see also Jonson: Sejanus his Fall Bate, Jonathan, 9 Andrewes, Lancelot, 151 Bates, Thomas, 144, 159

247 248 Index bears, 136, 137 Brooke, Nicholas, 143 Beauregard, David, 200, 215 Browne, Robert, 189 Becket, Thomas, archbishop of Browne Hours, 41 Canterbury, 27, 41, 42, 217 Brownlow, Frank, 121, 122 Beckett, Samuel, 3, 128 Bukharin, Anna Larina, 79, 135 Beckwith, Sarah, 158, 161 Bukharin, Nikolai, 39, 41, 43, 79 “bending author”: Shakespeare’s Bulgakov, Mikhail, 182 ambiguity, 44–6, 47, 48, 54–5, The Heart of a Dog, 136–7 57, 175 Master and Margarita, 56, 68, 80 Beria, Lavrenti Pavlovich, 135 Bull, John, 189 Berlin, Isaiah, 67 Bunton, Mary, 37 birds: imagery of imprisonment and Burghley, Lord see Cecil, William freedom, 73–4 burial rites of Catholics Blanshard, Paul, 12 church burials denied to Catholics, Blyukher, Marshal Vasily, 135 71, 72 Bohemia excess of grief and King Lear, 124 early modern English actors in, suicide and burial issues in Hamlet, 189–90 71–2 and reputation for religious Bye Plot (1604), 123 tolerance, 19, 24–5, 113–14, Byrd, William, 94, 218 190–1, 192–4, 196–8 as setting for The Winter’s Tale, 24, Cabala and flowering of Jewish 188–210 culture, 192–3 and Catholic motifs, 201–10 Calvinism Shakespeare’s knowledge of, 188–9, and Marlowe’s Doctor Faustus, 24, 194–5, 196–8 48, 84, 155–7, 164, 165 as utopian setting, 24–5, 198–9, predestination doctrine, 153–4, 156, 210, 211–12, 216 157 see also Czechoslovakia Cambridge University in Elizabethan era Bokenham, Osbern, 206 exiled academics, 44 Boleyn, Anne, queen of England, recruitment of spies, 37, 38 28–30, 204, 206 Campbell, Archie, 110 Boleyn, George, Viscount Rochford, 29 Campion, Edmund, 17, 31, 49, 92, Book of Common Prayer, 158 109 Books of Hours and self-censorship, “Campion’s Brag” and appeal for 41–2 tolerance, 25, 34, 85 Bottinge, Joan, 37 disguise and pursuit on entry into Bozon, Nicole, 68–9 England, 56–7, 67, 114 Bradbury, Ray: Fahrenheit 451, 15 false charges against, 8–9 Bradley, David, 14–15 and Jesuit mission, 195–6 Brereton, William, 29 lament for death of, 88 Brezhnev, Leonid, 21, 22–3, 43, 96, letter to Robert Arden, 194–5, 203 127, 129, 179 in Prague, 24–5, 190–1, 194–6 Brodsky, Josef, 61 trial and execution, 196, 197 Bromyard, John, 69 use of tear imagery, 202 Brook, Peter, 4, 20 capitalism Hamlet staging, 59 and productions of Shakespeare in King Lear film, 127–9, 132, 133, 138–9 US, 219 King Lear stage production, 128, 129 and tone of Shakespeare’s plays, 47 Index 249

Carleton, Sir Dudley, 117 ambiguity as “bending author”, Catesby, Robert, 208 44–6, 47, 48, 54–5, 57, 175 Catherine II, empress of Russia, 61 equivocation and Macbeth, 23–4, Catholicism 141–71, 175, 180–1 distrust of minority religions in US, Hermione as Counter- 12, 17 Reformation figure in The and historical accounts of early Winter’s Tale, 187–8, 203, 204, modern period, 2, 9, 217–18 206–7 motifs of grief and tears, 124, 202 Marian motifs in The Winter’s persecution in 1950s Tale, 187–8, 200–1, 203, 207, Czechoslovakia, 8 208, 209 persecution and oppression in early reflection of Catholic/Protestant modern England, 1–2, 6–7, 8, divide in The Winter’s Tale, 10, 31–44 200–10 church as locus of surveillance, see also Jesuit mission in England; 37–8 King Lear (play): as recusant denunciation by friends and drama; ; recusant family, 37 literature; Shakespeare: Catholic disguise and self-preservation, background 56–7, 67, 68, 111, 114, 141, 201 Cazden, Norman, 13 and exile in Catholic Europe, 43, Cecil, Sir Robert, 39, 42, 54, 76, 92 44, 72, 74, 92, 114, 123, 189, Cecil, William, Lord Burghley, 31, 38, 196–8, 206 42, 54, 76, 92, 101, 198 imprisonment and prison Celan, Paul, 211–12 metaphor, 74, 123–4 “In Prag”, 212 insanity label, 56 Celan-Estrange, Gisèle, 212 memory and dissident writing, censorship 84–7 ban on The Tragedie of Gowrie, and necessity of equivocation, 149–50 142, 152–60, 183–4 effect of McCarthy witch hunts on recusants and external conformity, film in US, 14 39, 98, 216 evasion by publication abroad, 66–7 resistance of recusant women to and exile of dissident writers, 10, torture and trial, 205 43, 50, 61 stigmatization, 32–3 and More’s execution, 66 torture of Jesuits, 63, 90, 92, 196 and multivalent meanings of see also Cold War: parallels with Richard II, 46 early modern England political satire in King Lear, 117–18 and Protestant proscription of self-censorship of devotional texts, doctrine of purgatory, 81–2, 84, 41–2 86, 87 severity in Elizabethan England, 49 religious divisions after Reformation, response to Isle of Dogs, 110 13–14, 17, 30–1 strategies of writers, 10, 22 and families, 37, 102–3, 104, 132 temporary easing in Shakespeare’s ambivalent view of, Czechoslovakia, 178, 179 180, 217 Charles I, king of Great Britain, 1 and Shakespeare’s coded politics Charles V, Holy Roman Emperor, 27, in plays, 5, 22, 51–3, 56–7, 68, 204 86–7 Charles of Habsburg, Archduke, 189 250 Index

Charter ’77 dissidents, 172, 177, confession and Protestant state, 179–80 107–8, 147 Christ Conquest, Robert, 132 absence from Macbeth, 161–2 Cooper, Helen, 118–19, 121 and Incarnation doctrine, 153, 156 Coriolanus (film), 222–3, 224 King Lear imagery Coriolanus (play), 44, 108, 223–4 mocking of Christ, 118–19, 119 corporate power and Almereyda’s Pietà imagery, 99, 124–6, 125 Hamlet, 219, 222 Poor Tom and Man of Sorrows, Cromwell, Thomas, 29, 30, 37, 41 111, 112 cults, 36 Christian IV, king of Denmark, 142 Stalin’s cult of personality, 40–1, see Protestantism 89, 93 Churchill, Winston, 133 Cymbeline and Oath of Allegiance, Clare, Janet, 46, 49, 71 104 Clitherow, Margaret, 6, 7, 8, 72, 108, Czechoslovakia, 7–8 109, 121, 124, 205 camouflaged film setting for story clowns of Czech Holocaust, 134–5 and Autolycus figure in The Winter’s hanging of Jews as traitors, 42 Tale, 190 “Normalization” regime of Husák, and subversive messages, 182–3 127, 173 see also fools Prague Spring and Warsaw Pact Coke, Sir Edward, 43, 142, 152, 155, invasion, 10, 43, 50, 61, 127, 171 178–9 Cold War and parallels with early and Stoppard’s Cahoot’s Macbeth, modern England, 4–5, 6, 7–8, 172–83 8–9, 10–16 Thaw in early 1960s, 213–14 historical context, 26–57 writers as dissidents, 10, 43, 44, Kozintsev’s Hamlet, 58–96 49–50 and religion, 16–19 and need for equivocation, 184–6 Stoppard’s Cahoot’s Macbeth, 172–83 see also Bohemia; Havel subversive appropriation of Shakespeare in Communist Daniel, Yuli, 50, 61 countries, 2–3, 19–25, 57, Darnebrook, Marmaduke, 97 58–96, 175–6, 218–19 Davies, Richard, 37 collective memory, 81, 82, 83, 85, 86 death Collinson, Patrick, 158 as equalizer in Hamlet, 68–9, 69–70 collusion and Stoppard’s Cahoot’s memory and responses to in Macbeth, 173–4, 182 Hamlet, 81–3 comedy see also ghosts; martyrs Inspector in Stoppard’s Cahoot’s Death of Stalinism in Bohemia, The Macbeth, 172–3, 183 (film), 69 Jewish clown figure and subversive Declaration of True Causes, A (Catholic messages, 182–3 tract), 92 Porter’s speech in Macbeth, 141, Dee, John, 192, 193, 198, 199 161, 172, 173, 182 Dekker, Thomas, 53 and The Winter’s Tale, 190, 199 demonization Communist Eastern Europe see Cold in Cold War era, 13 War; Czechoslovakia; Soviet Jews in popular culture in Union; Stalin Elizabethan era, 42 Index 251

opponents of James I’s absolute eirenic movement, 19 rule, 165 Eliot, George, 17, 202 see also stigmatization Elizabeth I, queen of England denunciation approaches to Rudolf II, 193 in early modern England, 3, 36–8, 39 declining years of reign, 96 mercenary motivation, 100, 121 illegitimacy, 206 parallels in King Lear, 99–100, 121 imperial attitude toward Scotland, parallels with Soviet Russia, 36–7, 43 38–9, 133–4 James as successor, 159–60 and recusant performance of King myth of moderation, 7, 26, 83 Lear, 97, 121 Rainbow Portrait, 90, 91 detention without trial in Elizabethan religious persecution and repressive England, 32, 55 regime, 6–7, 8–9, 30–3, 75, 113, Devereux, Robert, earl of , 99 151 Devlin, Christopher, 31, 34, 76, 159 demonization of Jews in popular devotional texts and self-censorship, culture, 42 41–2 detention without trial, 32, 55 Diamonds of the Night (film), 134–5 espionage, 36–7, 38, 167–8, 196 Digby, Everard, 144, 145–6, 145 excommunication and anti- Discoverie of a Gaping Gulf Whereinto Catholic policies, 43–4, 47, England is like to be Swallowed, 54–5, 121 The (tract), 49 proscription of purgatory, 81–2, disguise 84, 86, 87 and self-preservation in early modern stringent censorship, 10, 49, 110 England, 68, 111, 141, 201 and Shakespeare’s works, 46–7 Campion’s return, 56–7, 67, 114 condemnation in King Lear, 121 distant locations as disguise for meaning of Titus Andronicus, 54–5 contemporary events, 6, 53, message of Richard II, 53 88–9, 113, 150, 224 parallels with Claudius’s regime see also Bohemia; past as disguise in Hamlet, 90–2, 96 for contemporary events Elizabeth: The Golden Age (film), 12 divine right of kings and James I, Elizabeth, Stuart, queen of Bohemia, 151–2, 169, 171 190 “Doctors Plot”, 42 Elton, Sir Geoffrey, 27 Dollimore, Jonathan, 164, 218 emigration and exile Donaldson, Ian, 40, 110, 160 Bachmann’s uneasy relationship Doran, Gregory, 221, 222, 224 with Austria, 210, 213, 214–15 Dorothy, St, 206 dissident writers and intellectuals, Drayner, Justice, 37–8 10, 43, 50, 61 Drescher, Piet, 175–6 returnees from Stalin’s labor Drummond, William, 18 camps, 79–80, 89 Dubcˇek, Alexander, 43, 178–9 English Catholics, 43, 44, 72, 74, Duffy, Eamon, 26, 41, 217, 218 92, 114, 189, 196–8, 206 Duncan-Jones, Katherine, 193 Shakespearean characters in exile, Dutton, Richard, 42 44 dystopian literature and dissent, 15–16 Perdita in The Winter’s Tale, 188–9, 194, 206 Edict of Nantes (1589), 32 Enlightenment and genealogy of state Edward VI, king of England, 30 power, 10–11 252 Index equivocation Ferdinando, Lord Strange, 39 Havel and situation of Czech Fiennes, Ralph, 222–3, 224 dissidents, 184–6 Figes, Orlando, 182 and Macbeth, 23–4, 141–71, 175, 180–1 film industry and McCarthyism in in Marlowe’s Faustus, 48 US, 14 necessity in early modern England, First Succession Act (1534), 27 152–60, 183–4 Fisher, John, 27 and Garnet’s A Treatise against flattery and folly in King Lear, 115–16, Lying, 23, 142 130 Gerard’s defence of, 152–3 Fogg, Nicholas, 89 Shakespeare as “bending author”, fools 44–6, 47, 48, 54–5, 57, 175 and counter-discourse in King Lear, and Stoppard’s Cahoot’s Macbeth, 109–14, 117–18 24, 173 in English court, 110 ambivalent view of Czech recusants labelled as, 67–8, 109 dissidents, 174–80, 184 see also clowns criticism of British audience, 181–3 Forman, Simon, 208 recognition of equivocation in Foucault, Michel, 10–11, 189, 219–20 Shakespeare’s work, 175 Frank, Anne, 6 see also “Aesopian language” Frederick of the Palatine (Winter espionage King), 190 in Elizabethan England, 36–7, 38, free will and Catholic doctrine, 167–8, 196 153–4, 156 references in Shakespeare’s plays, Freud, Sigmund, 58 38, 168 fundamentalism James I’s absolutist rule, 167, 168 doubt and atheism in Marlowe, see also surveillance practices 155–6, 157, 164, 165 Esslin, Martin, 3 and literalism in Macbeth, 12–13, exile see emigration and exile 23–4, 163–6, 167, 169–70 Scripture and Protestant literalism, fables see “Aesopian language” 153, 157 Fainberg, Viktor, 127, 177 funerals see burial rites of Catholics families and religious divide in early modern Gaddafi, Colonel Muammar, 220 England, 37, 102–3, 104, 132 Gamlet see Hamlet (film) reflection in The Winter’s Tale, Garnet, Henry, 34, 35, 35, 74, 205 200–10 on families and anti-Catholic Stalin’s Terror and state control of, legislation, 102–3 132, 133–4 Gerard’s loyalty under interrogation, fanaticism, 34 120 Fawkes, Guy, 121, 146, 162 references in Macbeth, 23–4, 141–2, FBI, 13, 14 143–4, 147–8, 158, 181 Felsenstein, Frank, 42 A Treatise against Lying, 23, 142, Feltrenelli, Giangiacomo, 67 148 female saints trial and execution, 23, 143–4, 148, virgin martyrs 155, 159, 168 and King Lear, 106–9, 124 use of invisible ink, 18 and recusant women, 124, 205–6 Gellner, Ernest, 186 and The Winter’s Tale, 187–8 Gennings, Edmund, 51 Index 253

Gerard, John as stage-managed artifice, 42, 54 defence of equivocation, 152–3 trials and executions of plotters, 35, disguise as falconer, 68 41, 43, 107, 143–8, 144 interrogation and torture, 63, 88, state equivocation and forged 120 confessions, 159 parallels with stories of Jews and see also Garnet dissidents in twentieth century, Guy, John, 75, 76 6–7, 33, 111–13 as survivor, 92 Habsburg Empire and religious use of invisible ink, 85 tolerance, 19, 32, 114, Gerard, Sir Thomas, 33 192–4 ghosts see also Austria; Bohemia Catholic belief in, 187, 201–2, 209 Haigh, Christopher, 26, 44 in Hamlet, 77–80, 81–2, 84, 86, 87 Hall, Peter: Hamlet staging, 59 Ginzburg, Eugenia, 38–9 Hamilton, Donna B., 104 Goldman, Wendy, 36, 39 Hamlet (film) (Almereyda, 2000), 219, Goodland, Katharine, 124 220–1, 222, 224 Goold, Rupert, 5, 224 Hamlet (film) (Doran, 2009), 221, 222, Gordon, George, earl of Huntly, 115 224 Gower, John, 115 Hamlet (film) (Gamlet, Kozintsev, Gowrie family and James I, 149 1964), 20, 21–2, 40, 58–96, 70, Grant, John, 144 221, 222, 223, 224 Greenblatt, Stephen, 9, 68, 86, 108, father’s ghost and ability to speak 149–50, 170, 191, 195, 198 out, 77–80 Greene, Graham, 112–13 imagery of prison, 22, 73–4 Greene, Robert: Pandosto: The Triumph imagery of state oppression, of Time, 188 73–5 grief official approval, 61 Catholic display of, 202 parallels between Claudius and in King Lear, 124 Stalin, 75–6, 88–93 collective grief in Kozintsev’s King and cult of personality, 89, 93 Lear, 139 and play-within-a-play, 88–9 Grindal, Edmund, archbishop of York, and surveillance, 89–90 10 parallels with Elizabethan England, Grünewald, Matthias: The Mocking of 90–2, 96 Christ, 118, 119 and Pasternak’s translation, 61, Guantanamo Bay detention camp, 11, 63–5, 67 157, 221 silence as subversion, 59, 60, 73, gulag imagery in Kozintsev’s King 75–6, 93, 94–5 Lear, 130 “to be or not to be” speech, 21, Gunpowder Plot (1605) 80–1 and Catholic motifs in The Winter’s Hamlet (film) (Olivier, 1948), 58–9, Tale, 208 79, 89, 90, 95, 222 influence on Shakespeare’s writing, Hamlet (play) 23, 126, 141–2, 143–8, 162 characters in exile, 44, 50 and James I, 41, 54, 90, 121, 126, as conflicted character, 14, 21 143 and feigned madness, 56, 68, 70 and polarization in political and and interpretations in Communist religious life, 34, 143–4 Europe, 21–2, 58–96 254 Index

Hamlet (play) – continued Hesketh Plot (1593), 39, 198 Shakespeare’s political-religious Hingley, Ronald, 52, 61–2 subtext, 62–3, 70–2, 157–8, 221–2 history father’s ghost and collective Protestant view of, 2, 9, 217–18 memory, 86 see also past as disguise for father’s ghost and doctrine of contemporary events purgatory, 81–2, 84, 86, 87 Hodge, John: Collaborators, 182 Ophelia’s madness and Catholic Holbeach House (Staffordshire), 208 subtext, 70–1 Holinshed, Raphael: Chronicles of parallels between Claudius and England, 148, 171 Elizabeth, 90–2, 96 “holy fool” tradition, 109, 111 Polonius as Burghley, 76 Hooker, Richard, 19, 164–5 spies and surveillance in, 38, 168 Hoover, J. Edgar, 8, 17 Stalin’s dislike of, 61–2, 88 House Unamerican Activities and technology and surveillance in Committee (HUAC), 8, 14 RSC production (2008), 221 Howard, Henry, earl of Northampton, “Hamletism” in nineteenth-century 54, 101 Russia, 62 Howard, Philip, earl of Arundel, 207 Harris, Elizabeth, 37 Howard, Thomas, duke of , 104 Harrowing of Hell, The (mystery play), Hrabal, Bohumil, 10 141, 161, 169 Hughes, Philip, 6, 7 Havel, Václav, 6, 10, 44, 49, 177, 180, Huguenots, 7, 32 184–6, 224 humanity and barbarism in Largo Desolato, 184–5 Kozintsev’s King Lear, 133–7 Vaneˇk plays, 173–4, 185–6 humor see comedy Havlícˇek-Borovský, Karel, 49 Hus, Jan, 195 Haynes, Alan, 143 Husák, Gustav, 127, 179 Hayward, John, 40 Hussein, Saddam, 220 Heimann, Mary, 178 Hytner, Nicholas, 182 Henri IV, king of France, 116, 118 Henry IV: Part II, 46–7 Ignatius Loyola, St, 203 Henry V (film), 45, 58 Ilyin, Viktor, 127 Henry V (play), 38, 44–6, 47 imprisonment Henry VIII, king of England, 151 detention without trial in Aesopian language of Sir Thomas Elizabethan era, 32, 55 More, 53 English Catholics and King Lear, coercive legacy, 26–30, 37 123–4 and confession as means of free imagery in Kozintsev’s Hamlet, 22, speech, 147 73–4 demands on daughter Mary, 104–5 purgatory as prison-house, 81–2 Peyto’s admonition from pulpit, “In the Wracks of Walsingham” 115–16 (anonymous poem), 166, 202, trial and execution of Sir Thomas 207 More, 28, 41, 66 Incarnation doctrine, 153, 156, 157 see also Protestant Reformation insanity see madness and dissenting Henry VIII: Or All is True, 184, 204, 207 messages Herbert, William, earl of Pembroke, 115 invisible ink, 18, 85 Herman, Peter, 170 Ionesco, Eugène, 3 Herod, King, 150, 161 Ives, Eric, 30 Index 255

James I, king of England (James VI of Jews Scotland), 43, 96, 98 flowering of Jewish culture under absolutism and divine right of Rudolf II, 192 kings, 151–2, 169, 171 Jewish clown figure in mystery demonization of opponents, 165 plays, 182 and Jonson’s critique in Sejanus, and Nazi persecution 39–40, 101–2 distant setting in Diamonds of the use of espionage, 167, 168 Night, 134–5 banishment of Jesuit and seminary precedent in treatment of priests, 114, 123 Catholics in early modern Catholic disillusionment with, England, 6–7, 32–3, 111–13 126 as outsiders in early modern and and equivocation of Macbeth, Communist eras, 42 142–3, 148–50, 161–2, 167, Jones, Inigo, 218 169–70, 171 Jonson, Ben, 18, 126, 153, 160, 183, equivocation and rise to power, 188, 210 159–60 “Inviting a Friend to Supper”, 37 and Gunpowder Plot, 41, 54, 90, Isle of Dogs (with Nashe), 17, 102, 121, 126, 143 110 and King Lear, 99, 103–4, 105, 109, The Masque of Queens, 191–2 115, 116–18, 121–3, 126 Sejanus his Fall, 39–41, 54, 92, poverty of courtiers and prevalence 100–2, 168, 220 of denunciation, 100 Volpone, 54 secret observance of trials, 41, 90, Julius Caesar (film) (Bradley, 1950), 143 14–15 and statue scene in The Winter’s Julius Caesar (film) (Mankiewicz, Tale, 208 1953), 14 and The Tragedy of Gowrie, 148–50 Julius Caesar (play), 47–8 The Trew Law of Monarchies treatise, 151 Kafka, Franz, 213–14 see also Oath of Allegiance Before the Law, 169, 171 Jenkins, David, 196 Kalandra, Záviš, 212 Jensen, Phebe, 97–8 Kamenev, 35–6 jesters in English court, 110 Katherine of Alexandria, St, 124, 205 Jesuit mission in England, 8, 98, 100 Katherine of Aragon, queen of banishment of Jesuit and seminary England, 41, 104, 116, 204, 206 priests, 92, 114, 123 Kelley, Edward, 198, 199 disguise on return, 56–7, 67, 68, 92, Kepler, Johannes, 192 111, 114 Kernan, Alvin, 23 and equivocation in Shakespeare’s Keyes, Robert, 142, 146 plays, 142, 147–8, 152, 157–8, KGB, 137 162, 173, 181 Khrushchev, Nikita, 9–10, 15, 59, interrogation and torture of priests, 60–1, 79, 95–6 63, 87–8, 90, 120, 196 Kilroy, Gerard, 26, 67–8, 74, 85, 158 parallels with World War II resist- King Lear (film) (Brook, 1971), 127–9, ance, 34 132, 133, 138–9 and state equivocation, 159 King Lear (film) (Korol’ Lir, Kozintsev, see also Campion; Catholicism; 1971), 20, 22–3, 75, 126–40, Garnet; Gerard 131, 134, 139, 222, 224 256 Index

King Lear (play), 33, 53–4, 97–140 film interpretations of Shakespeare, Belorussian production at 20, 21–2, 22–3, 40, 221, 223, Shakespeare’s Globe (2012), 224 218–19 see also Hamlet; King Lear film versions and political subtext, identification with Shakespeare, 126–40 57 interpretation in Communist Shakespeare: Time and Conscience, Europe, 20, 22–3, 126–40 20–1 king’s madness as anathema in Kriegel, František, 179 imperial Russia, 61 Kuchar, Gary, 54 as recusant drama, 4, 99–126 Kundera, Milan, 10, 43 Catholic motifs, 16 Kyd, Thomas, 49 characters in exile, 44, 114, 123 Christ-like imagery, 99, 111, 112, Lady World imagery, 70 118–19, 119, 124–6, 125 Lake, Peter, 6, 8, 100–1, 108 Cordelia’s resistance to father’s Larina, Anna, 79, 135 demands, 22, 103–5, 108–9, law and equivocation, 169–71 131–3 Lenin, Vladimir Ilyich, 5–6, 79 and excess of grief, 124 Life and Death of Mr Edmund Geninges and folly of flattery, 115–16 Priest, The (anonymous poem), and James I, 99, 103–4, 105, 109, 51 115, 116–18, 121–3, 126 Lincolnshire rising (1536), 28 madness as counter-discourse, literalism and Macbeth, 12–13, 23–4, 109–14, 117–18 162–7, 169–70 performance in Yorkshire in 1609, Lopez, Roderigo, 42 4, 22, 51, 97–8, 104, 121 lowly characters and controversial and pessimistic outlook for comments, 71 Jacobean Catholics, 125–6 see also clowns; fools Pietà imagery, 99, 124–6, 125 loyalty-security program in Cold War torture and punishment of US, 13 Catholics reflected in, 118–24 Lupton, Julia Reinhard, 4, 198 and virgin martyrs, 106–9, 124 Lustig, Arnošt, 134 resistance to absolute monarchy Luther, Martin, 68 and Cordelia in King Lear, 22, Lydgate, John, 55–6 103–5, 108–9, 131–3 The Churl and the Bird, 56, 73–4 Russian setting and depoliticization, Lyne, Raphael, 200, 204 224 Lyubimov, Yuri, 62 Tate’s happy ending, 58, 125 Kirov, S.M., 36 Macbeth, 14, 52, 141–86 Klause, John, 55 characters in exile, 44 Kochanowski, Jan, 83–4 Communist Russian setting and Kohout, Pavel, 19–20, 172, 177, 178, depoliticization, 5–6, 224 179–80 doubling in, 143, 154–5 Kolyma death camp, 130 East German production, 175–6 Korol’ Lir see King Lear (film) equivocation and mixed messages Kott, Jan, 3–4, 20, 128, 224 in, 141–71, 175, 180–1 Kozintsev, Grigori as commentary on James I, as cautious artist, 50 142–3, 148–50, 161–2, 167, disillusionment with politics, 60 169–70, 171 Index 257

Macbeth’s literal reading of Marshall, Richard, 114 Witches’ words, 12–13, 23–4, martyrs, 2, 34–6, 87–8, 92 162–7, 169–70 execution of monks at , 116 references to Henry Garnet, 23–4, King Lear and virgin martyrs, 106–9, 141–2, 143–4, 147–8, 158, 181 124 invisible elements in, 18 recusant women and virgin mar- paranoia and persecution of tyrs, 124, 205–6 dissenters, 12–13 writings on, 85 private performance in Czech see also Campion; Clitherow apartment, 19–20 Mary, mother of Christ see Marian resemblance to The Tragedie of imagery Gowrie, 148–50 Mary Magdalene, St, 202 and Stoppard’s Cahoot’s Macbeth, Mary, Queen of Scots, 33, 101, 159, 19–20, 24, 171–83 208 madness and dissenting messages, 56, Mary I (Mary Tudor), queen of 67–8, 78 England, 7, 30, 37–8, 43, and fool in King Lear, 109–14, 104–5, 206 117–18 Master of the Revels and censorship, Soviet dissidents in asylums, 127 49 Man of Sorrows imagery and Poor Mater dolorosa, 202 Tom in King Lear, 111, 112 Maximilian II, Holy Roman Emperor, Mandelstam, Nadezhda, 52, 79–80, 191 89, 93, 95 Mayne, Cuthbert, 31 Mandelstam, Osip, 38, 39, 41, 50, 52, McCarthy, Joseph, 9, 14, 15 74, 88, 137 see also House Unamerican “Stalin Epigram”, 79, 80, 93 Activities Committee (HUAC) Mankiewicz, Joseph, 14 McCoog, Thomas M., 34 Margaret of Antioch, St, 106–7, 106, McKellen, Ian, 224 205 Measure for Measure, 38, 191 Marian imagery memory Protestant iconoclasm, 166, 200 and Catholic rites for dead, 82 and recusant practice, 207–8 and Catholic writing in Elizabethan in The Winter’s Tale, 187–8, 200–1, era, 84–7 203, 207, 208, 209 collective memory, 81, 82, 83, 85, 86 Mariana, Juan de, 151 memorization as dissident action, Marlowe, Christopher, 17–18, 48, 53 79, 80–1 career as spy, 36–7 and responses to death in Hamlet, The Jew of Malta, 42 81–3 The Massacre at Paris, 48 Menzel, Jirˇí, 50 The Tragical History of Doctor mercantilism and tone of Faustus, 24, 48, 161, 193 Shakespeare’s plays, 47 as conflicted character, 14 Merchant of Venice, The, 33, 42, 47 and fundamentalist doubt, 155–6, Merkel, Angela, 17 157, 164, 165 Meyerhold, Vsevolod, 137 Jewish clown figure, 182, 183 Middleton, Thomas, 53 as victim of denunciation, 36 Miller, Arthur, 224 as warning of dangers of dissent, 57 The Crucible, 15 wide-reaching influence of plays, 48 Miola, Robert S., 56–7, 150, 153–4 Marshall, Peter, 192 “mirrors for princes” literature, 88, 115 258 Index mixed messages see equivocation Nelson, John, 31 moderation ideal in early modern Neˇmcová, Božena, 49 politics, 11–12, 19 Neˇmec, Jan, 134 myth in Elizabeth’s reign, 7, 26, 83 Nicholas I, emperor of Russia, 78 and need for equivocation, 158 Nicholls, Mark, 143 monarchs see absolutism of monarchs NKVD (precursor of KGB), 137 and rulers; power and individual non-verbal communication and monarchs Kozintsev’s Hamlet, 59, 93 monks: execution at Tyburn, 116 Norris, Sir Henry, 29 Montaigne, Michel de, 200 Northern Rebellion (1569), 31, 34, Monteagle, Lord see Parker, Sir 151 William Nunn, Trevor, 224 morality play tradition and King Lear, 99, 114–15 Oath of Allegiance (1606), 13–14, 22, More, Sir Thomas, 27, 109, 153, 197 98, 183 De Tristitia Christi, 28, 66–7 parallels in King Lear, 103–4, 105, 132 Dialogue of Comfort against Okhlopov, Nikolai, 22 Tribulation, 53 Oldcastle, Sir John, 46 trial and execution, 28, 41, 66, 157, Oldcorne, Father Edward, 35, 107, 168 113, 122, 142, 147, 168 Morley Hall, Astley, , 1, 2 Olivier, Laurence Morozov, Pavlik, 36 Hamlet film, 58–9, 79, 89, 90, 95, Morton, Brian, 94 222 Moryson, Fynes: Itinerary, 193–4 Henry V film, 45, 58 mourning, 83–4, 124 oral transmission of subversive texts, Muir, Kenneth, 130 80–1 Mush, John, 124 orange juice as invisible ink, 18, 85 music: Shostakovich and Kozintsev’s Orgel, Stephen, 163, 187, 188, 204 Hamlet, 93–4 Orwell, George, 188 Muslims in US and early modern Other see demonization society, 12 Owen, Nicholas (“Little John”), 122, mystery plays 159 Jewish clown figure, 182 Oxford University and exiled academ- and King Lear, 118–19 ics, 44 and Macbeth, 141, 160–1 mythic locations see distant locations Page, William, 49 as disguise for contemporary Palach, Jan, 127 events Palmer, Sir Thomas, 41 Panopticon model of modernity, 90, Nadel, Ira, 183 219–20 Nashe, Thomas: Isle of Dogs (with papal authority and English Jonson), 17, 102, 110 Reformation, 27, 28, 42 National Security Agency (US), 17 Parker, Sir William, Lord Monteagle, Nazism 39, 159 and Bachmann’s family history, Parrot, Henry, 37 210, 213, 214–15 past as disguise for contemporary English recusants and resistance events, 6, 89, 150, 224 movement, 34 camouflaged setting for Diamonds see also Jews: and Nazi persecution in the Night film, 134–5 Index 259

and Hamlet, 53–4, 70–1 Poley, Robert (Pooley), 37 and King Lear, 98, 99, 113, 134–5 Polišenský, Josef, 192, 195 Richard II and critique of Elizabeth, 53 see papal authority and English Pasternak, Boris, 6, 17–18, 39, 137, 224 Reformation abandonment of Hamlet produc- Pounde, Thomas, 114–15 tion, 61–2 power as cautious writer, 18, 50, 52–3 absolute power in Kozintsev’s King Dr Zhivago, 28, 52, 67 Lear, 130–3 Hamlet translation and dissent, 60, corporate power and Almereyda’s 61, 63–5, 67 Hamlet, 219, 222 “Hamlet” (“Zhivago” poem), 21, genealogy of state power, 10–12 30, 65–6 Renaissance debates on tyranny, King Lear translation, 139 150–2 silence and dissident solidarity, 81 see also absolutism of monarchs and patriarchal system and The Winter’s rulers Tale, 187–8, 200–1 Prague Spring movement, 10, 61, 127 Patterson, Annabel, 55–6, 184 predestination doctrine, 153–4, 156, Paul, Henry, 142, 145 157 penitential poetry, 202–3 priest-holes in early modern England, Percy, Thomas, earl of , 1, 6–7, 147, 196 34–5 Prieto, Manuel José, 80 Pericles, 99 prison see imprisonment Persephone, 188 Proctor, Sir Stephen, 97 Peter the Great, 78 Protestant Reformation Petre, Sir John, 94 and English isolationism, 17 Peyto, Friar William, 115–16 and history of early modern period, Pibush, Father John, 74 2, 9, 217–18 Pietà imagery and King Lear, 99, Northern resistance, 98 124–6, 125 and religious divisions, 13–14, 17, pilgrimage ban under Protestant state, 30–1, 102–3, 104 71 reflection in The Winter’s Tale, Pilgrimage of Grace (1536–37), 28, 98 200–10 Plato, 85 self-censorship of devotional texts, Plutarch, 47 41–2 poetry Protestantism Pasternak’s “Hamlet poem”, 21, 30, Catholic persecution, 7, 12, 31–3 65–6 emigration of recusant Catholics, penitential poetry, 202–3 43, 44, 72, 74, 92, 114, 189, personal lyrics and resistance, 29–30 196–8, 206 tear poetry, 51, 202, 203–4 history of early modern period Weston’s recusant poems, 197–8 and Protestant ideology, 2, 9, poisoning and demonization of Jews, 217–18 42 iconoclasm, 166, 200 polarization in political and religious and literal word of Scripture, 153, life, 8, 215–16 157, 163–6 analogy of Titus Andronicus, 54 moderation and control and and Gunpowder Plot, 34, 143–4 Church of England, 26 and need for equivocation, 173, as patriarchal system in The Winter’s 183, 185, 186 Tale, 187–8, 200–1 260 Index

Protestantism – continued persecution and intolerance predestination and absence of free in early modern England, 1–2, will, 153–4, 156, 157 6–7, 8, 10, 22, 30–3, 74–5, 126 religious divisions after present-day parallels in US, 12 Reformation, 13–14, 17, 30–1, St Bartholomew’s Day massacres 102–3, 104 in Paris, 7 see also Calvinism; Protestant Shakespeare’s rejection of, 47, 56 Reformation religious tolerance in Bohemia, 19, publication abroad for dissident 24–5, 113–14, 190–1, 192–4, writing, 66–7 196–8 purgatory in Hamlet, 77, 81–2, 84, see also Catholicism; Christ; 86, 87 Marian imagery; Protestant Puritans in early modern England, 8, Reformation; Protestantism 10, 39 resistance in World War II and recu- Pushkin, Alexander, 50 sants, 34 “The Bronze Horseman”, 77–8 Rex, Richard, 27, 147, 157 “The Prisoner”, 74 Rich, Sir Richard, 168 Richard II, king of England, 115 Questier, Michael, 6, 8, 108 Richard II (play) characters in exile, 44 Raikh, Zinaida, 137 as comment on contemporary Reagan, Ronald, 16 events, 53, 71, 99 recusant literature multivalent meanings, 46 documents and means of invisibility, Riggs, David, 156 18, 85 Rodgers, Katherine Gardiner, 66 and memory, 84–7 Roman Empire see ancient Rome as outpourings of madmen, 56, 67 Rookwood, Ambrose, 146 poetry of Elizabeth Jane Weston, Roosevelt, F.D., 133 197–8 Rowe, Eleanor, 89 see also Catholicism: and Rudolf II, Holy Roman Emperor, 191, Shakespeare’s coded politics 192–3, 194, 195 in plays; King Lear: as recusant Russia drama “Hamletism” in, 62 Reformation see Protestant “holy fool” tradition, 109 Reformation Shakespeare’s plays and imperial regicide in Macbeth and early modern court, 61 thought, 150–1 see also Soviet Union relics of Catholic martyrs, 34–5 Ruthven, Alexander, 149 religion Ruthven, John, 149 changes in government policy in Ruthven, Patrick, 149, 150 early modern England, 81–4, 86 Ruthven, William, 149, 150 and Cold War and rhetoric of para- Rychagov, Pavel, 132–3 noia, 16–19 divide in post-Reformation England, Sackville, Thomas, 189 13–14, 17, 30–1, 102–3, 104 St Bartholomew’s Day massacres in reflection in The Winter’s Tale, Paris (1572), 7 200–10 saints see female saints; martyrs fanaticism in early modern England Salmesbury Hall, Lancashire, 201 and Communist Europe, 34 Sampson, Richard, 157 Index 261

Sanders, Doug, 12 exiled characters, 44, 114, 123 Saunders, James, 181 and oppression of Catholics, 5, Schrecker, Ellen, 8, 13 22, 32, 47, 86–7 science fiction as vehicle for dissent, self-erasure and self-preservation, 15–16 17–18, 48, 51–3, 56, 57, 203 Scofield, Paul, 128 subversive appropriation in Scotland: Elizabethan attitude toward, Communist Eastern Europe, 43 2–3, 19–25, 57, 58–96, 175–6, Scripture and Protestant literalism, 218–19 153, 157 rewriting and supplementation of sea as metaphor for freedom, 22 works, 58 Second Succession Act (1536), 27 Sonnet 66 as source of subversion, Second World War see World War II 81 seditious performance of King Lear, and Southwell’s comments on, 50–1 97–8 universality of work, 4, 57, 175 seditious writing, 39–41 works as record of life and and code, 85 thoughts, 18 Jonson’s Sejanus, 39, 40–1, 100–2 see also individual plays punishment in Elizabethan Shakespeare’s Globe Theatre, London: England, 49, 85 Belorussian production of King Seifert, Jaroslav, 50 Lear, 218–19 self-censorship in early modern Shapiro, James, 18, 46, 47 England, 41–2 Shell, Alison, 51, 52, 86, 203–4 sex and violence in Kozintsev’s King Shelley, Richard, 55 Lear, 135 Sherwin, Ralph, 57 Shagan, Ethan, 10–12, 26 Shostakovich, Dmitri: music for Shakespeare, Hamnet, 86 Hamlet, 93–4 Shakespeare, John, 5 show trials Shakespeare, Mary, 5, 194–5 Ambrose Barlow, 1 Shakespeare, William Gunpowder Plot, 41, 43, 143 Catholic background and hyperbolic language, 42–3 sympathies, 5, 18–19, 47, 183, Jesuits, 196 194–5, 215–16 Sir Thomas More, 28 cautious approach, 18, 51–3, 56, Stalin’s Russia, 43, 90 57, 183–4, 216 shrines 71, 85, 166 conciliatory tone of The Winter’s Sidney, Sir Philip, 193, 195 Tale, 208, 215 silence as subversion in Kozintsev’s eirenicism, 6, 208 Hamlet, 59, 60, 73, 75–6, 93, 94–5 see also Catholicism: and Simpson, James, 164, 167, 169, 200 Shakespeare’s coded politics in Simpson Brothers (Nidderdale actors), plays 97–8, 99, 104 as contemporary conscience for Sinyavsky, Andrei (Abraham Tertz), Eastern European dissidents, 50, 61 3–4, 19–25, 51–2 Slánský, Rudolf, 14, 42 parallels with Cold War era and Sledd, Charles, 196 coded politics, 4–5, 6, 10–19, Smeaton, Mark, 29 44–57, 221–2 Smoktunovsky, Innokenty, 59 ambiguity as “bending author”, Solomon, Michael, 130 44–6, 47, 48, 54–5, 57, 175 Solzhenitsyn, Alexander, 21, 50 262 Index

Somers, Will, 110 cult of personality, 40–1, 89, 93 Southwell, Robert, 52, 67–8 Khrushchev’s condemnation, 60, 79 “The Burning Babe”, 153, 202 paranoid atmosphere of regime, An Humble Supplication to her 9, 17 Maiestie, 33, 55 constant surveillance, 89–90 Marie Magdalens Conversion, 50–1 and dissident writers, 50, 93 St Peter’s Complaint, 50, 202, 204 persecution of Jews, 42 Soviet Union show trials, 43, 90 “Doctors Plot”, 42 state-sponsored denunciations, dystopian literature and dissent, 38–9 15–16 Terror, 35–6, 79, 132, 135, 137 madness and counter-discourse, performances of Shakespeare under, 109–10 21 Pasternak’s ambivalent stance, 52–3 ban on Macbeth, 171 resistance through Hamlet dislike of Hamlet, 61–2, 88 translation, 63–5, 67 sex and violence during Terror, 135 subversion in “Hamlet” poem, and Shostakovich, 93–4 65–6 Stalinist Russia as setting for protests against invasion of Shakespeare films, 23 Czechoslovakia, 127, 177 see also Soviet Union relics of martyrs, 35–6 Stalker (film), 15–16 religious rhetoric in Stalin’s Russia, Star Chamber, 97, 99, 114–15 17 state response to Prague Spring reforms, equivocation and Gunpowder Plot, 179 159 state-induced paranoia and Stalin’s government spies in Elizabethan Terror, 9, 35–6, 79, 132, 135, era, 36–7, 38, 167–8, 196 137 proscription of Catholic doctrine of state-sponsored denunciations, purgatory, 81–2, 84, 86, 87 38–9, 133–4 state power and early modern state, surveillance practices, 89–90 10–12 “Thaw” under Khrushchev, 9–10, see also absolutism of monarchs and 15, 59, 60–1 rulers; Protestantism; surveillance end under Brezhnev, 96, 129 practices see also Stalin Stewart, Patrick, 5, 221 speaking out stigmatization inability in repressive regimes, religious outsiders, 32–3, 42 77–81 recusants labeled as madmen and returnees from Stalin’s labor camps, fools, 56, 67–8, 109–14 79–80, 89 see also demonization Spenser, Edmund: Mother Hubbard’s Stoppard, Tom, 6, 224 Tale, 54, 92 Cahoot’s Macbeth, 19–20, 24, 171–83 spies see denunciation; espionage; and Stoppard’s ambivalent view surveillance practices of dissidents, 174–80, 184 Stalin, Joseph Rock ’n’ Roll, 184 as absolute ruler, 132–3 Rosencrantz and Guildenstern are and Bulgakov in Collaborators, 182 Dead, 172, 176–7 and Claudius in Kozintsev’s Hamlet, Strange, Ferdinando, Lord, 39, 198 75–6, 88–93 Strˇíbrný, Zdeneˇk, 189, 190 Index 263

Strugatsky Brothers: It Is Hard to Be a torture God, 15 in early modern England, 31, 49, Stuart, Esmé, 39–40, 115 55, 63, 90, 196 Stubbs, John, 49 Gerard’s loyalty to Garnet, 120 suicide and burial issues in Hamlet, and King Lear, 118–24 71–2 recusant women and virgin Sumarokov, Alexander, 61 martyrs, 205–6 surveillance practices as present-day practice, 11 early modern England, 37–8, 90–2, in Soviet Russia and Kozintsev’s 167–8, 220 King Lear, 135 and Hamlet, 89–92, 168 Towneley mystery play and King Lear, and Jonson’s Sejanus, 168 118–19 Foucault’s Panopticon model of Tragedie of Gowrie, The (anonymous modernity, 219–20 play), 148–50 potential for reverse-surveillance, translations and resistance in Soviet 220–1 Russia, 63–5, 67 present-day practices travel restrictions on Catholics, 32 and technology, 219, 220 Travers, James, 159 in US, 3, 11, 17 treason Stalinist Russia, 89–90 denunciations in Elizabeth’s reign, see also denunciation; espionage 39 Švankmajer, Jan, 69 extension as crime under Henry VIII, 27–8 Tacitus, 47 treason trials, 41, 43 Tarkovsky, Andrei, 15–16 see also Gunpowder Plot Tarleton, Richard, 110 Tresham, Sir Thomas, 142 Tate, Nahum: rewriting of King Lear, Trevor-Roper, Hugh, 192 58, 125 Turgenev, Ivan: Hamlet and Don Taylor, Gary, 116, 117, 118 Quijote, 62 Taylor, John: Taylor his Travels, 194 Twelfth Night, 53, 212–13 Taymor, Julie, 222, 223 Tyldesley, Sir Thomas, 1 tear-poetry and tear imagery, 51, 202, Tyndale, William, 151, 153 203–4 tyranny technology and surveillance in Renaissance debates on, 150–2 Hamlet, 219, 220–1 see also absolutism of monarchs and Tempest, The, 193, 215 rulers Tennant, David, 221 Tesimond, Father Oswald, 100, 122, United States 126, 146, 159 Cold War paranoia and “Thaw” in Soviet politics, 9–10, 15, anti-Communism, 8, 13 59, 60–1, 96, 129 cultural effects, 14–15 in Czech political and cultural life, House of Unamerican Activities 213–14 Committee, 8, 14 Theater of the Absurd, 3, 4, 181 parallels with early modern Throckmorton, Elizabeth, 92 England, 11–12, 17 Titus (film), 222, 223 and religious imagery, 16–17 Titus Andronicus, 38, 54–5, 56 distrust of minority religions, 12, 17 Topcliffe, Richard, 31, 88, 90, 110 present-day surveillance and Topol, Josef, 50 control, 3, 11, 17, 157, 221 264 Index

Vaculík, Ludvík, 49–50 Whitgift, John, 75 vagrants in early modern England, Wilkinson, John, 35 111 William of Norwich, 36 Vallenger, Stephen, 55, 85 Wilson, Dover, 117, 118 Vanita, Ruth, 207, 209 Winifred, St and Holywell shrine, Vaux, Lady Anne, 18, 205 107 Verstegan, Richard, 92 Winter’s Tale, The, 24, 187–210 Vertsman, I., 60 Bohemia via media see moderation ideal distant setting and commentary violence on Tudor England, 53 and literal fundamentalism in Shakespeare’s knowledge of, Macbeth, 163–6 188–9, 194–5, 196–8 and Scottish kingship, 149, 151–2 as utopian setting, 24–5, 198–9, and sex in Kozintsev’s King Lear, 216 135 characters in exile, 44, 188–9, 194, see also torture 206 virgin martyrs Hermione as Counter-Reformation and King Lear, 106–9, 124 figure, 203, 204, 206–7, 208 and recusant women, 124, 205–6 as challenge to Protestant Virgin Mary see Marian imagery patriarchy, 187–8 Vlasta (Valasca), queen of Bohemia, indeterminacy of real and unreal, 191–2 187, 189, 199 Voragine, Jacobus de, 205 and Southwell, 51 Voznesensky, Andrei, 60–1, 80 Wintour, Robert, 144, 159 Vyshinsky, Andrei, 43 Wintour, Thomas, 146 Vysotsky, Vladimir, 21 , Cambridgeshire, 32 women Waldstein, Zdeneˇk, Count, 113–14 in Winter’s Tale and recusant life, Walker, Greg, 26–7, 29 205–6, 209–10 Waller, Gary, 200, 206 see also virgin martyrs Walpole, Henry, 55, 87–8 Woodman, Richard, 37 Walsham, Alexandra, 26, 31–2, 39 World War II Walsingham, Sir Francis, 38, 196 resistance and recusants, 34 Walsingham, Norfolk: shrine to Virgin see also Jews: and Nazi persecution Mary, 166 writers Webster, John: The Duchess of Malfi, critical commentaries in distant 107–8 past or place, 6, 53–4, 70–1, weeping see grief; tear-poetry and tear 88–9, 98, 113, 134–5, 150 imagery dissident writing and memory in Weis, René, 153 Elizabethan England, 84–7 Wellington, Alice, 71 as dissidents in Czechoslovakia, 10, Welshe, Robert, 30 43, 44, 49–50, 184–6 Wenceslas, St, 195 in exile from repressive states, 10, Werich, Jan, 50 43, 50, 61 Weston, Elizabeth Jane, 197–8 parallels of early modern England Weston, Francis, 29 and Communist Europe, 48–50 Weston family, 196–8 persecution for seditious writing, Wheel of Fortune motif and King Lear, 39–41, 49, 85 99 publication abroad, 66–7 Index 265

resistance within repressive states, 44 Yalta Conference (1945), 133 see also censorship Yates, Francis, 196 Würtemberg, 155 Yezhov, Genrikh, 35–6 Wyatt, Sir Thomas, 27, 55 York High Commission, 31 “Like a byrde in the cage enclosed”, Yorke, Sir John, 97, 98, 99 74 Yorke, Lady Julyan, 97 “Myne own John Poyntz”, 65 Youth (morality play), 114–15 “Who lyst his welthe and eas retayne”, 28–30 Zajíc, Jan, 127 Wyclif, John, 195–6 Zinoviev, Grigori, 35–6