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DOI: https://doi.org/10.34069/AI/2021.42.06.10 How to Cite: Marinesko, V., Lazarenko, D., Torkut, N., & Gutaruk, N. (2021). “Shakespeare in love” / In love with Shakespeare: metatextual potential of John Madden’s fictional biopic. Amazonia Investiga, 10(42), 103-112. https://doi.org/10.34069/AI/2021.42.06.10

“Shakespeare in love” / In love with Shakespeare: metatextual potential of John Madden’s fictional biopic

«Закоханий Шекспір» / Закохані в Шекспіра: метатекстуальний потенціал фікційного байопіка Джона Меддена

Received: May 2, 2021 Accepted: June 12, 2021

Written by: Viktoriia Marinesko43 https://orcid.org/0000-0001-6747-8664 Darya Lazarenko44 https://orcid.org/0000-0002-3253-4678 Nataliya Torkut45 https://orcid.org/0000-0002-8905-6769 Nataliia Gutaruk46 https://orcid.org/0000-0001-7373-5460

Abstract Анотація

The paper focuses on the specificity of metatextual Метою статті є дослідження особливостей potential of John Madden’s fictional biopic метатекстуального потенціалу фікційного “Shakespeare in Love” (1998), viewed as a байопіку Джона Меддена “Закоханий Шекспір» complex metatextualintermedial construct. The (1998). Метатекстуальні ресурси фільму metatextual resources of the are being analysed реалізовані у 3 ключових площинах: on three key levels: intratextual (metatextual інтратекстуальній (метатекстуальні фрагменти), fragments), intertextual ( to the other інтертекстуальній (звернення до інших творів works of the canon) and extratextual (text as an канону) та позатекстуальній (в якій текст є intersemiotic metatext). On the intratextual level інтерсеміотичним метатекстом). На four main forms of metatextual commentary are інтратекстуальному рівні виділяються чотири singled out: a) the paratextual commentary; b) the основні форми мета текстуальних коментарів: ; c) the self-referential fragments; d) the а)пара текстуальний коментар; б) лейтмотив; в) allusions to the present-day realia. In relation to the самореференційні фрагменти; г) натяк на сучасні intertextual level of the film’s metatextual potential реалії. На інтертекстуальному рівні усі посилання references to Shakespeare’s works are discussed as на інші твори Шекспіра розглядаються як мета a metatext which offers an explanation of the текст, який містить пояснення стосовно джерел sources of Shakespeare’s inspiration. Within the натхнення В. Шекспіра. На позатекстовому рівні extratextual level, “Shakespeare in Love” is viewed «Закоханий Шекспір» розглядається як as an intersemiotic metatext which comments upon інтерсеміотичний метатекст, що коментує два two major semantic fields: the figure of основних семантичних поля: образ Шекспіра та Shakespeare and the epoch of the English епоху англійського Відродження. Автори також . The authors also put forward the представили пропозиції стосовно практичного suggestions for the practical application of the застосування результатів дослідження. research results. Ключові слова: метатекст, метафрагмент, Keywords: metatext,Marinesko, metafragment,V., Lazarenko, D., metatextual Torkut, N., Gutaruk , N. метатекстуальний/ Volume 10 - Issue 42 :потенціал, 103-112 / June алюзія,, 2021 паратекст. potential, , .

Introduction

43 Candidate of Philological Sciences, Clasic Private University, Zaporizhzhia, Ukraine. 44 Candidate of Philological Sciences, Sofia University “St. Kliment Ohridski”, Sofia, Bulgaria. 45 Doctor of Philological Sciences, Zaporizhzhia National University, Zaporizhzhia, Ukraine. 46 PhD Student in Philology, Classic Private University, Zaporizhzhia, Ukraine.

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The mystery of ’s is Therefore, the metatext, described by A. a powerful magnet that does not cease to attract Wierzbicka, is, so to speak, an internal, or new generations of interpreters. An outstanding synchronous explanatory and organizational Shakespearean scholar Gary Taylor mechanism which coexists with the text in one metaphorically represents the unique nature of time and space. Shakespeare’s dramatic talent as a “black hole”, “Light, insight, intelligence, matter – all pour Most modern linguists work within the ceaselessly into him, as critics are drawn into the framework outlined by A. Wierzbicka, among densening vortex of his reputation; they add their them W.J. Vande Kopple (1985), A. Crismore own weight to his increasing mass. The light of (1989), V.A. Shaymiev (1996), N. Turunen other stars – other poets, other dramatists – is (1999), N.K. Ryabtseva (2005), N.P. Perfilieva wrenched and bent as it passes by him on its way (2006), J. Bu (2014), G. Marko (2017), H. Penz to us” (Taylor, 1990). In the modern intellectual (2017), P. Resnik (2017), J. Scherling (2017). space Shakespeare’s creative works are so Yet, it should also be noted that the recent studies influential that they have become a ‘cultural exhibit a trend towards expanding the functional impulse amplifier’ that can be used by other spectrum of the category of metatext including writers to better understand the contemporary into its instrumentarium all those elements and context and attract the reader’s attention to the fragments that not only facilitate the internal most urgent issues. Thus, the Shakespearean organization of the text, but also amplify its self- discourse which includes all kinds of referential potential and ensure establishing a Shakespeare-related cultural production better connection with the reader. For example, (Cherniak, 2010), can be viewed as a certain kind N. Perfilieva in her monographic study “Metatext of a cultural mirror which allows the civilization in the Context of Text Categories” (2006) states to see itself on a new scale. As M. W. Hunt that in the way metatext functions in the text, it is writes, “when we search for Shakespeare, we are “similar to a compass with which we sometimes also hunting for ourselves, constantly engaged in choose a path out of a thick forest. Metatext an internal search for who we are as individuals” exists to signal to the addressee how they should (Hunt, 2007). The category that enables the interpret the words spoken by the speaker, the scholars to precisely describe this unique ability content structure of the text. It ‘leads’ them of Shakespeare to show humanity its own through the text, appears in the places of textual reflection is the category of metatext. Therefore, tension (according to the prediction of the the purpose of the paper is is to analyse the addressee), creates a ‘relief’ of the text, since metatextual potential of this film, singling out the sometimes a complicated text without metatext is peculiarities of its realisation on intratextual, unclear” (Perfilieva, 2006). Thus, in the words of intertextual and extratextual levels. D. Lazarenko, the process of development of the linguistic theory of metatext, which began in the Review 70's of the 20th century and continues today, is marked by the tendency to gradually change the This category entered the terminological space of ‘depth of field’ of the focus of research attention, the humanities in the second half of the twentieth into which new, higher levels of manifestation century. The term turned out to be a of metatextuality gradually fall (Lazarenko, multifunctional research tool with high analytical 2010): A. Wierzbicka analyzes the functioning of potential. As Y. Sokolov observes, the view on meta-elements (meta-operators), that is, the object of research from the position of the individual words and phrases (Wierzbicka, meta-level helps to “re-array a long-term and 1978); W.J. Vande Kopple, A. Crismore operate supposedly well-known object into new with such a generalizing notion as metadiscourse sections” (Sokolov, 2002). The intense (Vande Kopple, 1985; Crismore, 1989) which is discussion of the metatext problem in linguistics becoming increasingly popular in the modern began with the article by A. Wierzbicka linguistics (Bu, 2014; Jokić, 2017; Marko, 2017; “Metatext in the Text” (1978), in which the Penz, 2017; Resnik, 2017; Scherling, 2017); metatext is represented as “a statement about the N. Turunen considers metatext as a whole system very statement” (Wierzbicka, 1978). According of verbal and paraverbal means (Turunen, 1999); to A. Wierzbicka, metatext threads are those N.K. Ryabtseva speaks about the metalevel of elements that organize and comment on the text, the text (Ryabtseva, 2005); A. Charles sees making it easier for the reader to comprehend it metatext as a system which can unite several (Wierzbicka, 1978). The metatext, in the opinion related texts (Charles, 2012). Obviously, in the of the scholar, helps to catch the interconnection process of this evolution, an expansion of between the sentences, to discover the ‘thinking’ research horizons can be observed in terms of structure of the whole (Wierzbicka, 1978).

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involving an extra-linguistic context into the biographical reconstruction of the playwright's analysis. image, while not neglecting the peculiarities of the intersemiotic transformation of the verbal This trend brings the lin.guistic understanding of text into the visual and audial text. the given category close to the semiotic concept of metatext. Yuriy Lotman views metatextuality Thirdly, the analysis will focus on the specificity as an ‘explanatory’ function of the text, which of constructing Shakespeare's image and its can be performed by the whole text as well as its internal contradictions, however, in the course of separate fragments (Lotman, 1992). In general, the study, the context will also be widely as the researcher points out, any text can perform involved, since for any form of biographical the role of a descriptive mechanism in relation to writing the authorial figure and context as an the cultural context, serving in this way as a indivisible, dialectical unity. metatext (Lotman, 1992). It seems that the category of metatext interpreted within the As for the fourth moment, it should be mentioned semiotic framework can help scholars better that the of the cinematic biography in understand why some texts occupy the central our case is not only an outstanding historical place in the canon while others remain marginal personality, but more precisely a writer. In recent and are soon forgotten. While W. van Peer and decades, both famous politicians, activists and A. Chesnokova (2018) rightfully state that “there other public figures, whilealso prominent writers is little consensus in literary studies why of the past are increasingly entering the lens of particular texts are better than others,” (Peer & writers’ and director’s attention. And although Chesnokova, 2018), the metatextual potential of this phenomenon is not new, it seems appropriate the text might help explain the work’s popularity to talk about its extraordinary urgency today. The and cultural longevity. Dutch researcher A. Fokkema emphasises that without excessive exaggeration, the image of the In line with this synergistic, interdisciplinary writer can be called traditional for approach to the phenomenon of metatext John (Fokkema, 1999). Modern Madden’s film “Shakespeare in Love” (1998) Western scholars P. Franssen and can be viewed as a text with potent metatextual T. Hoenselaars explain the growing interest in resources. the biographies of writers as a form of a spiritual quest rather than daily adventures: reflecting on Methodology the life and work of his predecessor, the modern author ponders over the genesis of literature in The methodology of this research is based on the general and his own works in particular theory of metatextuality and modern practices for (Franssen & Hoenselaars, 1999). That is why it the interpretation of a literary text, in particular, seems beneficial to pay attention to the hermeneutic approaches and the strategy of thematisation of the act of writing and the figure “close reading.” The analytical model is of the creator in this film, which will enhance our structured around the algorithm for the study of comprehension of the auto-thematic, auto- the metatextual potential of the text developed by referential problems as aspects of the metatextual Darya Lazarenko (Lazarenko, 2009, 2010). potential of the film.

The paper is a case-study of the film To some extent, it can be argued that this “Shakespeare in Love,” directed by John Madden cinematic biography is in some sense an and released in 1998, based primarily on the embodiment of the biographical method of script written by Marc Norman and Tom Charles-Augustin Sainte-Beuve. After all, the Stoppard (Norman & Stoppard, 2001). authors of the script are trying to reconstruct the life of their on the basis of his work. First, it should be emphasised that the research This approach forms the foundation for the will be based primarily on the text of the script multivariable reading of history, which is that serves as the main subject of investigation, conditioned, on the one hand, by the degree of while purely cinematic aspects will be used as subjectivity of the narrator, and, on the other secondary, auxiliary subjects. hand, by the impossibility of unambiguous and definitive interpretation of any literary text. Secondly, the research algorithm will be conditioned not so much by the actual cinematic The key characteristics of this cinematic sphere, but by the orientation on the strategies of biography are closely linked to the professional textual analysis. Such an interdisciplinary self-identification of the scriptwriters and the approach will allow focusing on aspects of the corresponding professional affiliation of the

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106 main character. Naturally, it directly affects the 1) The first frame is a dark background with the manner of presentation of the material. So, first, inscription “LONDON – SUMMER 1593”. here from the works of It is important because it shapes the William Shakespeare are widely used. Secondly, expectations of the spectator along with the this cinematic biography appears as a kind of title, outlining the chronotope of the film implicit dialogue between two writers, which : the golden day of the English correlates with the profound self-reflectivity as a , the patron of which was Queen form of metatextuality. Thirdly, an important Elizabeth I, the first years of Shakespeare's part of this film is a literary element that fits this work, the years of him becoming a poetic text into a wider discourse, enabling the and dramatic genius. interaction of interpretations and versions. Titles following the first frame narrow the focus, Thus, it can be said that the film “Shakespeare in “In the glory days of the Elizabethan theatre, two Love” is an extremely interesting multi- playhouses were fighting it for writers and dimensional subject of metatextual analysis, . North of the city was the Curtain which has a pronounced nature of ‘double Theatre, home to England’s most famous , coding’: at the surface level, it is a historical film Richard Burbage. Across the river was the with an intriguing love story and an adventure- competition, built by Philip Henslowe, a business packed , at a more profound level it is an with a cash flow problem ... The Rose interdisciplinary metatextual study of the …” (Norman & Stoppard, 2001). This problems of writing, creativity, talent, the background introduces the biography of writer’s life in time and space, which is being Shakespeare into a broader historical context and conducted on the basis of the texts written by the highlights the leitmotif of rivalry and hostility, central figure of the Western culture. which is further developed on several levels:

Results and Discussion 1. the rivalry between thetheatres; 2. the rivalry between the playwrights; The research has shown that in “Shakespeare in 3. the rivalry between Shakespeare and Love” the biography of the famous writer is Wessex; turned into a starting point for creating a unique 4. the enmity and rivalry between the postmodern historiographic narrative only Montague and the Capulet in the tragedy of partially connected to the of traditional “”, which Shakespeare is biography. Along with it a certain ‘feedback’ writing. Such a multilevel allows the develops between the postmodern and traditional director to keep the viewer in constant biographies, when metatextuality (including tension, alternating or showing different metafiction) is intermingled with strategies used storylinesin parallel. For example, it is more often in the works belonging to the latter interesting to look at the parallel editing, group (attention to historical fact and detail, when the collision of the Montague and the focus on the personality of the writer, etc.). Three Capulet at the rehearsal of the Rose theatre key levels on which the metatextual potential of is shown simultaneously with the approach the text is actualised are distinguished: of the enraged company of the Curtain, intratextual (metatextual fragments), intertextual which starts a fight. All the levels of the (allusions to the other works of the canon) and conflict act as a metatextual commentary in extratextual (text as an intersemiotic metatext). relation to each other.

On the intratextual level, four main forms of 2) Thereafter on the screen, the viewer can see metatextual commentary have been singled out: the decor of the Rose theatre, reproduced quite accurately and in detail. However, the  the paratextual commentary; creators of the film here admit one  the leitmotif; inaccuracy: one of the galleries can be seen  the self-referential fragments; bearing the inscription “Totus mundus agit  the allusions to the present-day realia. histrionem” (lat.)(that is, “The whole world is acting” or “All the world’s a stage” in the The paratext includes the first frames with classic Shakespearean interpretation). It is introductory titles, the frame with the name of the believed that this inscription was located on film, the final frames with the aftermath and the the pediment of the Globe theatre, in which final titles. Shakespeare’s company acted later (Gillies, 2003). It seems that the director deliberately uses the popular to create the

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most canonical form of the Elizabethan “Shakespeare in Love” is born. But at this theatre, but also to hint at the further plot moment the viewer can only guess who exactly developments and help the viewer interpret or what exactly Shakespeare falls in love with. In them, which positions this seeming conjunction with the image of the act of writing, inaccuracy as a metatextual fragment. such a title gives the impression that Shakespeare 3) With regard to the title of the film, it is is in love with his own creativity, his own talent. introduced after the appearance of Shakespeare himself – at this moment he is 4) As for the end paratext, its key feature is the writing and throwing crumpled sheets of light, optimistic . The separation of lovers is paper in the direction of the yellow skull, not the end, but the beginning: for Shakespeare, which complements the familiar symbol. this is the beginning of a new creative stage, for The background for the title of the film is Viola – a new life in the ‘new world’, and at the one of the most interesting metatextual same time it is the beginning of a new , “The fragments of the film – Shakespeare is Twelfth Night”. The figure of a girl who, after a leaning over a sheet of paper and it seems to terrible shipwreck, steps onto a deserted coast the viewer that he is working on a play or a and confidently moves toward facing her destiny, sonnet, but then the camera is approaching also embodies the playwright’s muse, which, in and one can see that he is trying different spite of all the travails, will be able to conquer ways of writing his own name, “Now we see both the new world and the old world. what he is writing: Will is practising his Interestingly enough, Shakespeare himself is signature, over and over again. ‘Will aware of the imminent importance of his own Shagsbeard…W. Shakspur…William creativity, he looks into the future, “It will be a Shasper…’ Each time he is dissatisfied, and love story … for she will be my heroine for all each time he crumples, and tosses it away” time” (Norman & Stoppard, 2001). (Norman & Stoppard, 2001). This joke comes from the “No Bed for Bacon” Thus, it is worth noting that the paratetext co-authored by Tom Stoppard, “He always performs in the film “Shakespeare in Love” a practised tracing his signature when he was rather important metatextual role, shaping broad bored. He was always hoping that one day horizons of the recipient’s expectations: on the he would come to a firm decision upon one hand, the viewers are tuned to a romantic which of them he liked best” (Brahms & comedy, on the other hand, they are ready to Simon, 1999). The author plays with a well- receive a more serious historical, sometimes even known historical fact, which became the philosophical aspect of the screen narrative. pretext for discussion: there were several variants of spelling the name ‘Shakespeare’, The second important manifestation of the which the playwright himself used. Robert metatextual potential of the film is the leitmotif, Geal’s claim that the given fragment is a which is repeated in various variants four times riposte in the ongoing debate around Roland commenting on the plot and defining the Barthes’s “The Death of the Author” (Geal, modality of the ’s response to it: 2014) seems valid as the scene is undoubtedly a metatextual affirmation of 1) “FENNYMAN: So what do we do? William Shakespeare’s authorship rights, HENSLOWE: Nothing. Strangely enough, opposed in its message and modality to the it all turns out well. FENNYMAN: How? Oxfordian statement that “Anonymous” is HENSLOWE: I don't know. It's a mystery” making by utilizing the wide-spread brand (Norman & Stoppard, 2001); “William Shakespeare” and “transforming it 2) “WILL (to HENSLOWE): We are lost. into a vivid ” (Torkut, 2013). HENSLOWE: No, it will turn out well. WILL: How will it? HENSLOWE: I don't This fragment obviously has a deeper meaning. know, it's a mystery” (Norman & Stoppard, As the Shakespearean scholar and biographer 2001); Graham Holderness notes, this scene in the film 3) “HENSLOWE: Juliet does not come on for hints at the problems of modern biographics: here twenty pages. It will be all right. WILL: Shakespeare in a comic key tries different How will it? HENSLOWE: I don't know. It's identities, as though he is already concerned a mystery” (Norman & Stoppard, 2001); about the problems that people will encounter 4) “VIOLA: But all ends well. WILL: How later, trying to establish who he was (Holderness, does it? VIOLA: I don't know. It's a 2011).While the playwright is testing various mystery” (Norman & Stoppard, 2001). options for writing his own name, it seems that from under his quilt the name of the film

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The leitmotif appears in the most dramatic and “HENSLOWE: It starts well, and then it's all intense moments. Gradually changing, it long-faced about some Rosaline. Where's the becomes an almost perfect echo of the title of one comedy, Will? Where's the dog? (to RALPH) Do of Shakespeare’s most famous and at the same you think it is funny? RALPH: I was a Pirate time most contradictory comedies – “All’s Well King, now I'm a Nurse. That's funny” (Norman That Ends Well.” This comedy is often called a & Stoppard, 2001). Writers respond quickly to ‘problem play,’ which points to the difficulty the critique offered by their own character – in with the final identification of its genre. Despite one of the following scenes there is a comic the optimistic finale, the development of sketch including a dog, not as part of the “Romeo often becomes tragic in its colouring, and it is and Juliet” rehearsal, but as a during difficult to say that the ending itself is bright and the clash of the companies of two – cheerful. Similarly, the film “Shakespeare in “Rose” and “Curtain”, “CRAB, the dog, is Love” by genre should be attributed to a romantic yapping and snapping at any legs he can reach. comedy, but at the same time, it substantially HENSLOWE, a little slow to catch up on the modifies the genre canon, bringing a deep situation, checks the page in his hand. feeling, penetrating lyricism and poetic sadness FENNYMAN, much slower to catch up, watches to the screen narrative. enthralled. FENNYMAN (to HENSLOWE): Wonderful, wonderful! And a A distinct metatextual feature of Shakespeare's dog!” (Norman & Stoppard, 2001). stylistics, which scriptwriters address, is the expressive self-consciousness of the text, its self- The profound metatextual self-referentiality of reflexivity, and auto-referentiality. Shakespeare the whole script narrative is summarised in the in his writings often showed and commented on last phrase of the film said by Viola when she is the act of writing, verbally depicting the image of bidding Will farewell, “Write me well” (Norman a writer, a creative person. This auto-referencing & Stoppard, 2001). It seems that this phrase is to is especially noticeable in the “Sonnets” and some extent a metatextual commentary to the “”. But his other works also contain entire fictional biopic in general. numerous metatextual elements. The scriptwriters widely use this feature of Another vivid example that demonstrates the Shakespeare’s writing manner. First, the realisation of the metatextual potential of the film protagonist of the film is a writer and the act of is addressing the viewer through anachronisms writing, paper, pen, ink, poetic lines often appear and allusions.In the film, there is a certain on the screen. Secondly, the script as a whole is a ambivalence of the writers’ and director’s metatext, metafiction– “story about a story,” as attitude to the balance of fact and . On the looks into the creation of “Romeo and Juliet.” one hand, the creators of the film try to represent Events unfolding on the screen and on the stage ‘historical flair’ of the chronotope as accurately form parallel conflicts that foster and reinforce as possible involving various aspects of the each other. Thirdly, during the development of Renaissance reality: the bad teeth, strange action in the film the impression of ‘writing live’ toothbrushes, authentic menu in the tavern, is created, because all elements which the film popular English dances, rich clothes and contains are constantly being discussed by the complicated hairstyles of the noblemen and their . For example, at the beginning of the film, ladies, historical interiors and traditional Henslowe outlines the potential comedy that formats. On the other hand, there is a number of Shakespeare supposedly is completing, anachronisms in the film. They are ‘intentional’ “HENSLOWE: It's a crowd-tickler – mistaken anachronisms, designed to humorously identities, a shipwreck, a pirate king, a bit with a deconstruct the familiar . For dog, and love triumphant” (Norman & Stoppard, example, one of such comic anachronisms is 2001). All these elements are found later in the Shakespeare’s visit to a psychoanalyst, Dr. Moth, film and some of them –crossdressing and “Dr. MOTH, apothecary, alchemist, astrologer, mistaken identities, a comic scene with a dog and seer, interpreter of dreams, and priest of psyche,” a triumph of love – are represented twice: on the (Norman & Stoppard, 2001), who forces William stage and as part of the actual storyline of on the couch and interprets all his creative Shakespeare and Viola. problems in a completely Freudian manner, “WILL: I have lost my gift. It's as if my quill is This self-referentiality is completely conscious broken. As if the organ of the imagination has and interpreted by scriptwriters in a comic key. dried up. As if the proud tower of my genius has Closer to the end of the rehearsals and, collapsed. DR. MOTH: Interesting. WILL: accordingly, the writing of the play, the Nothing comes. DR. MOTH: Most interesting. following humorous dialogue is introduced, WILL: It is like trying to a pick a lock with a wet

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herring. DR. MOTH (shrewdly): Tell me, are development of Shakespeare’s love affair and the you lately humbled in the act of love?” (Norman writing of “Romeo and Juliet,” which has been & Stoppard, 2001). Curiously enough, these mentioned above. But the intertextual range of lines, with their frank physicality and rather bold the film is, in fact, much wider. For example, at puns, resemble the experiments of Shakespeare the very beginning of the film actors stage “Two himself, for example, in the dialogues of Katarina Gentlemen of Verona” for the Queen. Also, and Petruccio. Norman and Stoppard are trying during the development of the relationship to combine modernity with the Renaissance, and between Viola and Will, Shakespeare writes a at the same time retain the comic effect of the sonnet which corresponds to sonnet 18 in the initial words and situations. actual sonnet sequence, “Shall I compare you to a summer's day?”. It is believed that the first 127 The connection with the reader is also established sonnets were addressed not to a woman, but to a through other comic allusions that are easily man, a Fair Friend. But in the film, this situation recognized by the audience. For example, having is skilfully interpreted in a very flexible manner, learned that the young actor who played Juliet because Viola is cross-dressing as a boy to get to lost his high voice, Shakespeare desperately the theatre, and in this disguise, she impresses appeals to Henslowe: “WILL: What do we do Shakespeare with her acting talent and subtle now? HENSLOWE: The show must … you spiritual organisation. Then the deception is know. WILL: Go on” (Norman & Stoppard, revealed, but the cross-dressing becomes part of 2001). The from the Queen lyrics in the the game that lovers are playing. dialogue of the two Renaissance figures sounds rather ridiculous, thus discharging the tense and On the extratextual level “Shakespeare in Love” dramatic atmosphere of the ending. can be viewed as an intersemiotic metatext which comments upon two major semantic fields: the In the film, there are also comic anachronisms, figure of Shakespeare and the epoch of the appealing directly to the central issues of English Renaissance. Shakespearean discourse. For example, at the beginning of the film, the camera zooms in on a Shakespeare is represented in the analysed shelf in Shakespeare’s room passing by a mug fictional biopic as an ambitious young with the inscription “Stratford-upon-Avon” – this playwright. Perhaps, it is Shakespeare’s age that souvenir is a representative example of the allows scriptwriters and the director to rethink modern Shakespearean industry. An interesting this stereotyped image in a new and meaningful allusion to the “Shakespeare question” and anti- way. Stratfordian theories is less obvious, “VIOLA: Answer me only this: are you the author of the First, one should pay attention to Shakespeare’s plays of William Shakespeare? WILL: I am. appearance. Most of the canonical portraits VIOLA: Then kiss me again for I am not depict him as a middle-aged man with a serious mistook” (Norman & Stoppard, 2001). Viola, in face, attentive, penetrating eyes, trimmed such a strange manner, verbalizes the issue that moustache and abeard, a high forehead, receding worries many contemporary Shakespearean hairline, and an earring. In the film, Shakespeare scholars and readers: if William Shakespeare was is 29 years old, he is still quite young and it gives the author of the Shakespearean Canon. All these the director of the film ‘a green street’ in terms allusions perform the password function of constructing Shakespeare’s visual image, establishing a common cognitive ground with the because no one knows for sure what exactly the recipient and indicating the “other-orientation” playwright looked like at that age. Joseph (Jokić, 2017) of the film’s metatextual potential. Fiennes creates on the screen a romantic image Thus, in the words of Anna Kamaralli, “using a of a good-looking and charming young man with representation of the way professional actors a dreamy expression on a noble, kind face. would prepare for a performance in sixteenth or Seriousness, inherent in classical portraits, seventeenth century London, the film disappears: Will is mobile, impulsive; a variety inadvertently show[s] us at least as much about of emotions is displayed on his face. our own times as about the period they represent” (Kamaralli, 2011). Regarding the character and behaviour of canonical Shakespeare, one should pay attention The intertextual level of the film’s metatextual to the fact that there exists a certain stereotype, potential includes references to Shakespeare’s consecrated with and historical works and offers an explanation of the sources of anecdotes (Marinesko, 2015). It is believed that Shakespeare’s inspiration. The most obvious Shakespeare was kind, but was also able to count intertextual connection is the parallel money and knew how not to lose his own profit.

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He is often depicted as a connoisseur of female could interact with actors, shouting out one or beauty, but at the same time a modest, calm another phrase, “VIOLA AS JULIET: Where is person. In the film, Shakespeare is overwhelmed my Romeo?” NURSE: (involuntarily) Dead!” by a whirlpool of inspiration and emotions, but (Norman & Stoppard, 2001). At the same time even in this unusual context, he manifests some Viola, in no way surprised, continues to recite her qualities deemed ‘traditional’ for him, albeit in a own role. Another vivid example is the hint at the somewhat rethought form. First, he is friendly practice of ‘pirate’ publishing the texts of plays and warm to all the members of the company, by the actors themselves or by those swindlers although it can be seen that the genius playwright who recorded the plays under the dictation of in him is stronger than the simple human being. actors who gave a detailed account of their own Secondly, his desire to become rich is expressed words, but distorted the rest of the text. In a in an attempt to Burbage and to sell an humorous way, this practice is shown on the unfinished play to the two theatres at one and the screen when the prostitute in the tavern is same time. Thirdly, he undoubtedly appreciates interrogating Ralph, who played the Nurse, what female beauty: his psychoanalyst begins to exactly happens in the play, "WHORE (to enumerate women, of which Will told him, but is RALPH): And what is this play about? RALPH: interrupted, “DR. MOTH (CONT'D): Black Sue, Well, there's this Nurse" (Norman & Stoppard, Fat Phoebe, Rosaline, Burbage's seamstress; 2001). Aphrodite, who does it behind the Dog and ...” (Norman & Stoppard, 2001). As for modesty and So, as one can see, writers and the tranquillity, in the film, these features are not at director of “Shakespeare in Love” create a all inherent in him. Moreover, Shakespeare is comprehensive and faithful metatextual presented as a rather vain, ambitious and commentary on the chronotope of the impulsive young man whose temperament fully Renaissance England and its vibrant theatrical corresponds to the general atmosphere of the life. At the same time, the film also has many excitement of the Renaissance London ‘intentional’ anachronisms serving as atmosphere. metatextual fragments, which are designed to create a comic, humorous atmosphere, to As for the creative aspect of Shakespeare's establish contact with the contemporary personality, here a significant transformation can audience, and, interweaving the Renaissance and be observed. Ben Johnson, an outstanding the present, to inveigle the recipient into looking contemporary of Shakespeare and his personal beyond the familiar cultural stereotypes. friend, wrote about him, “I remember the players have often mentioned it as an honour to Shakespeare, that in his writing, whatsoever he penned, he never blotted out a line” (Jonson, Conclusions 2015). In the film, this image is being deconstructed: Shakespeare is shown suffering As the analysis offered above demonstrates, from creative agony, he not only crosses out “Shakespeare in Love” is a unique film which some of the lines, but also rejects whole sheets. possesses a high metatextual potential that can be Moreover, the playwright experiences what is used to better understand the cultural specificity usually called the writer's block. Thus, it can be of the English Renaissance, its profound said that in the film Shakespeare’s image is connection with the present-day civilisation, removed from the pedestal, it is brought closer to modern cultural stereotypes, as well as explore the modern audience, especially the young the nature of creativity, the intricacies of the audience, the turns into a living person. writing process and the semiotics of the theatre. It seems only logical that the metatextual Speaking about the epoch as an object of the potential of this film can be harnessed in the metatextual commentary in the film, one should classroom and used to inform students’ pay special attention to the theatrical life shown understanding of the subject (linguistics of the on the screen. It should be noted that not only text, semiotics, theatre studies, cultural studies, dramatists, actors and other key figures of literary studies, history, etc.) and motivate them theatrical life attracted the attention of the to go into detail, do deeper research and think out scriptwriters, but also the theatrical microcosm as of the box, as well as to develop their creativity a whole. The interior of the theatre is very and critical thinking skills. Shakespeare and his detailed, as well as costumes, rehearsals, texts of biography can be deemed a perfect experimental plays, main theatrical practices. A striking ground for this mission. Shakespeare is literally example is the embodiment of the interactive everywhere: not only in terms of language, plots, nature of the Elizabethan theatre, when viewers images, and allusions, but also in terms of the

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