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Wissenschaftliches Seminar Online Shakespeare Seminar Deutsche Shakespeare-Gesellschaft Issue 13 (2015) Shakespeare’s Unsung Heroes and Heroines http://shakespeare-gesellschaft.de/publikationen/seminar/ausgabe-13-2015.html Shakespeare Seminar 13 (2015) EDITORS The Shakespeare Seminar is published under the auspices of the Deutsche Shakespeare-Gesellschaft, Weimar, and edited by: Christina Wald, Universität Konstanz, Fachbereich Literaturwissenschaft, Fach 161, D-78457 Konstanz ([email protected]) Felix Sprang, Humboldt-Universität zu Berlin, Institut für Anglistik und Amerikanistik, D-10099 Berlin ([email protected]) PUBLICATION FREQUENCY Shakespeare Seminar is a free annual online journal. It documents papers presented at the Academic Seminar panel of the spring conferences of the Deutsche Shakespeare-Gesellschaft. It is intended as a publication platform especially for graduate and postgraduate students. The current call for papers is published on our website. INTERNATIONAL STANDARD SERIAL NUMBER ISSN1612-8362 © Copyright 2015 Deutsche Shakespeare-Gesellschaft e.V. CONTENTS Introduction Christina Wald and Felix Sprang .................................................................................... 1 Fortinbras’s Revenge: Genre and Sovereignty in Hamlet Martin Moraw ................................................................................................................. 3 Rediscovering Ophelia: Conception and Perception of Hamlet’s Revenge Tragedy Heroine David J. Amelang .......................................................................................................... 15 (Un)Heroic Madness: The Jailer’s Daughter as Playwright and Audience Figure in The Two Noble Kinsmen Karoline Baumann ........................................................................................................ 27 The Pain of Others: Silencing Lavinia in Titus Andronicus Marlena Tronicke ................................................................................................. ……39 ‘There’s not a boy left alive’: The Heroic Eloquence of Shakespeare’s Silenced Children. An Analysis of Henry V and Macbeth Gemma Miller ............................................................................................................. 51 Feeble Heroism: 1&2 Henry IV and Intellectual Liberty Sam Gilchrist Hall ......................................................................................................... 63 Call for Statements – Shakespeare Seminar at the Shakespeare-Tage 2016 ................ 74 INTRODUCTION BY CHRISTINA WALD AND FELIX SPRANG Shakespeare’s Unsung Heros and Heroines Without Paulina and Antigonus there would be no reunion, however tainted, between Leontes and Hermione, and there would be no union of Perdita and Florizel. In a sense, then, Paulina and Antigonus are the unsung heroine and hero of The Winter’s Tale. Undoubtedly, Antigonus’s exit pursued by a bear is not typical of a tragic hero. Taking Antigonus melodramatic departure as an example, Sir Walter Raleigh, then Professor of English Literature at Oxford, famously complained in 1907 that Shakespeare disposed of his minor characters “in the most unprincipled and reckless fashion” (137). In this seminar we would like to explore heroic qualities in Shakespeare’s minor characters, and thus equally revisit preconceived notions about the status of these minor characters as well as traditional concepts of the tragic hero. What did Shakespeare's contemporaries make, for example, of Enobarbus deserting Antony and then dying of grief when confronted with Antony’s generosity and Octavius’ cynicism? Was Enobarbus a tragic hero in the eyes of contemporary audiences? Do we see him as a tragic hero? Considering heroic qualities in Shakespeare's minor characters can help bring into focus changing attitudes to heroism and hero worship. At the same time, this perspective also allows for probing into more fundamental dramatic and literary conventions: how ‘minor’ are minor characters in Shakespeare’s plays? Does poetic justice only appertain to the great? The papers in this volume address manifold aspects of unsung heroism. Martin Moraw draws our attention to Fortinbras’s revenge, and reads Hamlet’s Norwegian other through the lens of Benjamin’s Trauerspiel. David J. Amelang discusses the early reception of Ophelia and argues that the focus on her madness in act 4 has overshadowed the complexity of the character which is modelled after early modern conduct books. The Jailer’s Daughter in The Two Noble Kinsmen, again a character often reduced to being a madwoman on the stage, is scrutinized by Karoline Baumann as a character that operates on a metatheatrical level to tease out the audience’s desires. Marlena Tronicke argues that Lavinia’s silence is in fact a form of empowerment as it turns her into the play’s tragic heroine, its central character. The children in Henry V and Macbeth, Henry’s Boy and Macduff’s Son, whose murder haunts the entire plays, are scrutinized by Gemma Miller. Sam Gilchrist Hall reads the character Feeble in Henry IV, who refuses to take part in the court’s power politics as well as Falstaff’s spree, as a hero who shines as an epitome in our time, urging us to resist the marketization of impact-factor driven universities. FORTINBRAS’S REVENGE: GENRE AND SOVEREIGNTY IN HAMLET MARTIN MORAW This paper argues that Hamlet and Fortinbras inhabit two distinct generic modes. Hamlet’s revenge on Claudius is best understood as a Danish Trauerspiel as theorized by Walter Benjamin, yet Fortinbras’s revenge on Denmark is a Norwegian romance. The discontinuity between the two modes allows us to grasp Hamlet as what Fredric Jameson calls a “socially symbolic act,” that is, as an “ideological — but formal and immanent — response to a historical dilemma.”1 Specifically, the remotivation of the older romance structure within the new generic environment of Trauerspiel functions to contain an ideological problem that emerges in early modern revenge drama. The Fortinbras plot symbolically resolves the conceptual scandal that is the dialectical unity of the outlaw and the sovereign by transforming the Norwegian prince, as though by fortunate accident, from one into the other. What makes Hamlet a Trauerspiel rather than a tragedy? Benjamin’s sharp distinction between tragedy, which for him belongs exclusively to ancient Greece, and early modern Trauerspiel rests on what he sees as fundamental differences between the notions of fate and guilt articulated in each form. The fate of tragic protagonists is that guilt falls upon them through misfortune, and thus from without: “[this] is always the guilt of those who are guilty by their actions, not their will.”2 Over the course of the dramatic action, tragic guilt “is taken over by a hero ... and absorbed into himself. By reflecting it in his consciousness of himself, he escapes its demonic jurisdiction” (O, 131). Trauerspiel, by contrast, lacks a similarly isolated subject of fate, just as it lacks the internal coherence of action valued in Aristotelian tragic theory. The reason is that here, guilt is conceived in Christian terms as “creaturely” (O, 129), that is, as the reflection of original sin; it is already an essential part of every agent, prior to any individual transgression having occurred. Trauerspiel therefore dramatizes the complex workings out of guilt as a datum, as opposed to the encountering and overcoming of guilt by a tragic consciousness. In Greek tragedy, fate is particular, whereas in Trauerspiel, it is universal. For Benjamin, the core of the notion of fate in Trauerspiel thus consists in the “conviction that ... creaturely guilt,” in whatever guise and however briefly it may manifest itself, “unleashes causality as the instrument of the irresistibly unfolding fatalities” (O, 129). In the early modern drama of fate, in other words, guilt causes causation; conversely, fate is revealed over the course of the action as “the entelechy of events within the field of guilt” (O, 129). This metaphysical texture explains why, 1 Fredric Jameson, The Political Unconscious. Narrative as a Socially Symbolic Act (Ithaca: Cornell UP, 1981), 139. 2 Walter Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London: Verso, 1998), 131. All citations from this text are taken from the English translation, hereafter abbreviated O and cited parenthetically by page number. 4 Fortinbras’s Revenge on the level of plot, fate dwells not in the appearance of necessity as in tragedy but instead in the appearance of accident. For within the field of guilt delineated by Trauerspiel, Benjamin writes, everything intentional or accidental is so intensified that the complexities — of honour for instance — betray, by their paradoxical vehemence, that the action of this play has been inspired by fate. It would be absolutely wrong to argue: ‘If we encounter improbable accidents, contrived situations, unduly complicated intrigues ... then the impression of fatality is destroyed.’3 For it is precisely the far-fetched combinations, those which are anything other than natural, which correspond to the various fates in the various fields of action. (O, 130) The twists and turns of the dramatic action — “accidental judgements” (5.2.326),4 in Horatio’s words, such as the blind stabbing of a man behind an arras, “purposes mistook / Fall’n on th’ inventors’ heads” (5.2.328-29) as in an exchange of rapiers in the midst of a heated scuffle, or when a queen drinks from a poisoned cup intended for someone else — are the events that confirm,
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