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Ita Veattit 5 the RENAISSANCE REVISITED METAMORPHOSING SHAKESPEARE MUTUAL ILLUMINATIONS OF THE ARTS edited by PATRICIA KENNAN MARIANGELA TEMPERA lats-v--toerot-Eoti ! 3 L 4407: ita_veattit 5 THE RENAISSANCE REVISITED CUIEB UNIVERSITÀ DEGLI STUDI DI FERRARA THE RENAISSANCE REVISITED General Editors Patricia Kenn= Mariangela Tempera 5 1391,1991 .1( METAMORPHOSING SHAKESPEARE Mutual Illuminations of the Arts Edited by Patricia Kennan and Mariangela Tempera GW,EB (0 2004 by CLUEB Cooperativa Libraria Universitaria Editrice Bologna Tutti i diritti sono riservati. Questo volume è protetto da copyright. Nessuna parte di questo libro può essere riprodotta in ogni forma e con ogni mezzo, inclusa la fotocopia e la copia su supporti magneti- CONTENTS co-ottici senza il consenso scritto dei detentori dei diritti. pag. Foreword 9 Ulrich Weisstein - The Venial Sins of the Intermedialist or How to Avoid the Mutuai Obfuscation of the Arts 11 Questo volume è pubblicato con il contributo David Margolies - Shakespeare and the Literary Picture 31 del Centro Shakespeariano di Ferrara Tom Matheson - Droeshout's Shakespeare: From Image to !con 45 Giuseppina Restivo - Interpreting A Midsummer Night's Dream: Shakespeare and Fuseli 59 Paola Spinozzi - Figuring the Other-worldly: Late Victorian Visions of Shakespeare's Fairy Lore 93 Daniela Carpi - Prospero's Books and The Tempest: Science, Magic and Painting 109 Anna Anzi - From Film to Canvas: Polanski's Macbeth Recycled in Metamorphosing Shakespeare : Mutuai Illuminations of the Arts / edited by Patricia Ken- Italy 121 nan and Mariangela Tempera. — Bologna : CLUEB, 2004 207 p. ; ill. ; 22 cm Manfred Draudt - Love's Labour's Lost and Mozart's Così fan tutte 127 (The Renaissance revisited / general editors Patricia Kennan, Mariangela Tempera ; 5) (Sul verso del front.: Università degli studi di Ferrara) Mariangela Tempera - Every Inch a Father Verdi's Re Lear Project 145 ISBN 88-491-2319-1 Ton Hoenselaars - Frank Harris, Bardolatry and Wagnerism 163 Manfred Pfister - `If music be the food of comedy...': Screen Music in Recent Film Versions of Shakespearean Comedy (Trevor Nunn '5 Twelfth Night, Michael Hoffman's Midsummer Night's Dream) 175 CLUEB Cooperativa Libraria Universitaria Editrice Bologna Notes on contributors 193 40126 Bologna - Via Marsala 31 Tel. 051 220736- Fax 051 237758 Index 197 www.dueb.com FIGURING THE OTHER-WORLDLY: LATE VICTORIAN VISIONS OF SHAKESPEARE'S FAIRY LORE PAOLA SPINOZZI 1. Puck among the Victorians Poor Puck's occupation, alas, is gone! _1 Times, indeed, are sadly changed — even fairy-rings are sacrilegiously subjected to the hypotheses of science — and if Shakespeare had lived some two centuries later, he must have had recourse to the sister island for a laity creed that has long departed fmm his native shores. 1.-I The whole of the popular fairy mythology of the time, on which the Midsummer Night's Dream may be said to be found, has now become a subject for literary research.' In his presentation of an outstanding collection of mythological and popular sources of fairy lore related to A Midsummer Night's Dream, James Halliwell expresses a deep concern about the destiny of fairies, whose existence had been feared and revered by the Elizabethans and whose relationships with humans had so intrigued Shakespeare. Their existence was rationally explained by Victorian scientism as the hybrid expression of mythology and ancient, deeply rooted popular beliefs which became the object of folklorists' investigation. The Victorian search for the sources of fairy mythology inspiring Shake- speare must thus be connected to a wider cultural enterprise which counteracted scientism and technological progress by retrieving, systematising and re-evaluating folklore sources as outstanding expressions of Great Britain's cultural heritage. Figuring the otherworldly, recognised as a mode of representation extraordinarily suited to Shakespeare's imagination but also pertain- ing to Britishness, played an important role in the construction of the British cultural identity. In the 191h century the fairy cult, sustained by research, produced fairylands in literature and the other arts. The prominent status attributed to Shakespeare's fairies in the Victorian fairy-world leads us to revalue this autochthonous cultural 94 Paola Spinozzi Figuring the Other-worldly 95 manifestation through its most outstanding exponent. Verbal and and fables, antiquated romances, and the traditions of nurses and old women, that he may fall in with our natural prejudices [...j. For, visual figurations of Shakespeare's fairy lore in the Victorian age and otherwise, he will be apt to make his fairies talk like people of his up to the early 20'h century have a fundamental role in consolidating own species, and not like other sets of beings [...I. specific traits of Great Britain's cultural identity. These descriptions raise a pleasing kind of horror in the mind of the Paintings and illustrations that visualise the fantastic and the reader, and amuse his imagination They bring up into our supernatural in Shakespeare's plays2 also raise issues about the memory the stories we have heard in our childhood. E...] there are aesthetic status of visual transmutations of verbal works of art which many intellectual beings in the world besides ourselves, and several species of spirits, who are subject to different laws and economies are ontologically derivative. The autonomy of illustration as a work from those of mankind of art is jeopardised by its dependence on words; nonetheless, There was not a village in England that had not a ghost in it, the illustration aims at asserting its own identity by superimposing a churchyards were all haunted, every large common had a circle of visual interpretation of the text. Illustrators and painters devised fairies belonging to it, and there was scarce a shepherd to be met expressive modes which bore relevance to radical changes in the with who had not seen a spirit. Among all the poets of this kind our English are much the best concept of vision and visual representation during the Victorian age.3 [...I. For the English are naturally fanciful, and very often disposed The complex cultural and aesthetic negotiations engendered by by [...] gloominess and melancholy of temper [...I to many wild Victorian visualisations of otherworldly beings featuring in Shake- notions and visions LI. speare's fairy plays — A Midsummer Night's Dream and The Tempest Among the English, Shakespeare has incomparably excelled all — would remain largely unintelligible if no account were taken of others. L. .1 noble extravagance of fancy E...] thoroughly qualified him to touch this weak superstitious part of his reader's imagination philological studies on the fairies' mythological and folkloric origins [...]. Them is something so wild and yet so solemn in the speeches or late 19'h-century experiments with non figurative painting. of his ghosts, fairies, witches [...I that we cannot forbear thinking them natural [...1 and must confess, if them are such beings in the world, it looks highly probable they should talk and act as he has 2. Fairy lore and the fairy way of writing represented them.' Superstition which prevailed in past epochs, when nature, witch- The Victorian age marked the completion of a cultural process craft, prodigies, charms and enchantments aroused reverence and dating back to the 18th century and revolving around the central horror, is opposed to learning and philosophy in Addison's enlight- role attributed to Shakespeare's supernatural and fantastic in the ened age. The nature and representation of the supernatural as well development of a genre based on a 'national' imaginative mode. as its presence in reality were fundamental issues of 18'h-century Shakespeare's original handling of English fancifulness had been aesthetics. Figuring the supernatural with the faculty of reason most eloquently advocated for by Addison in his conceptualisation required the author's use of imagination not to subvert reality. The of 'the fairy way of writing'. change in the concept of fiction, as illustrated by Horace Walpole in There is a kind of writing wherein the poet quite loses sight of his Preface to the second edition of The Castle of Otranto (1764), is Nature, and entertains his reader's imagination with the characters based on the distinction between the ancient, unrealistic kind of and actions of such persons as have many of them no existence but what he bestows on them; such are fairies, witches, magicians, romance and the modem one founded on plausibility. demons, and departed spirits. This Mr. Dryden calls the Fairy Way In the former, all was imagination and improbability: in the latter, of Writing L.]. nature is always intended to be, and sometimes has been, copied with [.. .1 it is impossible for a poet to succeed in it, who has not a success. Invention has not been wanting; but the great resources of particular cast of fancy, and an imagination naturally fruitful and fancy have been dammed up, by a strict adherence to common life.' superstitious. Besides this, he ought to be very well versed in legends 96 Paola Spinotzi Figuring the Other-worldly 97 In 18'h-century romance the powers of fancy and invention were Dream" (1865), edited by E.M. West, demonstrated that the catego- moulded to represent extraordinary events as credible and explainable. ry of the supernatural is intrinsically British. The retrieval of the Myth, prejudice, and the irrational were re-introduced with the popular traditions which had inspired Shakespeare allowed folk- revaluation of tradition which the Romantics opposed to the lorists to ascertain the existence of a British cultural matrix as well Enlightenment's belief in freedom from superstition. As Nicola Bown as assess appropriations by Shakespeare. Comparative studies of argues: fairy lore and literary representations of faeries based on Shake- The Enlightenment's declaration of the autonomy of reason is the speare led them to enunciate theories about cultural borrowings and precondition and ground of the 'counter-Enlightenment's' redi- cross-fertilizations of popular and mythological sources.
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