Sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory Celine Savatier-Lahondès

Total Page:16

File Type:pdf, Size:1020Kb

Sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory Celine Savatier-Lahondès Transtextuality, (Re)sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory Celine Savatier-Lahondès To cite this version: Celine Savatier-Lahondès. Transtextuality, (Re)sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory. Linguistics. Université Clermont Auvergne; University of Stirling, 2019. English. NNT : 2019CLFAL012. tel-02439401 HAL Id: tel-02439401 https://tel.archives-ouvertes.fr/tel-02439401 Submitted on 14 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. University of Stirling – Université Clermont Auvergne Transtextuality, (Re)sources and Transmission of the Celtic Culture Through the Shakespearean Repertory THESIS SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (PH.D) AND DOCTEUR DES UNIVERSITÉS (DOCTORAT) BY CÉLINE SAVATIER LAHONDÈS Co-supervised by: Professor Emeritus John Drakakis Professor Emeritus Danièle Berton-Charrière Department of Arts and Humanities IHRIM Clermont UMR 5317 University of Stirling Faculté de Lettres et Sciences Humaines Members of the Jury: Professor Danièle Berton Charrière, Université Clermont-Auvergne (tutor) Professor John Drakakis, University of Stirling (tutor) Professor Martine Yvernault, Université de Limoges (reporter) Professor Marie-Françoise Alamichel, Université Paris-Est Marne La Vallée, (reporter) Doctor Angus Vine, University of Stirling Doctor Nora Viet, Université Clermont-Auvergne 8 November 2019 © Céline Savatier-Lahondès For Philippe and Nicolas For Zof, and Fred ABSTRACT Key words: Shakespeare, Celtic, Motifs, (Re)sources, Antiquity, Rhizome This dissertation explores the resurgence of motifs related to Celtic cultures in Shakespeare’s plays, that is to say the way the pre-Christian and pre-Roman cultures of the British Isles permeate the dramatic works of William Shakespeare. Such motifs do not always evidently appear on the surface of the text. They sometimes do, but most often, they require a thorough in depth exploration. This issue has thus far remained relatively unexplored; in this sense we can talk of a ‘construction’ of meaning. However, the cultures in question belong to an Ancient time, therefore, we may accept the idea of a ‘reconstruction’ of a forgotten past. Providing a rigorous definition of the term ‘Celtic’ this study offers to examine in detail the presence of motifs, first in the Chronicles that Shakespeare could have access to, and takes into account the notions of orality and discourse, inherent to the study of a primarily oral culture. The figure of King Arthur and the matter of Britain, seen as the entrance doors to the subject, are studied in relation to the plays, and in the Histories, the analysis of characters from the ‘margins’, i.e. Wales, Ireland and Scotland provides an Early Modern vision of ‘borderers’. Only two plays from the Shakespearean corpus are set in a Celtic historical context – Cymbeline and King Lear – but motifs surge in numerous other works, such as Macbeth, A Midsummer Night’s Dream, The Tempest, The Winter’s Tale and others. This research reveals a substrate that produces a new enriching reading of the plays. 3 4 RÉSUMÉ Mots clés: Shakespeare, Celtic, Motifs, (Res)sources, Antiquité, Rhizome Cette thèse explore les résurgences de motifs liés aux cultures celtiques dans les pièces de Shakespeare, c'est-à-dire la manière dont les cultures pré-chrétienne et pré-romaine des îles britanniques imprègnent l’œuvre théâtrale de William Shakespeare. Ces motifs n’apparaissent pas toujours de manière évidente à la surface du texte. Cela arrive parfois, mais ils requièrent souvent une analyse précise et approfondie. Cette question est jusqu’à présent restée relativement inexplorée ; en ce sens nous pouvons parler d’une construction de sens. Cependant, les cultures en question appartenant à un passé antique, il est possible d’accepter l’idée d’une ‘reconstruction’ d’un passé jusque là oublié. Basé sur une définition rigoureuse du terme ‘celtique’, cette étude examine en détail la présence des motifs, tout d’abord dans les chroniques auxquelles Shakespeare a pu avoir accès, sans oublier les notions d’oralité et de ‘discours’, inhérentes à l’analyse d’une culture avant tout orale. La figure du roi Arthur et la matière arthurienne, perçus comme la voie d’entrée dans le sujet, sont étudiés en relation avec les œuvres du dramaturge, et dans les pièces historiques, l’analyse des personnages venant des ‘marges’, i.e. le Pays-de-Galles, l’Irlande et l’Ecosse informent sur la vision pré-moderne de ces ‘frontaliers’. Seules deux pièces sont situées dans un contexte historique celtique : Cymbeline et Le Roi Lear, mais de nombreux motifs surgissent aussi dans d’autres œuvres telles que Macbeth, Le songe d’une nuit d’été, La tempête, Le Conte d’hiver et d’autres. Ce travail de recherche révèle un substrat qui produit une nouvelle lecture enrichissante des œuvres de William Shakespeare. 5 6 FOREWORD AND ACKNOWLEDGEMENTS This investigation was encouraged by Professor Danièle Berton-Charrière, from the Université Clermont-Auvergne, whose research on the Celtic domain herself together with Professor Jean Berton provided an impetus, and by Professor John Drakakis, from the University of Stirling, who is currently involved in the revision of Geoffrey Bullough’s Narrative and Dramatic Sources of Shakespeare. Humans cannot live without stories. We surround ourselves with them; we make them up in our sleep; we tell them to our children; we pay to have them told to us. Some of us create them professionally. And a few of us – myself included – spend our entire adult lives trying to understand their beauty, power, and influence (Stephen Greenblatt, The Rise and Fall of Adam and Eve, 2017, p. 2). I would like to express my eternal gratitude and acknowledgment to my tutors Danièle Berton and John Drakakis, and to my husband, Philippe Lahondès. I would like to thank the University of Stirling, the Université Clermont Auvergne, and the Région Auvergne for their support. In France, the Doctoral School at the MSH and IHRIM Clermont, my research laboratory were very helpful, and I felt very welcomed during my visits in Scotland. Thank you to my school, Collège La Salle Franc Rosier, and to the Rectorat de l’Académie de Clermont, for providing me the two-month research leave without which it would have been difficult to complete this dissertation. Thanks, too, go to my family for their patience, and to all of you who encouraged and supported me in this fascinating research project. I am hugely grateful for your friendship and company as much as anything. 7 8 TABLE OF CONTENTS ABSTRACT ............................................................................................................................... 3 RÉSUMÉ .................................................................................................................................... 5 FOREWORD AND ACKNOWLEDGEMENTS ...................................................................... 7 TABLE OF CONTENTS ........................................................................................................... 9 LIST OF ILLUSTRATIONS ................................................................................................... 15 LIST OF ABBREVIATIONS .................................................................................................. 17 INTRODUCTION The transmission of Celtic cultural myths, (re)sources and transtextual relations ......... 19 1. Definitions, chronology and geography ........................................................................... 25 1.1 Definition of the term ‘Celtic’ .................................................................................... 26 1.2 Myth ........................................................................................................................... 38 2. Difficulties and limitations ............................................................................................... 43 2.1 Celtic motifs in Shakespeare: why not studied before? ............................................. 43 2.2 Speculation on oral culture ......................................................................................... 48 2.3 Available data ............................................................................................................. 52 3. Methodological tools ........................................................................................................ 56 3.1 Transtextual relations and the notion of con-text: Genette, Barker and Hulme, Lake, Maingueneau .................................................................................................................... 57 3.1.1 Genette ................................................................................................................ 57 3.1.2 Discourse, con-text and confluence .................................................................... 59 3.2 Of the function of references to Antiquity in Shakespeare’s drama: Colin Burrow .. 61 3.3 Rhizome:
Recommended publications
  • View in Order to Answer Fortinbras’S Questions
    SHAKESPEAREAN VARIATIONS: A CASE STUDY OF HAMLET, PRINCE OF DENMARK Steven Barrie A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2009 Committee: Dr. Stephannie S. Gearhart, Advisor Dr. Kimberly Coates ii ABSTRACT Dr. Stephannie S. Gearhart, Advisor In this thesis, I examine six adaptations of the narrative known primarily through William Shakespeare’s The Tragedy of Hamlet, Prince of Denmark to answer how so many versions of the same story can successfully exist at the same time. I use a homology proposed by Gary Bortolotti and Linda Hutcheon that explains there is a similar process behind cultural and biological adaptation. Drawing from the connection between literary adaptations and evolution developed by Bortolotti and Hutcheon, I argue there is also a connection between variation among literary adaptations of the same story and variation among species of the same organism. I determine that multiple adaptations of the same story can productively coexist during the same cultural moment if they vary enough to lessen the competition between them for an audience. iii For Pam. iv ACKNOWLEDGMENTS I would like to thank my advisor, Stephannie Gearhart, for being a patient listener when I came to her with hints of ideas for my thesis and, especially, for staying with me when I didn’t use half of them. Her guidance and advice have been absolutely essential to this project. I would also like to thank Kim Coates for her helpful feedback. She has made me much more aware of the clarity of my sentences than I ever thought possible.
    [Show full text]
  • Performing Shakespeare in Contemporary Taiwan
    Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare.
    [Show full text]
  • The Fantastic in Shakespeare: Hamlet and Macbeth
    Odsjek za anglistiku Filozofski fakultet Sveučilište u Zagrebu The Fantastic in Shakespeare: Hamlet and Macbeth (Smjer: Engleska književnost i kultura) Kandidat: Petra Bušelić Mentor: dr. sc. Iva Polak Ak. godina: 2014./2015. Listopad, 2015. Contents 1. Introduction .......................................................................................................................... 1 2. Todorov’s Theory of the Fantastic ..................................................................................... 2 3. Hamlet .................................................................................................................................... 7 3.1. “Who’s There”: Enter Fantastic Ghost ............................................................................ 8 3.2. Putting on the “Antic Disposition” ................................................................................ 15 3.3. The Ghost Comes in Such a Questionable Shape .......................................................... 19 4. Macbeth ............................................................................................................................... 22 4.1. The “Unreal Mock’ry” of Banquo’s Ghost ................................................................... 22 4.2. The Weird Sisters as Imperfect Speakers ...................................................................... 26 4.3. Kingship, Witchcraft and Jacobean Royal Ideology ..................................................... 32 5. Shakespeare’s Dramatic Use of the Supernatural .........................................................
    [Show full text]
  • Hamlet, the Ghost and the Model Reader
    HAMLET, THE GHOST AND THE MODEL READER THE PROBLEMS OF THE RECEPTION AND A CONCEPT OF SHAKESPEARE’S HAMLET Doctoral dissertation by András G. Bernáth Supervisor: Prof. Guido Latré, PhD Université Catholique de Louvain 2013 ABSTRACT In a comprehensive study of Hamlet and its reception, this dissertation offers a concept and interpretation of Shakespeare’s work as a complex literary work and play for the theatre. It is argued that the play, through a series of ambiguities, implies two main levels of meaning, which complement each other in a truly dramatic contrast, exploring the main theme of Hamlet and dramatic art in general: seeming and being, or illusion and reality. On the surface, which has been usually maintained since the Restoration, Hamlet seems to be a moral hero, who “sets it right” by punishing the evil villain, the usurper King Claudius, following the miraculous return of the murdered King Hamlet from the dead. At a deeper level, exploring the Christian context including King James’s Daemonologie (1597), the Ghost demanding revenge is, in fact, a disguised devil, exploiting the tragic flaw of the protagonist, who wishes the damnation of his enemy. Fortinbras, who comes from the north like King James and renounces revenge, is rewarded with the kingdom after the avengers, Hamlet and Laertes, kill each other and virtually the entire Danish court is wiped out through Hamlet’s quest of total revenge, pursuing both body and soul. The aesthetic identity of Hamlet is also examined. In addition to the mainly philological and historical analysis of the text, the play, some adaptations and the critical reception, theoretical concerns are also included.
    [Show full text]
  • Stirling Strategic Park and Ride Study – Case for Change Stirling Strategic Park and Ride Study Stirling Strategic Park and Ride Study – Case for Change
    Stirling Strategic Park and Ride Study 03/02/2020 Reference number 107755 STIRLING STRATEGIC PARK AND RIDE STUDY – CASE FOR CHANGE STIRLING STRATEGIC PARK AND RIDE STUDY STIRLING STRATEGIC PARK AND RIDE STUDY – CASE FOR CHANGE IDENTIFICATION TABLE Client/Project owner Tactran Project Stirling Strategic Park and Ride Study Study Stirling Strategic Park and Ride Study – Case for Change Type of document Final Report Date 03/02/2020 Reference number 107755 Number of pages 103 APPROVAL Version Name Position Date Modifications Principal Author Claire Mackay 08/01/2019 Consultant 1st Draft (POIC 1 Approved Associate only) Iain Clement 08/01/2019 by Director Principal Author Claire Mackay 04/03/2019 Consultant 2 2nd Draft Approved Associate Iain Clement 04/03/2019 by Director Principal Author Claire Mackay 29/03/2019 Consultant 3 3rd Draft Approved Associate Iain Clement 29/03/2019 by Director Principal Author Claire Mackay 09/04/2019 Consultant Final – minor 4 Approved Associate amendments Iain Clement 09/04/2019 by Director Principal Author Claire Mackay 03/12/2019 Consultant 5 Approved Associate Iain Clement 04/12/2019 Minor by Director amendments Principal 24/1/2020 and Author Claire Mackay 03/02/2020 Consultant 03/02/2020 6 Approved Associate Iain Clement 03/02/2020 by Director TABLE OF CONTENTS EXECUTIVE SUMMARY 7 1. INTRODUCTION 13 1.1 OVERVIEW 13 1.2 BACKGROUND TO STUDY: 2016 DPMTAG APPRAISAL 14 2. METHODOLOGY 19 2.1 SCOTTISH TRANSPORT APPRAISAL GUIDANCE (STAG) 19 2.2 STAKEHOLDER ENGAGEMENT 19 2.3 COLLATION OF BASELINE DATA 20 2.4 PROJECT STEERING GROUP 20 3.
    [Show full text]
  • A Poetics of Ghosting in Contemporary Irish and Northern Irish Drama
    A Poetics of Ghosting in Contemporary Irish and Northern Irish Drama A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Mary Katherine Martinovich IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Margaret Werry Advisor April 2012 © Kay Martinovich, April 2012 ACKNOWLEDGEMENTS My sincerest gratitude must be extended to those people who were with me as I traveled on this extraordinary journey of writing about Ireland’s ghosts. To my advisor, Margaret Werry: for her persistent support that was also a source of inspiration as I revised and refined every step of the way. She was the colleague in my corner (reading draft upon draft) as well as the editor extraordinaire who taught me so much about the process itself. She offered unyielding guidance with great wisdom, clarity, and compassion. Go raibh míle maith agat as chuile shórt. Tá tú ar fheabhas! To my committee members Michal Kobialka, Sonja Kuftinec, and Mary Trotter: Michal gave me an incredible piece of encouragement just when I needed it – I thank him for his insightful feedback and commitment to my project. Sonja’s positive spirit also energized me at just the right time. Her comments were always invaluable and oh so supportive – I thank her profusely. From the beginning, Mary has been an enthusiastic advocate for me and for my work. With her vast knowledge of Irish theatre, I have been quite fortunate to have her on my side – my heartfelt thanks to her. To my friends Vivian Wang, Kathleen Andrade, Maggie Scanlan, Matt O’Brien, James S.
    [Show full text]
  • Shakespeare and the History of Soliloquies
    CHAPTER ONE INTRODUCTION 1-1 Background In studying literature one of the most aspects of it is understanding what has been termed as literary devices in general. This term in literature is always a place of confusion for many learners, and especially those students who major literature field. Understanding literary devices is key to understanding any literary work either written or performed as the case in plays. Commonly, the term Literary Devices refers to the typical structures used by writers in their works to convey message(s) in a simple manner to their readers. When employed properly, the different literary devices help readers to appreciate, interpret and analyze a literary work and through literary analysis approach which means the practice of looking closely at small parts to see how they affect the whole(Literary Devices Editors, 2013). Literary analysis also focuses on how elements such as plot/structure, character, setting, and many other techniques are used by authors to create meaningful story and dramatic effects to enhance their theme and plot strongly. In respect to the plays, there are also common literary techniques used by playwrights to develop a literary piece e.g. plot, setting, structure, characters, mood, theme, moral etc. without these key devices, playwrights cannot create their desired work without including them in a professional manner and to give the work a taste. 1 Playwrights usually use varied types of literary technique to create strong mood and interest in the audience. They can make the audience feel the emotion and action of the play by getting them on hold or create in them suspense which is the future events expectation that requires patience and eager to be enacted.
    [Show full text]
  • Jonah Salz, Asako Soga and Masahito Shiba ABSTRACT MINIMALIST MAXIMALISM
    Tradition meets Technohlogy: Integrating Japanese Noh & New Technology in Shakespeare’s Macbeth Jonah Salz, Asako Soga and Masahito Shiba ABSTRACT This paper addresses technical and aesthetic problems encountered in adapting Shakespeare’s Macbeth to the noh stage, used for the six hundred year-old dance-drama form. In July, 2009 the Noho Theatre Group created a dancing Witch and Ghost for Sleep no More, Lady Macbeth’s Nightmare by integrating motion-capture technology to create 3D computer graphic animations set to automatic choreography, which were then projected on a screen. Sleep no More, performed bilingually in English and Japanese, by noh and kyogen actors with modern actors and dancers, was given a public rehearsal July 17th at the Oe Noh Theatre, Kyoto. This paper examines the problems in screen placement, interaction of performers with technology, as well as performer’s reflections and audience reception. MINIMALIST MAXIMALISM At first glance, the medieval Japanese masked dance-theatre noh theatre remains a famous example of bare-stage minimalist theatre, hand-hewn and time-stained. Texts and masks used today were created centuries ago. The stages took their present dimensions and form around 400 years ago, at adapted temples or shrines, purpose-built outdoor platform performances on riverbanks, or within castle courtyards (Amano 2007). They are highly utilitarian as well as aesthetically pleasing: an angled bridgeway, leading from the dressing room Figure 1 Nishi Honganji Noh Stage, Kyoto and `mirror room` standby space, has become an effective playing area. The main stage, which retains the temple’s inverted-V roof and pillars, is a raised open cube that both frames and elevates the characters’ portrayed.
    [Show full text]
  • Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet
    SCORING FOR THE SPECTER: DUALITIES IN THE MUSIC OF THE GHOST SCENE IN FOUR FILM ADAPTATIONS OF HAMLET John T. Dunn, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2002 APPROVED: Mark McKnight, Major Professor Margaret Notley, Minor Professor Timothy Jackson, Minor Professor Graham Phipps, Dean of Graduate Studies, College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Dunn, John, Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet. Master of Music, August 2002, 123 pages, 10 figures, 72 works consulted. This document’s purpose is to analyze dualities found in different films of Shakespeare’s Hamlet. Each director’s version brings different ideas to the play. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene’s symbolism are made among the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene is analyzed independently of the others. This work will contribute to film music research and Shakespeare studies. Copyright 2002 By John Timothy Dunn ii ACKNOWLEDGEMENTS I would like to thank Jessica Avelis, Jonathan Chance, Kevin Neal, and Sara Puryear in their assistance in the completion of this document. I could not have accomplished this if not for them.
    [Show full text]
  • Mass Media and Western Pop Culture
    POPULAR IMAGES AND COSMOPOLITAN MEDIATIONS: MASS MEDIA AND WESTERN POP CULTURE IN THE ANGLOPHONE SOUTH ASIAN NOVEL by ELIZABETH TARYN SIRKIN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Kurt M. Koenigsberger Department of English CASE WESTERN RESERVE UNIVERSITY May, 2007 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of ______________________________________________________ candidate for the Ph.D. degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. DEDICATION For all of the doctoral candidates who are still hard at work on their dissertations and for my husband, Jeremy Richard Mason, who waited so patiently while I completed mine. 1 TABLE OF CONTENTS Acknowledgments.…………………………………………………………………… 3 Abstract……………………………………………………………………………….. 4 Chapter I: How Media Speak; What the Postcolonial Novel Says…………………… 6 Chapter II: “Written on the Brow of Some”: Inscription and Erasure in R. K. Narayan’s The Guide…………………………………………………………. 44 Chapter III: The Trivial, the Historically Significant, and the Ideologically Impoverished
    [Show full text]
  • Cymbeline's Much Ado About Nothing, Noting
    Actes des congrès de la Société française Shakespeare 31 | 2014 La langue de Shakespeare Cymbeline’s Much Ado about Nothing, Noting, (K)not Knowing, and Nothus Patricia Parker Christophe Hausermann (ed.) Electronic version URL: http://journals.openedition.org/shakespeare/2826 DOI: 10.4000/shakespeare.2826 ISSN: 2271-6424 Publisher Société Française Shakespeare Printed version Date of publication: 1 May 2014 Number of pages: 103-121 Electronic reference Patricia Parker, « Cymbeline’s Much Ado about Nothing, Noting, (K)not Knowing, and Nothus », Actes des congrès de la Société française Shakespeare [Online], 31 | 2014, Online since 01 May 2014, connection on 20 April 2019. URL : http://journals.openedition.org/shakespeare/2826 ; DOI : 10.4000/ shakespeare.2826 © SFS CYMBELINE’S MUCH ADO ABOUT NOTHING, NOTING, (K)NOT KNOWING, AND NOTHUS 1 Patricia PARKER This essay focuses on language networks important to Much Ado About Nothing and Cymbeline —starting from the long-acknowledged homophone of “nothing” and “noting” in Much Ado. Drawing on translingual dictionaries and related language networks in Shakespeare, it includes nothing, noting, knots, musical notes, and the bawdy language of nought/naught/not(e). But it also traces the multilingual impact of Latin “nota” (including the ars notaria or writing; branding, blot, or stain; the stigma of slander; and the “notus/ignotus” of knowing/not knowing); commercial notes as “IOU”; conflation of the female “O” with the “cipher” of arithmetical notation; and the “bastard” or “counterfeit” Nothus (homophone of Notus), a crucial early modern context not only for Don John the Bastard in Much Ado but also for “Italian” Iachimo, who manipulates Cymbeline’s anachronistic wager plot by counterfeiting “simular proof enough” (V.iv.200).
    [Show full text]
  • Wessex Archaeology
    Wessex Archaeology The Maritime Archaeology of the Welsh Coal Trade Ref: 53111.02s-3 April 2009 ARCHAEOLOGICAL SERVICES IN RELATION TO THE PROTECTION OF WRECKS ACT (1973) THE MARITIME ARCHAEOLOGY OF THE WELSH COAL TRADE Prepared by: Wessex Archaeology Portway House Old Sarum Park Salisbury Wiltshire SP4 6EB Prepared for: CADW Welsh Assembly Government Plas Carew Unit 5/7 Cefn Coed Parc Nantgarw Cardiff CF15 7QQ April 2009 Ref: 53111.02s-3 © Wessex Archaeology Limited 2009 Wessex Archaeology Limited is a Registered Charity No.287786 The Maritime Archaeology of the Welsh Coal Trade Wessex Archaeology 53111.02s-3 THE MARITIME ARCHAEOLOGY OF THE WELSH COAL TRADE Ref: 53111.02s-3 Summary “It is the great quantities of Bulksome Commodities that multiplies ships” - Thomas Tryon, 1669 Wessex Archaeology was commissioned by CADW to undertake a thematic desk-based study of the maritime archaeology of the Welsh coal trade. Although now in serious decline, the coal industry was fundamental in shaping the development of modern Wales, particularly in the south. For a brief period of time in the late 19th and early 20th centuries it was arguably also Britain’s greatest single export and Welsh ‘steam coal’ powered the industrial and transport revolutions taking place across the world. The coal industry bestrode Wales like a behemoth. Most of the coal was exported and therefore the coal trade was by necessity largely a maritime trade. Both South and North Wales had separate coal industries. The coalfields of North Wales were in the north-east. The South Wales coalfield extended across a wide area, from Abersychan in the east to St Bride’s Bay in the west.
    [Show full text]