Shakespeare and the Politics of the Passions
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The Necessity ofAffections: Shakespeare and the Politics of the Passions Torsten Kehler English Department McGill University, Montréal, Canada October, 2001 A thesis submitted ta the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Ph.D. © Torsten Kehler, 2001 National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 canada canada Your 6Je VotIlI rélérflnce Our file Notr. référflncs The author bas granted a non L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library ofCanada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies ofthis thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership ofthe L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son pemnsslOn. autorisation. 0-612-78705-2 Canada Abstract This dissertation-"The Necessity ofAffections: Shakespeare and the Politics ofthe Passions"-is a contribution to an important and interesting aspect ofearly modem thought. It examines the role ofthe passions or emotions in Shakespearean tragedy and in early modem politics. Shakespeare can be seen to share a perspective on tragedy and political thought with a number ofother writers, sorne ofwhom were his contemporaries, and sorne ofwhom-like Thucydides and Tacitus-were classical writers. What these figures, here called 'politic historians,' have in common is an interest in using the passions as an explanatory category to reveal the states ofmind oftyrants, princes and also other agents, including manipulative Machiavellians. Shakespeare's use ofthis politics ofthe passions is shown to be more acute and insightful than the rival treatments given by Stoicism, Hobbes and Machiavelli, in terms ofexplaining motives, agency and action. It is also argued that an understanding ofthe passions tells us something about tragedy, necessity and chance: namely, the need for realism about the dangers posed by those who seek to fashion or shape our minds. However, this dissertation proposes that this political realism does not go so far as to become the cynicism ofrealpolitik. A discussion ofa number of important passages and themes in the tragedies-in particular, Hamlet, Macbeth and Coriolanus-shows how the notion ofa rich and vividly articulated self plays a significant role in Shakespearean tragedy. Cette dissertation-"La Nécessité des Affections: Shakespeare et la Politique des Passions"--est une contribution à un aspect aussi important qu'intéressant dans la pensée du début de l'époque moderne. Elle examine le rôle de passions et émotions dans la tragédie Shakespearienne et aussi dans 1'histoire politique du début de l'époque moderne. On peut voir Shakespeare partager un point de vue sur la tragédie et la pensée politique avec d'autres écrivains, quelques uns étant de ses contemporains, et d'autres, comme Thucydide et Tacite, étant des auteurs classiques. Un point commun entre ces écrivains appelés 'historiens politiques' est leur intérêt à se servir de la passion comme émotion pour catégoriquement dévoiler l'état d'esprit des tyrants, princes et autres émissaires, incluant les personnes machiavéliques manipulateurs. L'utilisation du protocole de passions par Shakespeare est demontrée comme plus aigüe et persepicasse comparée aux traitements opposés de Stoicisme, Hobbes et Machiavel, en terme d'explication des intentions, instruments et actions. Il est aussi contasté que la compréhension de passions nous renseigne à propos de la tragédie, nécessité et chance; c'est-à• dire l'envie du réalisme sur les risques posés par ceux qui cherchent à former ou modeler nos idées. Cette dissertation propose que ce réalisme politique n'aille pas aussi loin à être le cynique de la realpolitik. Une discussion d'un nombre de passages importants et de thèmes aux tragédies-plus en particulier Hamlet, Macbeth et Coriolanus-nous établis sur la notion qu'une personne (le moi) d'une abondante et vivide articulation joue un rôle notable dans la tragédie Shakespearienne. Candidates have the option ofincluding, as part ofthe thesis, the text ofone or more papers submitted or to be submitted for publication, or the clearly duplicated text ofone or more published papers. These texts must be bound as an integral part ofthe thesis. Ifthis option is chosen, connecting texts that provide logical bridges between the different papers are mandatory. The thesis must be written in such a way that it is more than a mere collection ofmanuscripts; in other words, results ofa series ofpapers must be integrated. The thesis must still conform to aIl other requirements ofthe "Guidelines for Thesis Preparation". The thesis must include: A Table ofContents, an abstract in English and French, an introduction which clearly states the rationale and objectives ofstudy, a review ofthe literature, a final conclusion and summary, and a thorough bibliography or reference list. Additional material must be provided where appropriate (e.g. in appendices) and in sufficient detail to aIlow a clear and precise judgement to be made ofthe importance and originality ofthe research reported in the thesis. In the case ofmanuscripts co-authored by the candidate and others, the candidate is required to make an explicit statement in the thesis as to who contributed to such work and to what extent. Supervisors must attest to the accuracy ofsuch statements at the doctoral oral defense. Since the task ofthe examiners is made more difficult in these cases, it is in the candidate's interest to make perfectly clear the responsibilities ofaIl the authors ofthe co-authored papers. Acknowledgements 1 wish to thank McGill's Faculty ofGraduate Studies and Research for giving me an extra year in which to complete this thesis. This extra year benefited me intellectually, and 1hope 1have conveyed a sense ofthe excitement that gripped me in the research and writing ofthe thesis. 1also wish to express my deep gratitude to my supervisor, Michael Bristol, for his guidance, the freedom he afforded me, and the inspiration he provided me from day one. 1came to him as a near-total Renaissance neophyte; indeed in 1994 and 1995 1 was more conversant with Donald Davidson on language than with A. C. Bradley on Shakespeare. Imagine my pleasure, then, when 1first laid eyes on a Bristol graduate course syllabus, with readings from Aristotle and Kant, as well as from Martha Nussbaum and Jon Elster. This, 1 thought, is exactly how Shakespeare should be read, in a dialogue with ethics, politics and philosophy (and not only-as sometimes seems to be the case-in a dialogue with contemporary theory). Despite having his own work to do, as well as his professional obligations and sundry other constraints on his time, Mike Bristol always gave willingly ofhis time and learning. It is not an exaggeration for me to say that 1can't think ofanother Shakespearean l'd rather have had as a supervisor. 1must also thank a number ofother McGill University faculty members, past and present. 1 leamed a great deal from Paisley Livingston, and from Mette Hjort too, in person and in print. Trevor Ponech did his best to explain the intricacies ofmoral philosophy and meta-ethics to me. Leonore Lieblein taught me most ofwhat 1know about Shakespeare and feminism. Maggie Kilgour helpfully suggested sorne titles when 1was stumped about Renaissance aesthetics. Dorothy Bray has been a most understanding and helpful person in her capacity as Graduate Advisor. And l'm grateful to the Shakespeare Research Team at McGill for first sending me to the Foiger for two weeks, making it possible for me to consult a number ofimportant books and manuscripts for the first time. 1am also grateful to the Social Sciences and Humanities Research Council ofCanada for a doctoral fellowship from 1995 to 1998. The staffat the Foiger Shakespeare Library were helpful at a vital early stage when 1 spent a semester in Washington. In Denmark-at the Royal Library, the Royal Archives, and the University ofCopenhagen's libraries-several kind librarians helped me locate a number ofearly modem volumes. At the Foiger, Leeds Barroll helped by recommending a number ofauthors and titles. Richard and Elizabeth ühmann have been splendid hosts on several occasions. Paul Rahe answered a number ofmy emailed questions. Stephen Greenblatt taught a most fascinating course at Dartmouth College where 1attended the School ofCriticism and Theory. 1 must also mention Philip Fisher, whose own stimulating work on Shakespeare and on the passions has inspired many ofmy thoughts on the subject. He commented carefully and generously on my work at a crucial time, sent me several offprints, and discussed a number ofauthors and books with me. My friends have been a source ofideas and inspiration, and a great help to me. Cristina Mejia has been a stalwart for years. She and 1had many exciting conversations in the cafes and bookstores ofMontréal and Washington. My old friend, colleague and Copenhagen roommate Callum Robertson has been very helpful in supplying books hot offthe presses ofBritish publishers. My former colleague in English at the University ofJoensuu in Finland, Ken Meaney, so knowledgeable about Shakespeare, was a supportive and close friend when I taught in Finland. I have shared a lot ofgood conversations with Stefan Werner ofthe Linguistics Department at Joensuu. Carol Pech and I were at the Folger together; l've leamed a lot from her about political theory, and about the vicissitudes ofwriting a dissertation on early modem thought.