The artistic links between William Shakespeare and Sir Thomas More : radically different Richards /
Hallett, Charles A.,1935-
Hallett, Elaine S.,1935-
New York ; Basingstoke : Palgrave Macmillan,
2011.
"The Halletts' investigation differs from anything that has been written about the relationship between Thomas More and William Shakespeare in that it approaches the subject from a dramaturgical point of view. What was Shakespeare the artist looking for that made him seize upon More's History per se and base Richard III entirely on the brief four-month period covered in More's book, compressing time rather than telescoping it? What did Shakespeare find in More that resulted in his amazing new ability to create dramatic scenes of the sort that one finds in Richard's wooing of the Citizens at Baynard's Castle, which More himself did not dramatize but harshly denigrated? What was the imaginative process that enabled Shakespeare to create the scenes in which Richard woos first Lady Anne and later Queen Elizabeth (neither of which are in More) on the model of what he learned from writing the Baynard's Castle scene? How was Shakespeare able to separate out More's negative and disparaging view of Richard's thespian abilities (which, More assures his readers, everyone instantly saw through) from the buoyant and positive view that Shakespeare's Richard offers of his own powers as dramatist, presenter, actor, and would-be king? All of these questions need to be answered. No book has yet attempted to define in specific terms either what Shakespeare learned from his study of More's History or how he learned it. This book, we hope, is unique. Shakespeare's newly discovered dramatic techniques are explicated in the various chapters with clarity and strength in a way that can benefit future generations of artists"--Provided by publisher.
"The Halletts' investigation differs from anything that has been written about the relationship between Thomas More and William Shakespeare in that it approaches the subject from a dramaturgical point of view. What was Shakespeare the artist looking for that made him seize upon More's History per se and base Richard III entirely on the brief four-month period covered in More's book, compressing time rather than telescoping it? What did Shakespeare find in More that resulted in his amazing new ability to create dramatic scenes of the sort that one finds in Richard's wooing of the Citizens at Baynard's Castle, which More himself did not dramatize but harshly denigrated? What was the imaginative process that enabled Shakespeare to create the scenes in which Richard woos first Lady Anne and later Queen Elizabeth (neither of which are in More) on the model of what he learned from writing the Baynard's Castle scene? How was Shakespeare able to separate out More's negative and disparaging view of Richard's thespian abilities (which, More assures his readers, everyone instantly saw through) from the buoyant and positive view that Shakespeare's Richard offers of his own powers as dramatist, presenter, actor, and would-be king? All of these questions need to be answered. No book has yet attempted to define in specific terms either what Shakespeare learned from his study of More's History or how he learned it. This book, we hope, is unique. Shakespeare's newly discovered dramatic techniques are explicated in the various chapters with clarity and strength in a way that can benefit future generations of artists"--Provided by publisher.
Includes bibliographical references and indexes.
Preface: Shakespeare's search for the essence of dramatic form -- "More virtually does Shakespeare's work for him": dogmas of the "more myth" -- "Thou art a traitor. Off with his head!": Applying the Ricardian shock to de casibus narrative -- "For on that ground I'll make a holy descant--": two con men show how their thespian skills brought Richard's cause "to a happy issue" -- "Was ever woman in this humor woo'd?/Was ever woman in this humor won?": Richard's boast of his prowess as lover and playwright -- "The most arch act of piteous massacre/that ever yet this land was guilty of": how Shakespeare's method of exposing Richard differs from More's -- "To her go I, a jolly thriving wooer": the second wooing scene (4.4.199-431) -- "Here pitch our tent, even here in Bosworth field": meanwhile, back at the tetralogy... -- Later uses of the Ricardian template: crafting the fifth act of Coriolanus -- Epilogue -- Appendix: Interlocking episodes of action: Shakespeare's use of More's "rusty armor" scene (3.5.1-109).
Shakespeare, William, 1564-1616.
More, Thomas, Saint, 1478-1535.
Shakespeare, William, 1564-1616.
Richard III, King of England, 1452-1485
Shakespeare, William, 1564-1616