Shadowplay : the hidden beliefs and coded politics of William Shakespeare / Clare Asquith.
2005
PR3017 .A75 2005 (Mapit)
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Details
Title
Shadowplay : the hidden beliefs and coded politics of William Shakespeare / Clare Asquith.
Author
Asquith, Clare.
ISBN
1586483161 (hardcover)
9781586483166 (hardcover)
1586483870 (paperback)
9781586483876 (paperback)
9781541774292 (paperback)
1541774299 (paperback)
9781586483166 (hardcover)
1586483870 (paperback)
9781586483876 (paperback)
9781541774292 (paperback)
1541774299 (paperback)
Published
New York : PublicAffairs, [2005]
Copyright
©2005
Language
English
Description
xvii, 348 pages ; 25 cm
Call Number
PR3017 .A75 2005
Alternate Call Number
HI 3320
Dewey Decimal Classification
822.3/3
Summary
Examines possible hidden code terms and double meanings in Shakespeare's plays, which the author maintains was the playwright's way of registering his dissent to the political situation in Elizabethan England.
"In sixteenth-century England many loyal subjects to the crown were asked to make a terrible choice: serve their monarch or their God. The schism between the Crown and the Catholic Church had widened from a theological dispute in the reign of Henry VIII to bitter political conflict under Elizabeth I. It was also the era of the greatest creative genius the world has ever known: William Shakespeare. How, then, was it possible that such a remarkable man born into such violently volatile times should apparently make no comment about the state of England in his work? He did. But it was hidden." "Clare Asquith traces the common code used covertly by dissident writers in the sixteenth century to discuss the tribulations of their time, and reveals that the acknowledged master of this forgotten art form was William Shakespeare. Constantly attacking and exposing a regime that he believed had seized illegal control of the country he loved, Shakespeare's work, seen from this new perspective, offers a revelatory insight into the politics and personalities of his era."--Jacket.
"In sixteenth-century England many loyal subjects to the crown were asked to make a terrible choice: serve their monarch or their God. The schism between the Crown and the Catholic Church had widened from a theological dispute in the reign of Henry VIII to bitter political conflict under Elizabeth I. It was also the era of the greatest creative genius the world has ever known: William Shakespeare. How, then, was it possible that such a remarkable man born into such violently volatile times should apparently make no comment about the state of England in his work? He did. But it was hidden." "Clare Asquith traces the common code used covertly by dissident writers in the sixteenth century to discuss the tribulations of their time, and reveals that the acknowledged master of this forgotten art form was William Shakespeare. Constantly attacking and exposing a regime that he believed had seized illegal control of the country he loved, Shakespeare's work, seen from this new perspective, offers a revelatory insight into the politics and personalities of his era."--Jacket.
Bibliography, etc. Note
Includes bibliographical references (pages 301-331) and index.
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Table of Contents
1. The silence of John Nobody
2. Secret voices
3. The protectors
4. Reconciliation, 1588-1592
5. Persecution, 1592-1594
6. Rage, 1594
7. Addressing the queen, 1595-1599
8. The Catholic resistance, 1599-1600
9. Appeal to the undecided, 1600
10. Failure, 1601-1602
11. The king's man, 1603-1604
12. The powder keg, 1605-1606
13. The post-mortem, 1606-1608
14. The second hope, 1608-1616
15. Silenced, 1610-1611
16. 'The lost man', 1611 and after
App. Sonnet 152.
2. Secret voices
3. The protectors
4. Reconciliation, 1588-1592
5. Persecution, 1592-1594
6. Rage, 1594
7. Addressing the queen, 1595-1599
8. The Catholic resistance, 1599-1600
9. Appeal to the undecided, 1600
10. Failure, 1601-1602
11. The king's man, 1603-1604
12. The powder keg, 1605-1606
13. The post-mortem, 1606-1608
14. The second hope, 1608-1616
15. Silenced, 1610-1611
16. 'The lost man', 1611 and after
App. Sonnet 152.