Impressive Shakespeare: Identity, Authority and the Imprint in Shakespearean Drama, 1st Edition (Hardback) book cover

Impressive Shakespeare

Identity, Authority and the Imprint in Shakespearean Drama, 1st Edition

By Harry Newman

Routledge

200 pages

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Description

Impressive Shakespeare reassesses Shakespeare’s relationship with "print culture" in light of his plays’ engagement with the language and material culture of three interrelated "impressing technologies": wax sealing, coining, and typographic printing. It analyses the material and rhetorical forms through which drama was thought to "imprint" early modern audiences and readers with ideas, morals and memories, and—looking to our own cultural moment—shows how Shakespeare has been historically constructed as an "impressive" dramatist. Through material readings of four plays—Coriolanus, A Midsummer Night’s Dream, Measure for Measure and The Winter’s Tale—Harry Newman argues that Shakespeare deploys the imprint as a self-reflexive trope in order to advertise the value of his plays to audiences and readers, and that in turn the language of impression has shaped, and continues to shape, Shakespeare’s critical afterlife. The book pushes the boundaries of what we understand by "print culture", and challenges assumptions about the emergence of concepts now central to Shakespeare’s perceived canonical value, such as penetrating characterisation, poetic transformation, and literary fatherhood.

Harry Newman’s suggestive analysis of techniques and tropes of sealing, coining and printing produces a revelatory account of Shakespearean creative poetics. It’s sustainedly startling in its rereading of familiar lines - but the chapter I found most original is on Measure for Measure: Newman is the first critic to attempt to interpret the play’s authorial status as part of its own thematic and linguistic interrogation of illegitimacy and counterfeiting. He makes authorship matter in a literary and creative, rather than a quantitative and statistical, sense. Impressive Shakespeare is a brilliant scholarly debut.

- Emma Smith

Editor, Shakespeare Survey

Professor of Shakespeare Studies, Hertford College, Oxford

Reviews

Harry Newman’s suggestive analysis of techniques and tropes of sealing, coining and printing produces a revelatory account of Shakespearean creative poetics. It’s sustainedly startling in its rereading of familiar lines - but the chapter I found most original is on Measure for Measure: Newman is the first critic to attempt to interpret the play’s authorial status as part of its own thematic and linguistic interrogation of illegitimacy and counterfeiting. He makes authorship matter in a literary and creative, rather than a quantitative and statistical, sense. Impressive Shakespeare is a brilliant scholarly debut.

- Emma Smith

Editor, Shakespeare Survey

Professor of Shakespeare Studies, Hertford College, Oxford

Table of Contents

List of Figures

Acknowledgements

A Note on the Text

List of Abbreviations

Introduction: The Stamp of the Bard

‘My dear Keats’: Impressions of ‘WS’

Metaphors and Material Readings

The Structure of this Book

1. Technology, Language, Physiology

Sealing, Coining, Printing: Interrelated Technologies

The Language of Impression and Early Modern Metaphor Theory

Early Modern Physiology: Imprinting and Imprinted Subjects

2. ‘[T]he stamp of Martius’: Commoditised Character and the Technology of Theatrical Impression in Coriolanus

Valuing the Imprint of ‘Character’: Theatre, Charactery, Criticism

Translating Plutarch, Coining Coriolanus

Metatheatrical Impressions: Burbage’s ‘Painting’ and the Technology of Wounds

Sealing Knowledge: The Theatrical Contract and the Imprint of Silence

3. ‘[A] form in wax, / By him imprinted’: Sealing and Poetics in A Midsummer Night’s Dream

Shakespeare’s ‘special impress’: Materialising and Gendering Dream’s Poetry

Seals in Early Modern Material Culture, Rhetoric and Drama

The ‘transfigured’ Audience: Signs and Seals of Poetic Transformation in Dream

4. ‘[S]tamps that are forbid’: Measure for Measure, Counterfeit Coinage, and the Politics of Value

Counterfeiting in the Name of the King: Jacobean Coinage and the King’s Men

Metatheatrical Counterfeiting: The Duke’s Economy of Value

Adapting ‘old-coined gold’: Canonical Value and the Stamp of Thomas Middleton

5. The Printer’s Tale: Books, Children, and the Prefatory Construction of Shakespearean Authorship

The Infant-Text and the Prefatory ‘Shake-scene’

Dramatic Paratexts, Theatricality and the ‘paper stage’

[T]he fathers face’: Prefacing Shakespeare’s Book, 1623

The Printer’s Tale Retold: Paternal Likeness in The Winter’s Tale and the Preliminaries of the First Folio

Conclusion

Impressions Past, Present and Future: Shakespearean Drama in the Age of Mechanical Reproduction

Shakespeare and the ‘print of goodness’: The Ethics of the Imprint

Works Cited

Index

About the Author

Harry Newman is Lecturer in Shakespeare and Early Modern Literature at Royal Holloway, University of London.

About the Series

Material Readings in Early Modern Culture

Material Readings in Early Modern Culture

This series provides a forum for studies that consider the material forms of texts as part of an investigation into early modern English culture. The editors invite proposals of a multi- or interdisciplinary nature, and particularly welcome proposals that combine archival research with an attention to the theoretical models that might illuminate the reading, writing, and making of texts, as well as projects that take innovative approaches to the study of material texts, both in terms the kinds of primary materials under investigation, and in terms of methodologies. What are the questions that have yet to be asked about writing in its various possible embodied forms? Are there varieties of materiality that are critically neglected? How does form mediate and negotiate content? In what ways do the physical features of texts inform how they are read, interpreted and situated? Consideration will be given to both monographs and collections of essays. The range of topics covered in this series includes, but is not limited to:

-History of the book, publishing, the book trade, printing, typography (layout, type, typeface, blank/white space, paratextual apparatus)

-Technologies of the written word: ink, paper, watermarks, pens, presses

-Surprising or neglected material forms of writing

-Print culture

-Bookbinding

-Manuscript studies

-Social space, context, location of writing

-Social signs, cues, codes imbued within the material forms of texts

-Ownership and the social practices of reading: marginalia, libraries, environments of reading and reception

-Codicology, palaeography and critical bibliography

-Production, transmission, distribution and circulation

-Archiving and the archaeology of knowledge

-Orality and oral culture

-The material text as object or thing

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Subject Categories

BISAC Subject Codes/Headings:
LIT000000
LITERARY CRITICISM / General
LIT019000
LITERARY CRITICISM / Renaissance