scholarly journals Arboreal Tradition and Subversion: An Ecocritical Reading of Shakespeare’s Portrayal of Trees, Woods and Forests

2020 ◽  
Vol 21 (36) ◽  
pp. 85-97
Author(s):  
Andoni Cossio ◽  
Martin Simonson
Keyword(s):  
Close Reading ◽  
Merchant Of Venice ◽  
Richard Ii ◽  
Individual Tree ◽  
Midsummer Night's Dream ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
The World ◽  
Individual Trees

This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing individual trees from woods and forests. Individual types of trees may represent death, sadness, sorcery and premonitions, or serve as meeting places, while forests and woods are frequently portrayed as settings which create an atmosphere of confusion, false appearances, danger and magic. This reflects a long-standing historical connection between trees and forests and the supernatural in literature and culture. However, while individual trees largely reflect traditional symbology, conventional interpretations are often subverted in Shakespeare’s treatment of forests and woods. From all this we may infer that Shakespeare was not only familiar with the traditions associated to individual tree species and forests in general, but also that he made conscious and active use of these in order to enhance the meaning of an action, reinforce character traits, further the plot and create a specific atmosphere. More subtly, the collective arboreal environments can also be interpreted as spaces in which superstitions and older societal models are questioned in favour of a more rational and reasonable understanding of the world.

Two Hamlets

Tempo ◽  
1969 ◽  
pp. 6-12
Author(s):  
Stephen Walsh
Keyword(s):  
Original Text ◽  
Merchant Of Venice ◽  
Musical Settings ◽  
Midsummer Night's Dream ◽  
Much Ado About Nothing ◽  
The Past ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
A Midsummer Night's Dream

Although Shakespeare has in the past been freely plundered for musical settings of every kind—from song to opera—it still seems a fair generalisation to say that his best work does not lend itself to this kind of treatment. Perhaps the most successful of all Shakespeare operas in English is Britten's A Midsummer Night's Dream, which follows closely the text of one of the less substantial comedies. Of The Tempest, Much Ado About Nothing, The Merchant of Venice, no satisfactory opera has apparently been made (though Berlioz's Béatrice et Bénédict contains charming music), and for much the same reason—namely Shakespeare's unrivalled genius for linguistic imagery—the great tragedies have resisted direct musical setting, Boito's Otello and Piave's Macbeth being, of course, free derivatives, not translations. Only in our own century has it become normal to set Shakespeare's tragedies in the original text, translated or otherwise.

Shylock, the Devil and the Meaning of Deception in The Merchant of Venice

2018 ◽  
Vol 51 (2) ◽  
pp. 44-51
Author(s):  
Jonathan Elukin
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Merchant Of Venice ◽  
Religious Identities ◽  
Men And Women ◽  
The Merchant Of Venice ◽  
The World ◽  
The Devil ◽  
Fallen World

Abstract The article explores Shakespeare’s secularized retelling of the Christian theological narrative of deceiving the Devil, with Antonio playing the role of Christ and Shylock as the Devil. The article argues that recasting the contest between Christ and the Devil in the world of Venice sets the stage for Shakespeare’s larger exploration of the pervasive nature of deceit in human affairs. Although it seems that Shakespeare’s characters are resigned to live in a fallen world where truth is obscured, Portia’s invocation of mercy may be Shakespeare’s attempt to offer some hope of an earthly salvation. The article argues that this portrait of a world filled with deception resonated with Shakespeare’s audience. Men and women in early modern England lived in a world where they often had to hide their religious identities and loyalties. This interpretation challenges more recent attempts to see the play as primarily concerned with race and tolerance.

Shylock, the Devil and the Meaning of Deception in The Merchant of Venice

2018 ◽  
Vol 51 (2) ◽  
pp. 44-51
Author(s):  
Jonathan Elukin
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Merchant Of Venice ◽  
Religious Identities ◽  
Men And Women ◽  
The Merchant Of Venice ◽  
The World ◽  
The Devil ◽  
Fallen World

The article explores Shakespeare’s secularized retelling of the Christian theological narrative of deceiving the Devil, with Antonio playing the role of Christ and Shylock as the Devil. The article argues that recasting the contest between Christ and the Devil in the world of Venice sets the stage for Shakespeare’s larger exploration of the pervasive nature of deceit in human affairs. Although it seems that Shakespeare’s characters are resigned to live in a fallen world where truth is obscured, Portia’s invocation of mercy may be Shakespeare’s attempt to offer some hope of an earthly salvation. The article argues that this portrait of a world filled with deception resonated with Shakespeare’s audience. Men and women in early modern England lived in a world where they often had to hide their religious identities and loyalties. This interpretation challenges more recent attempts to see the play as primarily concerned with race and tolerance.

Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Merchant of Venice. Edited by Charles Edelman. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Taming of the Shrew. Edited by Elizabeth Schafer. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; King Henry V. Edited by Emma Smith. $23 paper.

2004 ◽  
Vol 45 (1) ◽  
pp. 158-161
Author(s):  
Michael Flachmann
Keyword(s):  
Merchant Of Venice ◽  
Romeo And Juliet ◽  
Henry V ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
Cambridge University ◽  
Much Ado About Nothing ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
As You Like It

In their “Editors' Preface” to the Cambridge University Press Shakespeare in Production series, J. S. Bratton and Julie Hankey proudly describe the “comprehensive dossier of materials,” including “eye-witness accounts, contemporary criticism, promptbook marginalia, stage business, cuts, additions and rewritings,” that make up the heart of this brilliant and exceptionally useful collection of Shakespeare editions. Conceived by Jeremy Treglown and first published by Junction Books, the series was later printed by Bristol Classical Press as Plays in Performance, though none of the original four titles remains in print. Already published in the descendant Cambridge Shakespeare in Production series are nine plays—A Midsummer Night's Dream, Much Ado about Nothing, Antony and Cleopatra, Hamlet, The Tempest, King Henry V, Romeo and Juliet, The Taming of the Shrew, and The Merchant of Venice—with Macbeth, Twelfth Night, Troilus and Cressida, Othello, and As You Like It forthcoming.

Maritime Fantasies and Gender Space in Three Shakespearean Comedies

2012 ◽  
Vol 11 (1) ◽  
pp. 23-37
Author(s):  
Wai Fong Cheang
Keyword(s):  
Female Characters ◽  
Merchant Of Venice ◽  
Twelfth Night ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
Gender Space ◽  
And Gender ◽  
Gender And Space

Abstract Laden with sea images, Shakespeare‘s plays dramatise the maritime fantasies of his time. This paper discusses the representation of maritime elements in Twelfth Night, The Tempest and The Merchant of Venice by relating them to gender and space issues. It focuses on Shakespeare‘s creation of maritime space as space of liberty for his female characters.

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