Review by: Virginia Mason Vaughan Shakespeare Quarterly, Vol. 54, No. 3 (Autumn, 2003), pp. 340-342 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/3844111 . Accessed: 07/05/2014 04:32 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . Folger Shakespeare Library and George Washington University are collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly. http://www.jstor.org This content downloaded from 147.91.1.41 on Wed, 7 May 2014 04:32:55 AM All use subject to JSTOR Terms and Conditions SHAKESPEARE QUARTERLY SHAKESPEARE QUARTERLY modate their needs. At this point, we seem far away from the sonnets, and Schalkwyk risks losing his readers here in the critical morass surrounding these plays. But his point is finally to connect Hamlet's and the sonnets"'representations of the debilitating effects of a world in which the personal or the private can find no space for itself within the public or social world" (130). The final two chapters return to less polemically charged, more philosophical dis- cussions of how proper names function in the sonnets and Romeo and Juliet, Troilus and Cressida, and Othello; and of how speech acts produce what he calls "transformative rec- iprocity" in the sonnets and All's Well That Ends Well. Although rich readings appear in both of these chapters, they seemed anticlimactic after the intensity of the pages on interiority; and the decision to end with a discussion of All's Well that felt rather close to the first chapter on performatives was strategically misguided. Indeed, the structure of this book often feels somewhat arbitrary, and there is no real momentum or narra- tive drive. For someone so engaged with performance, the book is surprisingly unthe- atrical. And yet, the rewards of this book lie not in its drama but in its rigorous intelli- gence and persistence. Anyone interested in the relationship between early modern poetry and drama needs to read this study and confront its argument, for Schalkwyk succeeds absolutely in dismantling the critical barriers between Shakespeare's sonnets and the plays. By the end of the book, the "player-poet" of the sonnets and so many of Shakespeare's major characters-Viola, Antonio, Helen, Juliet, Iago, Cordelia, Hamlet, to name just a few-have begun audibly to rhyme. Othello: New Critical Essays. Edited by PHILIP C. KOLIN. New York and London: Routledge, 2002. Pp. xii + 458. Illus. $110.00 cloth, Reviewed by VIRGINIA MASON VAUGHAN In his general editor's introduction to Routledge's Shakespeare Criticism series, Philip C. Kolin asserts that each volume in the series "strives to give readers a balanced, representative collection of the most engaging and thoroughly researched criticism on the given Shakespearean text" (xii). The volume he has edited on Othello offers some useful insights, especially in regard to performance, but it nevertheless fails to meet this exacting standard, Let me begin with the most mundane. Kolin's anthology is marred by sloppy copy- editing and inattention to detail, including numerous typographical errors-"suprising" for "surprising" (14), for example, and"realty" for "reality" (48)-and the omission of a word on page 39 that conflates Paul Robeson Jr. with his father and thus makes two sentences totally incoherent. Consistent misspelling of Barbara Hodgdon's name as Hodgson is bad enough, but Kolin also attributes one of her most important essays, "Kiss Me Deadly; or, The Des/Demonized Spectacle," to me (86). Kolin's responsibili- ty for these errors aside, Routledge should have realized that an expensive volume intended for libraries should set a better example for our students, modate their needs. At this point, we seem far away from the sonnets, and Schalkwyk risks losing his readers here in the critical morass surrounding these plays. But his point is finally to connect Hamlet's and the sonnets"'representations of the debilitating effects of a world in which the personal or the private can find no space for itself within the public or social world" (130). The final two chapters return to less polemically charged, more philosophical dis- cussions of how proper names function in the sonnets and Romeo and Juliet, Troilus and Cressida, and Othello; and of how speech acts produce what he calls "transformative rec- iprocity" in the sonnets and All's Well That Ends Well. Although rich readings appear in both of these chapters, they seemed anticlimactic after the intensity of the pages on interiority; and the decision to end with a discussion of All's Well that felt rather close to the first chapter on performatives was strategically misguided. Indeed, the structure of this book often feels somewhat arbitrary, and there is no real momentum or narra- tive drive. For someone so engaged with performance, the book is surprisingly unthe- atrical. And yet, the rewards of this book lie not in its drama but in its rigorous intelli- gence and persistence. Anyone interested in the relationship between early modern poetry and drama needs to read this study and confront its argument, for Schalkwyk succeeds absolutely in dismantling the critical barriers between Shakespeare's sonnets and the plays. By the end of the book, the "player-poet" of the sonnets and so many of Shakespeare's major characters-Viola, Antonio, Helen, Juliet, Iago, Cordelia, Hamlet, to name just a few-have begun audibly to rhyme. Othello: New Critical Essays. Edited by PHILIP C. KOLIN. New York and London: Routledge, 2002. Pp. xii + 458. Illus. $110.00 cloth, Reviewed by VIRGINIA MASON VAUGHAN In his general editor's introduction to Routledge's Shakespeare Criticism series, Philip C. Kolin asserts that each volume in the series "strives to give readers a balanced, representative collection of the most engaging and thoroughly researched criticism on the given Shakespearean text" (xii). The volume he has edited on Othello offers some useful insights, especially in regard to performance, but it nevertheless fails to meet this exacting standard, Let me begin with the most mundane. Kolin's anthology is marred by sloppy copy- editing and inattention to detail, including numerous typographical errors-"suprising" for "surprising" (14), for example, and"realty" for "reality" (48)-and the omission of a word on page 39 that conflates Paul Robeson Jr. with his father and thus makes two sentences totally incoherent. Consistent misspelling of Barbara Hodgdon's name as Hodgson is bad enough, but Kolin also attributes one of her most important essays, "Kiss Me Deadly; or, The Des/Demonized Spectacle," to me (86). Kolin's responsibili- ty for these errors aside, Routledge should have realized that an expensive volume intended for libraries should set a better example for our students, 340 340 This content downloaded from 147.91.1.41 on Wed, 7 May 2014 04:32:55 AM All use subject to JSTOR Terms and Conditions A few of the essays collected here are indeed engaging and thoroughly researched, including Kolin's own introduction. Although his useful overview of Othello in criticism and performance cannot possibly be comprehensive, and the discussion of critical views is sometimes perfunctory, Kolin's analysis of Othello's performance history on stage, film, and television is masterful. His attention to the telling details of particular productions, gleaned from experience as well as wide reading of reviews and other accounts, is as remarkable as his scope, which includes accounts of Japanese Kabuki and Noh Othellos. In addition to Kolin's introductory essay, the anthology includes twenty essays, some by scholars already recognized for their work in this area, some by newcomers. Like the introduction, the essays are most interesting when they take a fresh look at perfor- mance. Hugh Macrae Richmond on lago's special relationship to the audience, Sujata Iyengar on the racial dynamics of blackface performance, and John R. Ford on Roderigo as the key to space and place all provide new insights into Othello as a performance text. Francis X. Kuhn's discussion of ways of staging the text's violent episodes-drunken brawl, collaring, and murder-originates from theatrical practice, as does Kolin's inter- view with Kent Thompson, artistic director of the Alabama Shakespeare Festival. Scott McMillin provides a careful analysis of the copytexts for the Quarto and Folio texts, which he believes to have originated from performance scripts. Together, these essays help us to reconsider Othello as a play to be realized in the theater. Essays that purport to be on the "cutting edge," such as Bryan Reynolds and Joseph Fitzpatrick's analysis of"transversal power," are not as effective as more traditional essays. For example, David Bevington's view of Othello as the portrait of a marriage, James Schiffer's exploration of the Sonnets as a context for Shakespeare's tragedy, and Jay L. Halio's consideration of Shakespeare's recrafting of Cinthio's original story com- bine old-fashioned close reading and good sense that continue to yield fresh insights. Interdisciplinary approaches sometimes work well, too. Peter Erickson's discussion of black-and-white images in Renaissance painting as a frame for Othello's color-coded language beautifully demonstrates the imbrication of sexual and racial meanings in this period. John Gronbeck-Tedesco explores distinctions between morality and ethics, and how that distinction affects Iago's placement within the play. But Mary F. Lux, who looks at the text from the biologist's viewpoint, seems off the radar screen when she claims that Desdemona's pallor indicates anemia and that Othello's fit suggests malaria. Several essays successfully rehistoricize Othello. Thomas Moisan sees the workings of state power in the Duke's presence in Act 1, more so in his absence in Act 5. The late James R. Andreas Sr. frames Othello and The Merchant of Venice in the context of Renaissance attitudes toward Judaism. Sarah Munson Deats outlines the Puritan doc- trine of conscience, shows how it challenged traditional patriarchal doctrines of female submission in early modern England, and concludes that Othello's and Desdemona's adherence to the patriarchal model induces their downfall. Many essays, however, seem formulaic; they take a word, an idea, or a theme and then apply it, sometimes too mechanically, to Shakespeare's text. Clifford Ronan looks at water and images of liquidity and relates them to the play's religious undertones; Nicholas Moschovakis examines the text in relation to murder trials and early modern jurisprudence; LaRue Love Sloan surveys references to "eyes," differentiating between the controlling eye of male patriarchy and the wandering female eye that undermines 341 BOOK REVIEWS This content downloaded from 147.91.1.41 on Wed, 7 May 2014 04:32:55 AM All use subject to JSTOR Terms and Conditions SHAKESPEARE QUARTERLY SHAKESPEARE QUARTERLY male authority; and DanielJ. Vitkus expands on the "0" expletive as an orbital loop that embodies the play's turnings and reversals. All have some interest, but none is sufficiently broad to challenge one's view of Othello. Perhaps the time has come for the profession to reconsider the need for anthologies, most of which are planned by publishers for a library market. They are sometimes use- ful venues for original scholarship, but too often the cliche is valid: the new parts are not good and the good parts are not new. A large volume of essays should illuminate the wide variety of approaches to a Shakespearean text and enhance our understand- ing. The present collection has little thematic coherence and is of uneven quality. My university library has many better ways to spend $110. Performing Shakespeare in the Age of Empire. By RICHARD FOULKES. Cambridge: Cambridge University Press, 2002. Pp. x + 235. Illus. $65.00 cloth, Reviewed by SUSAN CARLSON It seems natural now to think of Shakespeare in connection with nineteenth-centu- ry imperial Britain, a towering playwright emblematic of a world power. In Performing Shakespeare in the Age of Empire, Richard Foulkes specifies the fit between the two by interweaving several historical narratives: the colonial extensions of Britain's Shakespeare, the emerging idea of a national theater, and the conscription of Shakespeare by high culture. The complex relationships he describes (covering the peri- od from 1832 to 1916) are, as he argues persuasively, most profitably read through the lens of performance. The first half of the book takes a new look at many familiar actor-managers, with chapters focused on Macready (chapter 1); Phelps, Kean, and the managers at Astley's (chapter 2); and the mid-century managements of Calvert and Rignold growing out of Manchester (chapter 4). (Chapter 3 interrupts this sequence with an analysis of the 1864 tercentenary celebrations in England.) These chapters, then, record the histories of the men whose personal agendas shaped Shakespearean production in this period. Perhaps too subtly, Foulkes begins the argument here that social and historical con- texts, not individuals, dictated management of the stage. The initial chapter on Macready establishes the organizational pattern of examin- ing performance by moving from one geographic location to another, tracing Macready's work from England to North America to Paris. With the dissipation of the theatrical monopoly in 1843, Macready and others created the populist Shakespeare that would dominate the Victorian years Foulkes examines. In this chapter, Foulkes begins detailing the nuanced ways in which performance was location-specific, but only in later chapters does he fully establish the theoretical underpinnings of this approach. As the subsequent chapters' account of performance unfolds, Foulkes traces the roles of royal patronage and both urban and suburban geographies on the spreading commercialization of Shakespeare. Foulkes's elaborations on the transatlantic traffic in male authority; and DanielJ. Vitkus expands on the "0" expletive as an orbital loop that embodies the play's turnings and reversals. All have some interest, but none is sufficiently broad to challenge one's view of Othello. Perhaps the time has come for the profession to reconsider the need for anthologies, most of which are planned by publishers for a library market. They are sometimes use- ful venues for original scholarship, but too often the cliche is valid: the new parts are not good and the good parts are not new. A large volume of essays should illuminate the wide variety of approaches to a Shakespearean text and enhance our understand- ing. The present collection has little thematic coherence and is of uneven quality. My university library has many better ways to spend $110. Performing Shakespeare in the Age of Empire. By RICHARD FOULKES. Cambridge: Cambridge University Press, 2002. Pp. x + 235. Illus. $65.00 cloth, Reviewed by SUSAN CARLSON It seems natural now to think of Shakespeare in connection with nineteenth-centu- ry imperial Britain, a towering playwright emblematic of a world power. In Performing Shakespeare in the Age of Empire, Richard Foulkes specifies the fit between the two by interweaving several historical narratives: the colonial extensions of Britain's Shakespeare, the emerging idea of a national theater, and the conscription of Shakespeare by high culture. The complex relationships he describes (covering the peri- od from 1832 to 1916) are, as he argues persuasively, most profitably read through the lens of performance. The first half of the book takes a new look at many familiar actor-managers, with chapters focused on Macready (chapter 1); Phelps, Kean, and the managers at Astley's (chapter 2); and the mid-century managements of Calvert and Rignold growing out of Manchester (chapter 4). (Chapter 3 interrupts this sequence with an analysis of the 1864 tercentenary celebrations in England.) These chapters, then, record the histories of the men whose personal agendas shaped Shakespearean production in this period. Perhaps too subtly, Foulkes begins the argument here that social and historical con- texts, not individuals, dictated management of the stage. The initial chapter on Macready establishes the organizational pattern of examin- ing performance by moving from one geographic location to another, tracing Macready's work from England to North America to Paris. With the dissipation of the theatrical monopoly in 1843, Macready and others created the populist Shakespeare that would dominate the Victorian years Foulkes examines. In this chapter, Foulkes begins detailing the nuanced ways in which performance was location-specific, but only in later chapters does he fully establish the theoretical underpinnings of this approach. As the subsequent chapters' account of performance unfolds, Foulkes traces the roles of royal patronage and both urban and suburban geographies on the spreading commercialization of Shakespeare. Foulkes's elaborations on the transatlantic traffic in 342 342 This content downloaded from 147.91.1.41 on Wed, 7 May 2014 04:32:55 AM All use subject to JSTOR Terms and Conditions