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studied and interpreted within the context of both the history of the author and the
history of the critic. The theory arose in the 1980s, with Stephen Greenblatt as its
main proponent, and became quite popular in the 1990s. Critics using this approach
look at a work and consider other writings that may have inspired it or were inspired
by it, as well as the life of the author and how it relates to the text. Unlike previous
historical criticism, which limited itself to simply demonstrating how a work
reflected its time, New Historicism evaluates how the work is influenced by the time
in which the author wrote it. It also examines the social sphere in which the author
moved, the psychological background of the writer, and the books and theories that
may have influenced him or her.
New Historicism declares that all history is subjective. New Historicists believe that
historians can never provide the truth or an accurate portrayal of past events.
Similar to language, history is but one of many discourses, or ways of viewing the
world. By viewing history as one of several important discourses tat directly affect
the interpretation of a text, New Historicists asserts that their approach provides
followers with a practice of literary analysis that highlights interrelatedness of all
human activities, admits prejudices, and gives a more complete understanding of a
text.
New historicists remind us that it is treacherous to reconstruct the past as it really
wasrather than as we have been conditioned by our own place and time to
believe that it was. And they know that the job is impossible for those who are
unaware of that difficulty, insensitive to the bent or bias of their own historical
vantage point. New Historicism is based on the belief that bias exists in every
culture. As such, each cultural society has a different history of the accounts of the
world. New Historicists believe the only way to approach a texts meaning is to
suspend all bias. Thus, when new historicist critics describe a historical change,
they are highly conscious of the theory of historical change that informs their
account.
Stephen Greenblatt is one of the pioneers of the American branch of Cultural
Poetics, or New Historicism. Greenblatt believes that ones culture permeates both
texts and critics. Because all of society is intricately interwoven, so are critics and
texts, both to each other and in and to the culture in which they live and in which
the texts are produced. Because critics are influenced by their culture, New
Historicists believe that no critic can escape from public or private cultural
influences that bias their unique interpretation of a text. Michel Foucault furthers
Greenblatts theory through a concept he calls episteme. Foucaults episteme is a
concept that states each period in history develops its own perceptions concerning
the nature of reality through language and thought. From Foucaults point of view,
history is a form of power. Each era or group of people develops a personal
episteme which controls how that groups views reality. History then becomes the
study and unearthing of a web of interconnecting forces that shape the bias of each
culture and society. Foucault states that historians must realize that they are
influenced by the episteme in which they live aside bias in order to be objective
when criticizing history or a text. Clifford Geertz contributed to New Historicism
through the idea of thick description. Thick description describes the insignificant
details present in any cultural practice. Geertz theorizes that these details can
provide inherent contradictory forces at work in a culture. Geertz believes that each
The belief in royal families was that women were not fit to inherit the male figures
title as ruler. This norm of Elizabethan society influenced Shakespeares Hamlet
through the character of Gertrude. King Hamlets death meant that Gertrude would
rule Denmark, a socially abnormal idea of Elizabethan society (Aguirre). The
influence of this belief on Shakespeare forms the plot of Hamlet. The need for a
male ruler propels Gertrude to marry Claudius, even after such a short time after
King Hamlets passing.
In the Elizabethan era, women were expected to obey the male figures of society
().The societal norm that women must obey their husbands develops the conflict
between Hamlet and Claudius, as his mother is thrust in the middle of the two
(Siegel). The idea that women were incapable of ruling in a monarchial society is the
basis of Hamlet. Shakespeares Hamlet satirizes the societal expectation that
women are incapable of ruling by placing Gertrude in marriage with a man that is
not only incapable of ruling, but also rose to power through the murder of his
brother (Bell). The influence of Elizabethan times speaks through Claudius rise to
power and Gertrudes inability to rule Denmark by the expectations of Elizabethan
society.
This view is also supported through the history of the woman characters of Hamlet.
The histories of the women in Shakespeares plays are ones of distrust. The women
figures are often the compelling forces behind the tragic fall of Shakespeares
characters. For example, Lady Macbeth coerces her husband into murder, setting up
his tragic fall. Gertrude, Hamlets mother, marries her late husbands brother.
Gertrudes actions contribute to the distrusting relationship with her son in the
contrasting views of King Hamlets ghost and her quick marriage to Claudius ().
Hamlet is torn between the instruction of the Kings ghost and the loyalty he feels to
his mother. Hamlet distrusts his mother and her knowledge of the crime against his
father. The distrust exhibited by Hamlet fits the Elizabethan belief that women were
not meant to be placed in positions of power.
The importance of Hamlets madness is essential to analyzing the play through a
New Historicist point of view. In the Elizabethan times of Shakespeare, madness was
by definition: "internalization of disobedience." Therefore, a conclusion can be
drawn that Shakespeare roots Hamlet's insanity to the plea for revenge made by his
father's ghost. Hamlet feels guilty that he has disobeyed his father by taking so long
to avenge his death. This is noted when Hamlet sees his father's ghost for the
second time after berating his mother to see if she knew of Claudius sin. His
father's ghost says to Hamlet that he has taken too long to avenge his murder.
The technique of disparate voices, or the examination of contrasting voices that vie
for attention in a text, is a New Historicism approach that looks to attain meaning
through personal bias of the texts voices. The voice of King Hamlets ghost and the
voice of Hamlet vie for attention through the character of Hamlet. King Hamlets
voice is one of instruction and certainty, whereas Hamlets voice is one of
uncertainty and doubt. King Hamlet first appears to his son to inform him of his
murder and to instruct him on a plan of action to extract revenge (Bell). The voice of
King Hamlet instructs his son to take vengeance on Claudius and recover the
historic crown of Denmark. King Hamlets voice is reflective of Shakespeares own in
terms of societal beliefs. The usage of King Hamlets voice as a ghost stuck in
Purgatory speaks to the state of religious acceptance and beliefs in Elizabethan
authors position on religious beliefs involving ghosts of the Elizabethan era. The
literary approach of New Historicism exhibits Shakespeares belief in a patriarchal
society and the stance of intermingling religious ideas working in harmony in his
play, Hamlet.
Aguirre, Manuel. Life, Crown, and Queen: Gertrude and the Theme of Sovereignty.
Review of
English Studies 47 (1996): 163-74.
Siegel, Paul N. Hamlet, Revenge! The Uses and Abuses of Historical Criticism.
Shakespeare Survey 45 (1993): 15-26.