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Shakespeare as Literary Dramatist, by Lukas Erne
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Now in a new edition, Lukas Erne's groundbreaking study argues that Shakespeare, apart from being a playwright who wrote theatrical texts for the stage, was also a literary dramatist who produced reading texts for the page. Examining the evidence from early published playbooks, Erne argues that Shakespeare wrote many of his plays with a readership in mind and that these "literary" texts would have been abridged for the stage because they were too long for performance. The variant early texts of Romeo and Juliet, Henry V, and Hamlet are shown to reveal important insights into the different media for which Shakespeare designed his plays. This revised and updated edition includes a new and substantial preface that reviews and intervenes in the controversy the study has triggered and lists reviews, articles, and books which respond to or build on the first edition.
- Sales Rank: #2155421 in Books
- Published on: 2013-06-10
- Released on: 2013-04-25
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .67" w x 5.98" l, 1.05 pounds
- Binding: Paperback
- 323 pages
Review
"This is an excellent book ... to learn much of what is known about the quarto and Folio texts of the eighteen plays published in both formats, with special attention given to the shorter quartos. Erne presents his tremendous learning on this subject in a very understandable way."
Michael P. Jensen, The Shakespeare Newsletter
About the Author
Lukas Erne is Professor of English at the University of Geneva. He has been the Fowler Hamilton Research Fellow at Christ Church, University of Oxford, and the recipient of research fellowships at the Folger Shakespeare Library and the Huntington Library. Lukas Erne's other publications include this book's sequel Shakespeare and the Book Trade (2013), Shakespeare's Modern Collaborators (2008) and Beyond 'The Spanish Tragedy': A Study of the Works of Thomas Kyd (2001). He is also the editor, with Guillemette Bolens, of Medieval and Early Modern Authorship (2011), of The First Quarto of Romeo and Juliet (2007) and, with M. J. Kidnie, of Textual Performances: The Modern Reproduction of Shakespeare's Drama (2004). The first edition of Shakespeare as Literary Dramatist was published in 2003 and was named a 'book of the year' in the Times Literary Supplement.
Most helpful customer reviews
6 of 6 people found the following review helpful.
Ambitious and Quietly Revolutionary...A "Must-Read" Book
By John D. Lavendoski
"Shakespeare as Literary Dramatist" is a book for the new millennium...one which just MIGHT forever change the way you think about Shakespeare.
This is an often provocative and always gripping volume which explores the rise of printed play-texts in late Elizabethan and early Jacobean England, and in doing so, invites a much-needed rethinking of many cherished assumptions concerning the literary culture of that era. It deftly explores the long-ignored mutual interests of authors, theater companies, book sellers and the marketplace of potential buyers for play texts...ably illuminating what may be described as Shakespeare's consciously LITERARY ambitions and practices.
I do not think it an overstatement to suggest that this book (together with its sequel "Shakespeare and The Book Trade") forces us to rethink both: a) the late 20th century obsession with (and near sole-focus) on performance-based textual criticism of Shakespeare and b) the theatrical history of the Jacobethan era at large. In exploring the relationship between the acted and the printed word, Erne SHAKES both the theatrical and the academic stages. Now on to some specifics as to his methods:
Lukas Erne's examines the genesis and history of the 20th century's near-exclusive focus on "Performance Criticism". To put in bluntly, he reveals this school of thought to be rooted in biased research, unsupportable conjectures concerning period practices and flat-out academic myth. In chapter after chapter of painstaking research (backed up with extensive footnotes and scholarly citations) he explores academia's recent love affair with the vision of Shakespeare as merely a 'Public Theater Playwright Grinding out Commercial Scripts' (akin to a Hollywood TV writer). Then, via his own meticulous research, combined with that of a handful of other academics who have genuinely STUDIED, DOCUMENTED AND CONTEXTUALIZED the publishing and book trade practices of Shakespeare's era, Erne demolishes (with hard data from the publishing trade) the notion that Shakespeare wrote only for the stage and did not care about the publication or the literary afterlife of his plays.
To cite just one examined data set: Erne notes the length of each of Shakespeare's plays and points out that historical records show that the "dramatic portion" of Early Modern theater performances on the Public Stage (minus the music prior to performance and the jigs afterward) were typically about 2 to 2.5 hours in duration. Current RSC staging allows for an approximate maximum of 900 spoken lines per hour. Even at putative performance speeds which would substantially exceed these modern standards (as proposed by academics for Early Modern drama) the maximum number of lines that could have be spoken in that 2 to 2,5 hour time frame would have been approximately 2300 to 2700 lines. Yet, no less than 28 out of Shakespeare's 37 First folio plays are over 2700 lines in length...with a number over 3200 lines...and Hamlet and Richard III coming in at nearly 3600 lines !!!
Apparently, most of the 20th century "thought leaders" of Shakespearean textual criticism prefer not to *seriously* ask themselves this simple question: "Why did Shakespeare write such long plays...ones which could not be PRACTICALLY acted on the public stages of his era ??"
(Note: BTW, in a case of truly circular reasoning, the above-mentioned putative "fast-paced" performance speeds envisioned for Early Modern theater companies, were first CONJECTURED by academics due to the very fact that the plays were so long to begin with !!)
Erne convincingly makes the case that the full-length versions of Shakespeare's plays were long because they were written with publication AS LITERATURE firmly in mind, and that these long version plays were routinely condensed for Public Stage performances. His research also establishes a compelling case that the so-called "bad quartos" of Hamlet, Romeo and Juliet, and Henry V represent some form of condensed acting versions for the London stage...and that, as such, far from being ignored and rejected (as is the current vogue) they should be of intense scholarly interest aimed at discovering true Original Practices.
While all of the above may sound like common sense to the casual reader (who may be unfamiliar with the questionable approaches taken by certain eminent Shakespeare academics) it goes directly against recent past and current "scholarly wisdom" as preached by many leading lights of the field, including: Stanley Wells, Gary Taylor and a host of other "name" academics.
After reading Erne, one wonders how they could have EVER got it all so wrong.
Per further research by Erne into the exact timing of their publication, the quarto versions of MOST of Shakespeare's plays would have been published with the consent and assistance of the acting company (and in some cases the author himself)...not "stolen" by a conspiracy of paid confederates among the audience scribbling furiously in notebooks, or "memorially reconstructed" by "dishonest actors" to be later released by "thieving publishers" and "pirate printers"...which is the scenario that a host of distinguished academics (including the august names above) have clung-to for nearly a century.
Erne replaces this flawed vision with shorter & crisper plays as acted on the stage and with a Shakespeare who was a self-consciously literary artist...one who was well aware of the long-term value of his plays as scholarly works...an author who intended the majority of his plays both as great literature to be carefully studied on the page, as well as (in condensed version) scripts to be performed before a live audience.
This book is highly recommended for all of those who prefer common sense explanations of Shakespeare as a flesh & blood human being and author versus strained logic of academic elites pushing their own pet agendas.
0 of 0 people found the following review helpful.
Five Stars
By Peter G
Excellent! hugely recommended.
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