This volume gathers and annotates all of the Shakespeare criticism, including previously unpublished notes and lectures, by the maverick American intellectual Kenneth Burke (1897–1993). Burke’s interpretations of Shakespeare have had an impressive influence on important lines of contemporary scholarship; playwrights and directors have been stirred by his dramaturgical investigations; and many readers outside academia have enjoyed his ingenious dissections of what makes a play function. Burke’s intellectual project continually engaged with Shakespeare’s works, and Burke’s writings on Shakespeare, in turn, have had an immense impact on generations of readers. Carefully edited and annotated, with helpful cross-references, Burke’s fascinating interpretations of Shakespeare remain challenging, provocative, and accessible. Read together, these pieces form an evolving argument about the nature of Shakespeare’s plays and poems. Included are thirteen analyses of individual plays and poems, an introductory lecture explaining his approach to reading Shakespeare, and a substantial appendix of hundreds of Burke’s other references to Shakespeare. Scott L. Newstok also provides a historical introduction and an account of Burke’s legacy. Burke’s enduring familiarity with Shakespeare likely helped shape his own theory of dramatism, an ambitious elaboration of the teatrum mundi conceit. Burke is renowned for his landmark 1951 essay on Othello, which wrestles with concerns still relevant to scholars more than a half century later; his ingenious ventriloquism of Mark Antony’s address over Caesar’s body has likewise found a number of appreciative readers, as have (albeit less frequently) his many other essays on the playwright. Burke’s first and final pieces of literary criticism both examine Shakespearean plays, thereby bookending an impressive, career-long contribution to the field of Shakespeare studies. Among the many major Shakespearean critics who have gratefully acknowledged Burke’s influence are Paul Alpers, Harold Bloom, Stanley Cavell, René Girard, Stephen Greenblatt, and Patricia Parker.
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Extrait
Kenneth BurKe ShaKeSpeare on edITEd bY ScOTT L. nEwsTOk
Kennet Burke on Sakespeare
Parlor Press books by Kennet Burke
Letters from Kennet Burke to William H. Rueckert, 1959–1987 edited by William H. Rueckert ()
Essays Toward a Symbolic of Motives, 1950–1955edited by William H. Rueckert ()
Kennet Burke on Sakespeare edited by Scott L. Newstok ()
Equipment for Living: Te Literary Reviews of Kennet Burkeedited by Nataniel Rivers and Ryan Weber ()
Kennet Burke on Sakespeare
Edited by Scott L. Newstok
Parlor Press West Lafayette, Indiana www.parlorpress.com
Parlor Press LLC, West Lafayette, Indiana
by Parlor Press All rigts reserved. Printed in te United States of America
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Library of Congress Cataloging-in-Publication Data
Burke, Kennet, -. Kennet Burke on Sakespeare / edited by Scott L. Newstok. p. cm. Includes bibliograpical references (p. ) and index. ISBN ---- (acid-free paper) -- ISBN ---- (pbk. : acid-free paper) -- ISBN ---- (Adobe ebook) . Sakespeare, William, ---Criticism and interpretation. I. New-stok, Scott L., - II. Title. PR.B .’--dc
Cover design by David Blakesley. Cover illustration: “Kennet Burke” by Taylor Jones. , by Parlor Press. Printed on acid-free paper.
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Contents
Acknowledgments Editor’s Introduction: Renewing Kennet Burke’s “plea for te Sakespearean drama”Notes on te Text Introduction: Sakespeare Was Wat? Psycology and Form [Hamlet] Trial Translation (fromTwelft Nigt) Antony in Bealf of te Play [Julius Caesar] Imagery ‘Socio-anagogic’ Interpretation ofVenus and Adonis Otello: An Essay to Illustrate a Metod Timon of Atensand Misantropic Gold Sakespearean Persuasion:Antony and Cleopatra Coriolanus—and te Deligts of Faction King Lear: Its Form and Psycosis Notes onTroilus and Cressida WyA Midsummer Nigt’s Dream? Notes onMacbet Appendix: Additional References to Sakespeare in Burke’s Writings Notes Index of Works by Sakespeare General IndexAbout te Autor and Editor
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Acknowledgments
A writer suc as Burke wo insists tat a critic sould “use all tat is tere to use” presents quite an editorial task, and I ave muc gratitude to sare wit tose wo contributed to te completion of tis volume. It’s been a long time in te making—Burke imself first envisioned “pulling togidda” is materials on Sakespeare in . Let me begin to give tanks by recounting a sort of genealogy of tis edition. Upon reflection, Burke’s been a companion in my intellec-tual life since ig scool, wen Tim Blackburn was a kind of Burkean avatar for me, as Scott Samuelson would later be at Grinnell College. I believe tat I first read Burke’s “Literature as Equipment for Living” at te recommendation of Jim Diedrick at te Newberry Library; sortly tereafter, Ellen Mease sagely suggested Burke’sCoriolanusessay in a tu-torial on retoric. I don’t recall Burke aving been assigned in graduate scool; more often, mutual appreciation would be discovered in passing conversations wit friends suc as Ayanna Tompson, Caterine Toal, and Daniel Williams, or wit professors suc as Stanley Cavell, Marjorie Garber, Jon Guillory, Marc Sell, and Helen Vendler. It migt ave been Scott McLemee’s article on te resurgence of Burke studies tat motivated me to contemplate tis edition (te tantalizingly apoc-rypal Burke-Sakespeare volume was mentioned tere), and Scott was very encouraging in subsequent excanges. Dennis Kezar, Bill Engel, and Garrett Sullivan all offered useful feedback on te initial book proposal. As soon as e saw it, David Blakesley jumped on tat proposal, tereby committing imself to years of extensive editorial guidance. David’s been crucial in elping me tink troug te scope of tis project, smooting te permissions process, and getting me in touc wit key figures in te world of Burke. Most significantly, tese figures include Micael and Antony Burke of te Kennet Burke Literary Trust, wo quickly ap-proved of te proposed volume, and ave since continued to be generous wit teir time, as well as wit access to teir fater’s manuscripts. Paul Alpers as sared ongoing critical encouragement across many stages of
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Acknowledgments
te volume’s progress. Gustavus Adolpus College awarded a number of grants tat permitted me to work alongside my sarp students Britta Jonson, Will Sutor, Kate Neely, Erica Hedstrom, and Paul Carlson; to-geter, tey all did te fundamental work of transcribing, editing, and proofing tese essays, along wit elping me to contemplate te poten-tially multiple purposes and audiences of tis volume. Katie Martin at Gustavus was invaluable in obtaining numerous ILL items neces-sary for te annotations. I ave benefited greatly from te Yale Special Collections Andrew W. Mellon Humanities Post-Doctoral Fellowsip, and ave Alice Procaska to tank for tis. Te Yale University Library as elped pay for te various permissions associated wit tese gat-ered materials, and Micael Colavolpe, Debbie McGraw, and Tatyana Kagan efficiently processed my requests. At Yale, Harold Bloom, Leslie Brisman, and Geoffrey Hartman gave me late guidance in my reflections on Burke; te Beinecke Library first opened my eyes to wat kind of a correspondent Burke was. My pilgrimage to te Penn State University Special Collections was made all te more pleasant by te staff tere; Sandy Stelts and Jeannette Sabre were quite elpful about introducing me to teir collection, and bot continued to prove generous consultants from afar. Jack Selzer let me sit in on is PSU Burke seminar as well as bounce a number of tougts off of im. My introductory essay received elpful feedback from Sara Newstok, Scott Samuelson, Dennis Kezar, Mattew Greenfield, Paul Alpers, Edward Pecter, R. A. Foakes, Tim Blackburn, Kim Hastings, Kivmars Bowling, Andrew Davidson, and an anonymous reviewer for Parlor Press. Te pre-publication of Burke’s A Midsummer Nigt’s Dreamlecture inSakespeare Quarterlycame about troug conversations wit Micael Neill and Gail Kern Paster, as well as te approval of David Blakesley and Micael and Antony Burke. Te assiduous editorial staff atSakespeare Quarterly—wic includ-ed Barbara Mowat, Liz Poland, Solvei Robertson, and, in particular, Mimi Godfrey—raised important questions about editing tat lecture, wic in turn elped me in my final polising of tis project. Stepen Crook guided me to some late discoveries at Te Berg Collection of Englis and American Literature, Te New York Public Library, Astor, Lenox and Tilden Foundations. Weter for agreeing to permissions, responding to my minute inquiries, offering me general encouragement, or some combination tereof (and many of tose already listed above fit tis description as well), oters wom I gratefully acknowledge include: Alan Pierpoint; Alice Dailey; Alice Essenpreis; Andrew Dubois; Andrew Parker; Andrzej Warminski; Andy Brown; Angel Vu; Angela Bazydlo; Ann-Marie
Scott L. Newstok
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Gronovd; Antony Tatlow; Artur Kirsc; Barbara Hernnstein Smit; Barbara Lamar; Barry O’Connell; Ben Hart; Ben Yagoda; Benedict Giamo; Bette Gares; Bob Wite; Brenda Macon; Brent Nelson; Brian Wals; Bronwen Wickkiser; Bryan Reynolds; Carl Ploss; Carol Cristiansen; Carol Cole; Carol Lawrence; Carol Mejia-Laperle; Casey Elledge; Catryn Kenzel; Carles Musser; Carles Peek; Cristina Elias; Cristina Rago; Cristine Smit; Cristoper Ricks; Cristy Desmet; Clarke Rountree; Claude Brew; Clifford Geertz; D. W. Krummel; Daniel Morgan; Darrell Jodock; David Frankel; David Laibman; David L. Lewis; Debora Holdstein; Denis Donogue; Denise Robertson; Dennis Palmore; Diane Newstrom; Don Burks; Douglas Bruster; Drew Loewe; Dudley Andrew; Edward Pixley; Elaine Cinelli; Elizabet Knowles; Emma Smit; Emiliano Battista; Eric Eliason; Erika Dowell; Fiona Peteram; Florian Bucer; Sir Frank Kermode; Franco Moretti; Gabriel Egan; Gail Malmgreen; Garrett McCutcan; George Core; Gerard Weinberg; Giovanna P. Del Negro; Göran Stockenström; Graam Davidson; Gregory Loy; Habiba Alcindor; Harold Toliver; Harris M. Berger; Harry Berger, Jr.; Heater Jackson; Helen Rozier; Henry S. Turner; Ingrid de Boor; Iris Snyder; Isaac Gewirtz; J. B. Beer; Jacque Roetler; James J. Barnes; James Cesebro; James Engell; James Naremore; James Olney; James Williams; Janet Sample; Jennifer Harris; Jenny Tollefson; Jim Harner; Jim Mays; Joan Waiser; Jonatan Goldberg; Jonatan Gil Harris; Jon Andrews; Jon Erickson; Jon Haffenden; Jon Lillis; Jon Mackay; Jon Newstrom; Jon Pickard; Josua Kotin; Joyce Sutpen; Julia Prest; Julia Reinard Lupton; Julian Markels; Julie Howland; Julie Wittaker; Kara Hobson; Kate Hamill; Katarine Liu; Katerine Ibbett; Katerine Rowe; Katleen Canavan; Katleen Kluegel; Katleen Morgan; Katlene Ferris; Kembrew McLeod; Kennet Gross; Kevin Egan; Larry Manley; Laurence Coupe; Lawrence Ru; Lee Poague; Linda Gert; Linda Seckelson; Linda Stanke; Lisa Savage; Loren Hansen; Louisa Sea; Lowell Gallager; Luca Maria Scarantino; Lynn Conway; Lynn Leec; Marcie Bianco; Margaret Criscuola; Margot Landa Kielorn; Margot Studts; Mariangela Tempera; Marissa Wold; Mark Braun; Martin Pucner; Mary Ausman; Mary E. MacNeil; Mary J. Muratore; Meg Galipault; Megan O’Neill; Mercedes Diaz; Micael Anderegg; Micael Cavanag; Micael Denning; Micael Nas; Micael Ricards; Micelle Harvey; Mona Ross; Muriel Keyes; Myron Kolatc; Oceana Wilson; Pamela Jordan; Patricia Fumerton; Patricia Parker; Paul Berry; Paul King; Perry Cartwrigt; Peter Brooks; Peter Marsall; Pyllis Rackin; Racel Kotok; Ramie Targoff; Randy Bixby; Ray Privett; Rebecca Fremo-Taylor; Rebecca Heisman; Rebecca Moss;
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Acknowledgments
Ricard Burt; Ricard Halpern; Ricard Helgerson; Ricard Lanam; Ricard McCoy; Ricard Strier; Robert Fogarty; Roger Gross; Roger McKnigt; Roland Torstensson; Rosalyn Collings Eves; Rose Robinson; Rosemary Aston; Roy Foster; Russ McDonald; Russell Sapiro; Rut Tellis; Sabine Jell-Balsen; Sandra Costic; Sara King; Scott Peeples; Scott Taylor; Scott Wible; Sannon Bond; Simon Palfrey; Sonya McDonald; Stacey Salling; Stepen Greenblatt; Fater Stepen C. Rowan; Steven Mailloux; Steven Marx; Sue Elkevizt; Susan Allan; Suzanne Bergmiller; Suzanne Toczyski; T. Scott McMillin; Taylor Jones; Teresa Gray; Terri Torretto; Teodore Leinwand; Tiffany Stern; Tim Lloyd; Timoty Crusius; Timoty Young; Tobie Baker; Todd Gilman; Toni Dorfman; Tony Mitura; Tracy McDonald; Valerie Jonson; Vanessa Witing; Virginia Mason Vaugan; W. B. Worten; Warwick Gould; Wayne Furman; Weldon Duram; Wes Davis; William Pritcard; William Serman; Wlad Godzic; Yessenia Santos; Yvonne Bruce; and te KB, NASSR, and SHAKSPER list-servs. In spite of tis unusually long list of people to wom I am indebted, all te expected caveats about responsibility for any errors resting wit me still, alas, old. I sould like to dedicate my editorial and introductory work in tis volume to Scott Samuelson wom I ave always considered a leaping Burke to my plodding Cowley.
Te essays collected in tis volume are gatered from a wide range of publications. We gratefully acknowledge permissions and record first ap-pearances of material from te following sources.
“Sakespeare Was Wat?” as not been previously publised. Te Kennet Burke Literary Trust. Henry Rago’s “Te Promis-ing,” Section VI,A Sky of Late Summer(New York: Macmillan, ), ; reprinted by permission of Cristina Rago and te Estate of Henry Rago. All rigts reserved. “Psycology and Form” first appeared inDial Te (July ): –. Reprinted fromCounter-Statement Regents of te Uni-versity of California. Publised by te University of California Press. “Trial Translation (fromTwelft Nigt)” first appeared inTe New Englis Weekly (February ): –. Reprinted from (London)