And men whose heads do grow beneath their shoulders [Elektronische Ressource] : encountering the other in the illustrations of Shakespeare's The Tempest and Othello in the eighteenth and nineteenth centuries / vorgelegt von Christoph Hautmann

Christoph Hautmann

Informations

• Publié par: julius-maximilians-universitat_wurzburg
• Publié le: 01 janvier 2009
• Nombre de lectures: 15
• Langue: English
• Poids de l'ouvrage: 13 Mo

Extrait

‘And men whose heads do grow beneath their shoulders’
-
Encountering the Other in the Illustrations of Shakespeare’s The
Tempest and Othello in the Eighteenth and Nineteenth Centuries












Inaugural-Dissertation

zur Erlangung der Doktorwürde der

Philosophischen Fakultät I

der

Bayerischen Julius-Maximilians-Universität Würzburg.

Vorgelegt von

Christoph Hautmann

aus Würzburg


Würzburg, September 2009









1 Contents



List of Illustrations 4


I. Introduction 6

I.1 Otherness 13

I.2 Cultural Materialism 20

I.3 Shakespeare’s Illustrations as Speaking Pictures 29

I.3.1 The Illustration as an Historical Document 31

I.3.2. Ut pictura poesis? The Text-Image Nexus 35

I.4 Literature on Shakespeare Illustration – An Overview 43



II. Illustrations of Shakespeare’s The Tempest 49

II.1. William Hogarth: Engraver, Painter, Illustrator, Entrepreneur 49

II.1.1 Pre-Hogarthian Shakespeare Illustration 50

II.1.2 William Hogarth, his Day and his Work 55

II.1.2.1 Society, Culture and Politics at the Beginning 56
of the Eighteenth Century

II.1.2.1.1 England’s French Other 56

II.1.2.1.2 England’s Female Other 62

II.1.2.2 The Condition of the English Art Market
at the Beginning of the Eighteenth Century 66

II.1.2.3 William Hogarth’s A Scene from the Tempest 69

II.1.2.3.1 Textual Source 70

II.1.2.3.2 Iconography 76

II.1.2.3.3 Interpretation 81

II.2 John Hamilton Mortimer’s Caliban 93
2
II.3 Henry Fuseli’s renderings of The Tempest 97

II.4 Illustrations of The Tempest in the Romantic Period 118

II.4.1 Charles Kirkpatrick Sharpe’s 1809 illustration 122

“Teaching Young Caliban”:
Romanticism, Education, and Childhood 134

II.4.2 David Scott’s Ariel and Caliban 141




III. Illustrations of William Shakespeare’s Othello 149

III.1 The Socio-Political Context of the Victorian Age 149

III.2 The Illustrations 153

III.2.1 Iconography 156

III.2.2 Interpretation 161




IV. Conclusion 169




V. Works Cited 179











3 List of Illustrations





1 O the Roast Beef of Old England (Calais Gate), 1749 15
Engraving, William Hogarth
The British Museum, London, UK

2 Othello, 1709 18
Engraving, Francis Hayman
Folger Shakespeare Library, Washington DC

3 The Lady of Shalott, 1888 23
Oil on canvas, John William Waterhouse
Tate Britain, London UK

4 Henry VIII and Anne Boleyn, 1728 33
Engraving, William Hogarth
The British Museum

5 Hamlet, 1709 36
Engraving, Louis du Guernier
Folger Shakespeare Library, Washington DC

6 Macbeth and Banquo Meeting the Weird Sisters, 1750 39
Oil on canvas, John Wootton
Private Collection, USA

7 A Scene form the Tempest, c. 1735-38 72
Painting, William Hogarth
Nostell Priory, St Oswald Collection (The National Trust). National Trust
Photographic Library, UK

8 A Harlot’s Progress, plate 1, 1733 82
Etching, William Hogarth
Andrew Edmunds, London, UK

9 Detail from William Hogarth’s A Scene from the Tempest 84

10 Four Times of the Day, plate 2 (Noon), 1738 85
Oil on canvas, William Hogarth
Grimsthorpe Castle, Lincolnshire, UK

11 Caliban, 1775 93
Etching, John Hamilton Mortimer
Henry E. Huntington Library & Art Gallery, San Marino, CA, USA

4 12 The Tempest, 1789 104
Henry Fuseli, 1797 Line and Stipple Engraving by Jean Pierre Simon
Fine Arts Museums of San Francisco, Achenbach Foundation for Graphic Arts,
USA

13 The Tempest, 1777-8 114
Pen and ink drawing, Henry Fuseli
The British Museum, London, UK

14 Miranda teaching young Caliban to read, 1809 124
Watercolour, Charles Kirkpatrick Sharpe
V & A Museum, Department of Prints & Drawings, London, UK

15 Illustration, 1809 131
From James Montgomery, James Grahame, and E. Benger, Poems on the
Abolition of the Slave Trade (1809)

16 Ariel and Caliban, 1837 143
Oil on canvas, David Scott
National Gallery of Scotland, Edinburgh, UK

17 Othello relating the adventures to Desdemona, 1873 156
Painting, Charles W. Cope; Steel Engraving T. Vernon
Charles Knight, The Works of Shakespeare, 2 VOLS. (London: Virtue &
Company, 1873-1876)

18 Othello Impresses Desdemona and her Father with his Eventful
Life-Story, 1876 156
Engraving, Heinrich Hofmann
From Hildegard Hammerschmidt-Hummel, Die Shakespeare-Illustration (1594-
2000), Bildkünstlerische Darstellungen zu den Dramen William Shakespeares:
Katalog, Geschichte, Funktion und Deutung, 3 VOLS (Wiesbaden: Harrassowitz
Verlag and Mainz: Akademie der Wissenschaften und der Literatur, 2003)

19 Othello telling the story of his life, 1857 157
Painting, Alexandre Cabanel
Royal Shakespeare Company Archive, Stratford-upon-Avon, UK

20 The Boyhood of Raleigh, 1869-1870 166
Oil on canvas, John Everett Millais
Tate Britain, London, UK







5 I. Introduction


With stereotypical fixity, Caliban is regarded and treated as an outcast among the small
1population of the “vn-inhabited Island ” in The Tempest. He owes this position to his
2otherness, which is such a striking feature of the figure that the audience learns about it
even before his first entrance. At that point, Prospero seems reluctant to even mention
Caliban by name, and so the reference to him is confined to two parenthetical lines:
“Then was this island / (Save for the son that she did litter here, / A freckled whelp,
3hag-born) not honoured with / A human shape.” As if gradually preparing the audience
for the appearance of this creature, Caliban’s otherness is thus emphasized by likening
him to a young dog, apparently devoid of a properly “human shape”. This aspect and
the fact that Prospero’s mentioning of Caliban is (also syntactically) subordinate to the
former’s descriptions of Ariel and his pre-history already indicates the way his
difference has caused him to be a marginalized figure: “‘Tis a villain, sir, / I do not love
4to look on,” Miranda thus seconds only a little later in the same scene. When Caliban
makes his entrance, the ensuing confrontation eradicates all doubt about the irreversible
antagonism with Caliban. Labelling him “most lying slave, / Whom stripes may move,
5not kindness” , even though Prospero claims to have treated him, “(Filth as thou art)
6with humane care” ultimately makes his marginalization unmistakably clear.
Despite this antagonism, it is also noticeable that, paradoxically, Prospero and
Miranda rely upon Caliban to a certain extent. If it were not for him, they would have to
dedicate themselves to the somewhat dull and exhausting physical tasks that need to be
7carried out upon the island. As much as Miranda is frustrated by Caliban’s resistance to
her attempts of instilling “kindness” in him, their first encounter also reveals that her
reluctance to “look on” Caliban has only gradually replaced what initially must have
been an eagerness to make direct contact with him, perhaps for the sake of having a

1 rd E. A. J. Honigmann (Ed.), The Tempest, 3 edn. (London: Arden, 2003), 0.0; all subsequent references will be made
to this edition (T).
2
For a detailed discussion of the concepts of the “other” and “otherness”, the way they are understood in this study,
see the following section.
3 T 1.2.281-284.
4
T 1.2.310-311.
5 T 1.2.345-346.
6 T 1.2.347.
7 Cf. T 1.2.311-314.
6 companion besides her father, someone she can educate and mould according to her
own needs.

The main body of this analysis of the other in the illustrations of Shakespeare’s Tempest
and Othello will focus on the eighteenth and nineteenth centuries only. For the purposes
of this introduction, however, identifying some of Shakespeare’s sources for the other
may help to comprehend the enduring ambivalence and complexity of the concept.
Likewise, a comparison of this ambivalence in the reactions towards Caliban with the
late sixteenth- and early seventeenth-century responses to otherness shows that these
8cross-cultural encounters in the play had a real-life basis. Shakesp