Synopses & Reviews
In this fascinating book, an eminent literary critic takes us back to the court performances of some of Shakespeare's most famous plays, showing how the courtly setting influenced Shakespeare's work. Alvin Kernan argues that Shakespeare was a great dramatist whose plays commented on political and social concerns of his patrons and who sought the most satisfactory way of adjusting his own art to court needs.
"Shakespeare, the King's Playwright is distinguished, readable. and in its own way, counterrevolutionary. It is a corrective to much recent criticism". -- Ralph Berry, Times Higher Education Supplement
"For all its sophistication ... this is not the book of an academic sophisticate. It has none of the cleverness, the wordplay, and the winking to insiders that characterize so much current literary criticism". -- Robert Darnton, New York Review of Books
"Kernan's book is learned, elegantly and accessibly written, and clearly the product of a highly cultivated mind". -- Stanley Wells, Sunday Times (London)
"This scholarly, occasionally quirky, and splendidly provocative work belongs to that highly select group of books which actually have something genuinely new to say about Shakespeare". -- John Adamson, Sunday Telegraph
Soon after James Stuart became king of England in 1603, William Shakespeare, while still working in the public theater, became the royal playwright, and his acting troupe became the premier playing company of the realm. How did this courtly setting influence Shakespeare's work? What was it like to view, perform in, and write plays conceived for the Stuart king?
In this fascinating and lively book, one of our most eminent literary critics explores these questions by taking us back to the court performances of some of Shakespeare's most famous plays, examining them in their settings at the royal palaces of Whitehall and Hampton Court. Alvin Kernan looks at Shakespeare as a patronage playwright whose work after 1603 focused on the main concerns of his royal patron: divine-right kingship in Lear, the corruption of the court in Antony, the difficulties of the old military aristocracy in Coriolanus, and other vital matters. Kernan argues that Shakespeare was neither the royal propagandist nor the political subversive that the New Historicists have made him out to be. He was, instead, a great dramatist whose plays commented on political and social concerns of his patrons and who sought the most satisfactory way of adjusting his own art to court needs.