This book seeks to invert Ben Jonson's claim that Shakespeare had
'small Latin and less Greek' and to prove that, in fact, there is
more Greek and less Latin in a significant group of Shakespeare's
texts: a group whose generic hybridity
(tragic-comical-historical-romance) exemplifies the hybridity of
Greece in the early modern imagination. To early modern England,
Greece was an enigma. It was the origin and idealised pinnacle of
Western philosophy, tragedy, democracy, heroic human endeavour and,
at the same time, an example of decadence: a fallen state,
currently under Ottoman control, and therefore an exotic,
dangerous, 'Other' in the most disturbing senses of the word.
Indeed, while Britain was struggling to establish itself as a
nation state and an imperial authority by emulating classical Greek
models, this ambition was radically unsettled by early modern
Greece's subjection to the Ottoman Empire, which rendered Europe's
eastern borders dramatically vulnerable. Focusing, for the first
time, on Shakespeare's 'Greek' texts (Venus and Adonis, The Comedy
of Errors, A Midsummer Night's Dream, Love's Labour's Lost, Troilus
and Cressida, Timon of Athens, King Lear, Pericles and The Two
Noble Kinsmen), the volume considers how Shakespeare's use of
antiquity and Greek myth intersects with early modern perceptions
of the country and its empire.
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