We know William Shakespeare matters but we cannot pinpoint,
precisely, why he matters. Lacking reasons why, we do our best to
involve him in others, or involve others in him. He has been
branded many times over-as Catholic, Protestant, Materialist,
Marxist, Psychoanalytic, Feminist, Postcolonial, Popular, Cultural,
and, even, Popular-Cultural. In many ways, Shakespeare is
overwrought. Why one more 'approach' to Shakespeare? One reason is
because whatever these approaches say about tragedy in particular,
none of them help us to feel tragedy. Or, rather, they subordinate
tragedy to something else-to considerations of, say, class, race,
or gender. What these approaches manage to do is explain tragedy
away. What this book does is to help us feel tragedy first and
foremost-hence to perceive it better. The aim of Amir Khan's
counterfactual criticism of Shakespeare's tragedies, Hamlet, King
Lear, Macbeth, A Winter's Tale and Othello, then, is precisely to
reanimate the tragic effect, long since lost in some deluge of
explanation.
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