This volume gathers and annotates all of the Shakespeare criticism,
including previously unpublished lectures and notes, by the
maverick American intellectual Kenneth Burke. Burke's
interpretations of Shakespeare have influenced 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 artistry. Included are thirteen analyses of
individual plays and poems, an introductory lecture explaining his
approach to reading Shakespeare, and a comprehensive appendix of
scores of Burke's other references to Shakespeare. The editor,
Scott L. Newstok, also provides a historical introduction and an
account of Burke's legacy. This edition fulfils Burke's own vision
of collecting in one volume his Shakespeare criticism, portions of
which had appeared in the many books he had published throughout
his lengthy career. Here, Burke examines Hamlet, Twelfth Night,
Julius Caesar, Venus and Adonis, Othello, Timon of Athens, Antony
and Cleopatra, Coriolanus, King Lear, Troilus and Cressida, A
Midsummer Night's Dream, Macbeth, The Merchant of Venice, The
Tempest, Falstaff, the Sonnets, and Shakespeare's imagery. KENNETH
BURKE (1897-1993) was the author of many books, including the
landmark Motivorum trilogy: A Grammar of Motives (1945), A Rhetoric
of Motives (1950), and Essays Toward a Symbolic of Motives,
1950-1955 (2007). He has been hailed as one of the most original
American thinkers of the twentieth century and possibly the
greatest rhetorician since Cicero. Burke's enduring familiarity
with Shakespeare helped shape his own theory of dramatism, an
ambitious elaboration of the "all the world's a stage" conceit.
Burke is renowned for his far-reaching 1951 essay on Othello, which
wrestles with concerns still relevant to scholars more than half a
century later; his imaginative ventriloquism of Mark Antony's
address over Caesar's body has likewise found a number of
appreciative readers, as have his many other essays on the
playwright. SCOTT L. NEWSTOK is Assistant Professor of English at
Gustavus Adolphus College and Andrew W. Mellon Post-Doctoral Fellow
at Yale University.
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