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Shakespeare's legal references and allusions constitute a complete
catalogue of the substantive, social, institutional, and
"professional" concerns of early modern English law. This
encyclopaedia-style dictionary explores a wide range of formal,
technical, historical, rhetorical and artistic issues, while
maintaining regard for the fact that matters of social history
cannot be ignored in discussions of either theater or law. New
perspectives and questions are revealed concerning Shakespearean
drama, early modern social life, legal thought, and their
interactions.
How are unwarranted dislikes and prejudices portrayed in the works
of Shakespeare and to what extent does Shakespeare differ from his
contemporaries in their portrayal? What can we learn about
Shakespeare's times and our own through a close reading of
prejudice depicted in his plays? In this study, B. J. Sokol
examines what King Edward in Henry VI Part III calls 'your scorns
and mislike' (4.1.23) – the unfounded prejudices depicted in
Shakespeare's works and targeted at five distinct areas: education,
the arts, peace, 'strangers' or outsiders and sexual love. Through
a close reading of his plays, comparison with the works of other
Elizabethan writers and a consideration of Shakespeare's social
environment, this study provides a detailed appreciation of
Shakespeare's dramatic method and his insights into the
psychological motivations behind the prejudices portrayed.
Presenting Shakespeare's prejudice against education, Sokol
examines numerous representations of pupils, teachers and
schooling, focusing on anti-educational prejudices in The Merry
Wives of Windsor and in King Henry VI Part 2. The distaste of
characters for art is considered alongside Shakespeare's repeated
depiction of the destructive downgrading of the arts that erupts
during political upheavals, while prejudice against peaceful living
is traced in Shakespeare's various portrayals of 'honour'-driven
feuding, such as in Romeo and Juliet, and in warrior characters
such as Coriolanus. Prejudice against strangers as depicted in
plays including Titus Andronicus, Othello and The Merchant of
Venice is contrasted with that of plays by his contemporaries,
including Christopher Marlowe's The Jew of Malta. A final chapter
examines prejudice against sex and the representation of many male
and female characters who evade the erotic, subordinate the erotic
to power seeking, or regard their own or others' erotic attachments
with revulsion.
This study of the many poets, musicians and visual artists
portrayed or described in Shakespeare's plays and poems reveals a
fascination with art and its makers that continued to influence
Shakespeare's work throughout his career. It also uncovers
unexpected aspects of an enthusiastic Elizabethan consumption of
artworks, an enthusiasm that had significant bearing on the quite
new profession that Shakespeare himself followed. A high valuation
placed on art and artists, and at the same time certain fears of
these and fears for these, made for a very complex reception of the
figure of the artist, and Shakespeare's treatments were equal to
that complexity.
Shakespeare's remarkable ability to detect and express important
new currents and moods in his culture often led him to dramatise
human interactions based on the presence or absence of tolerance.
Differences of religion, gender, nationality and what is now called
'race' are important in most of Shakespeare's plays, and varied
ways of bridging these differences by means of sympathy and
understanding are often depicted. The full development of a
tolerant society is still incomplete, and this study demonstrates
how the perceptions Shakespeare showed in relation to its earlier
development are still instructive and valuable today. Many recent
studies of Shakespeare's work have focussed on reflections of the
oppression or containment of minority, deviant or non-dominant
groups or outlooks. This book reverses that trend and examines how
Shakespeare was fascinated by the desires that underlie tolerance,
including religion, race and sexuality, through close analysis of
many Shakespearian plays, passages and themes.
Combining legal, historical and literary approaches to the practice and theory of marriage in Shakespeare's time, this study discovers a broad range of information in a selection of Shakespeare's plays. Jerry and Mary Sokol approach the legal history of marriage as part of cultural history. The household was viewed as the basic unit of Elizabethan society, but many aspects of marriage were controversial, and the law was uncertain and confusing. The Sokols' analysis reveals much about Shakespeare's age as well as his work.
Shakespeare's Legal Language: A Dictionary is a comprehensive
reference guide to Shakespeare's legal references. An A-Z of over
100 entries explores early modern social life, legal thought, and
the interaction of these within Shakespearean drama. The law is a
central theme in many of Shakespeare's plays and every play in the
canon makes reference to legality or justice. Indeed, Shakespeare
displays considerable interest in the capacity of legal language to
convey matters of social, moral and intellectual substance and the
use of legal langauge throughout his work shows he was clearly
familiar with legal terminology. Shakespeare's Legal Language is an
ideal guide to Shakespeare's legal references for students of
Shakespeare at every level. Professor B.J. Sokol is at Goldsmiths
College, University of London and Dr. Mary Sokol is honorary
research fellow at University College London.
This study of the many poets, musicians and visual artists
portrayed or described in Shakespeare's plays and poems reveals a
fascination with art and its makers that continued to influence
Shakespeare's work throughout his career. It also uncovers
unexpected aspects of an enthusiastic Elizabethan consumption of
artworks, an enthusiasm that had significant bearing on the quite
new profession that Shakespeare himself followed. A high valuation
placed on art and artists, and at the same time certain fears of
these and fears for these, made for a very complex reception of the
figure of the artist, and Shakespeare's treatments were equal to
that complexity.
How are unwarranted dislikes and prejudices portrayed in the works
of Shakespeare and to what extent does Shakespeare differ from his
contemporaries in their portrayal? What can we learn about
Shakespeare's times and our own through a close reading of
prejudice depicted in his plays? In this study, B. J. Sokol
examines what King Edward in Henry VI Part III calls 'your scorns
and mislike' (4.1.23) – the unfounded prejudices depicted in
Shakespeare's works and targeted at five distinct areas: education,
the arts, peace, 'strangers' or outsiders and sexual love. Through
a close reading of his plays, comparison with the works of other
Elizabethan writers and a consideration of Shakespeare's social
environment, this study provides a detailed appreciation of
Shakespeare's dramatic method and his insights into the
psychological motivations behind the prejudices portrayed.
Presenting Shakespeare's prejudice against education, Sokol
examines numerous representations of pupils, teachers and
schooling, focusing on anti-educational prejudices in The Merry
Wives of Windsor and in King Henry VI Part 2. The distaste of
characters for art is considered alongside Shakespeare's repeated
depiction of the destructive downgrading of the arts that erupts
during political upheavals, while prejudice against peaceful living
is traced in Shakespeare's various portrayals of 'honour'-driven
feuding, such as in Romeo and Juliet, and in warrior characters
such as Coriolanus. Prejudice against strangers as depicted in
plays including Titus Andronicus, Othello and The Merchant of
Venice is contrasted with that of plays by his contemporaries,
including Christopher Marlowe's The Jew of Malta. A final chapter
examines prejudice against sex and the representation of many male
and female characters who evade the erotic, subordinate the erotic
to power seeking, or regard their own or others' erotic attachments
with revulsion.
Shakespeare's remarkable ability to detect and express important
new currents and moods in his culture often led him to dramatise
human interactions based on the presence or absence of tolerance.
Differences of religion, gender, nationality and what is now called
'race' are important in most of Shakespeare's plays, and varied
ways of bridging these differences by means of sympathy and
understanding are often depicted. The full development of a
tolerant society is still incomplete, and this study demonstrates
how the perceptions Shakespeare showed in relation to its earlier
development are still instructive and valuable today. Many recent
studies of Shakespeare's work have focused on reflections of the
oppression or containment of minority, deviant or non-dominant
groups or outlooks. This book reverses that trend and examines how
Shakespeare was fascinated by the desires that underlie tolerance,
including religion, race and sexuality, through close analysis of
many Shakespearian plays, passages and themes.
This interdisciplinary study combines legal, historical and
literary approaches to the practice and theory of marriage in
Shakespeare's time. It uses the history of English law and the
history of the contexts of law to study a wide range of
Shakespeare's plays and poems. The authors approach the legal
history of marriage as part of cultural history. The household was
viewed as the basic unit of Elizabethan society, but many aspects
of marriage were controversial, and the law relating to marriage
was uncertain and confusing, leading to bitter disagreements over
the proper modes for marriage choice and conduct. The authors point
out numerous instances within Shakespeare's plays of the conflict
over status, gender relations, property, religious belief and
individual autonomy versus community control. By achieving a better
understanding of these issues, the book illuminates both
Shakespeare's work and his age.
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