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El. knyga: Shakespeare's Mirrors

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"Clear mirrors and scripture in English, revolutionary innovations of the Elizabethan age, inspired Shakespeare's drive towards a new purpose for drama. Shakespeare reversed the conventional mirror metaphor for drama. Implying drama cannot reflect the substance of human nature, Shakespeare developed a method of characterization, through metadrama, self-awareness and soliloquy, to project St. Paul's idea of conscience onto the Elizabethan stage. This revolutionary method of characterization, aesthetic existence beyond performance, has long been sensed while remaining elusively undefined. By reviewing Shakespeare's mirror metaphors, the method that created characters, "detachable from the play like real people," slowly emerges. Shakespeare used mirror metaphors far more than his contemporaries. Shakespeare's Mirrors charts the way his drama developed the representation of the unstageable: St. Paul's metaphysical conception of human nature glimpsed through a glass darkly"--

Clear mirrors and scripture in English, revolutionary innovations of the Elizabethan age, inspired Shakespeare’s drive towards a new purpose for drama.



Clear mirrors and The Geneva Bible, revolutionary innovations of the Elizabethan age, inspired Shakespeare’s drive towards a new purpose for drama. Shakespeare reversed the conventional mirror metaphor for drama, implying drama cannot reflect the substance of human nature, and developed a method of characterization, through metadrama, self-awareness and soliloquy, to project St. Paul’s idea of conscience onto the Elizabethan stage. This revolutionary method of characterization, aesthetic existence beyond performance, has long been sensed but remains frustratingly uncategorized. Shakespeare’s Mirrors charts the invention of a drama that staged the unstageable: St. Paul’s metaphysical conception of human nature glimpsed through a looking glass darkly.

Introduction: Shakespeares Mirror Metaphors

Prologue: The Mirror of All Martial Men, (Living up to Stereotypes)

Mirrors in the Cultural and Historical Context of Sixteenth Century England

Henry VI, Part One

1. Amorous Looking-Glass: The Self-Infatuation of the Regal Perfomer in the
Early Histories

Richard III and Henry VI, Parts Two and Three

Richard II

2. Dissembling Glass of Mine: Female Self-Evaluation within the Patriarchal
Genre of Courtship Comedy

The Two Gentlemen of Verona

The Comedy of Errors

The Taming of the Shrew

Loves Labours Lost

A Midsummer Nights Dream

The Merchant of Venice

As You Like It

3. The Mirror of All Christian Kings: Increasing Tension between Classical
Action and Christian Passivity

Henry IV, Part Two

Henry V

Julius Caesar

4. The Mirror up to Nature: Hamlets Metaphysical Redirection of the
Purpose of Playing Hamlet

Metatheatre Subverting the Classical Tradition

Shakespeares Rivalry with Ben Jonson

Hamlets Pauline Education at Wittenberg

The Gravedigger Scene as Christian Exegesis

Venetian Mirrors and the Representation of the Self in the Context of the
Revolutionary Social and Scientific Environment of the Sixteenth Century

5. Glassy Essence: The Fraudulent Hypocrisy of Impious Authority

Troilus and Cressida

Measure for Measure

Timon of Athens

6. Spacious Mirror: The Epic Futility of Political Activity in a World
Without Redemption King Lear

Macbeth

Antony and Cleopatra

Coriolanus

7. My Glass, Mine Own: Human Play and Identity Reconciled Through
Performative Faith Pericles, Prince of Tyre

Cymbeline

The Winters Tale

The Tempest

The Two Noble Kinsmen

Henry VIII

Epilogue: Through A Glass, Darkly

Bibliography
Edward Evans received his BA in Ancient and Modern History and MPhil in Oriental Studies from the University of Oxford. He received his Ph.D. in English Literature from Bar-Ilan University.
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