Shakespeare's Folktale Sources, by Charlotte Artese
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Shakespeare's Folktale Sources, by Charlotte Artese
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Shakespeare’s Folktale Sources argues that seven plays—The Taming of the Shrew, Titus Andronicus, The Merry Wives of Windsor, The Merchant of Venice, All’s Well that End’s Well, Measure for Measure, and Cymbeline—derive one or more of their plots directly from folktales. In most cases, scholars have accepted one literary version of the folktale as a source. Recognizing that the same story has circulated orally and occurs in other medieval and early modern written versions allows for new readings of the plays. By acknowledging that a play’s source story circulated in multiple forms, we can see how the playwright was engaging his audience on common ground, retelling a story that may have been familiar to many of them, even the illiterate. We can also view the folktale play as a Shakespearean genre, defined by source as the chronicle histories are, that spans and traces the course of Shakespeare’s career. The fact that Shakespeare reworked folktales so frequently also changes the way we see the history of the literary folk- or fairy-tale, which is usually thought to bypass England and move from Italian novella collections to eighteenth-century French salons. Each chapter concludes with a bibliography listing versions of each folktale source as a resource for further research and teaching.
Shakespeare's Folktale Sources, by Charlotte Artese- Amazon Sales Rank: #2055147 in Books
- Published on: 2015-06-03
- Original language: English
- Number of items: 1
- Dimensions: 9.31" h x .94" w x 6.24" l, .0 pounds
- Binding: Hardcover
- 254 pages
Review One central concern in Shakespeare scholarship is the playwright’s place within his own time. Certainly, the Elizabethan era was a transitional period, straddling two very different ages and world views. Numerous recent investigations . . . seek to place the Bard more within the context of the early modern era. Artese turns her eye in the other direction. She wishes, as the title reveals, to unearth how folktales inform some of the plays in the canon (mostly, but not exclusively, comedies). Thus, she occupies a space somewhat similar to that of Ted Hughes in Shakespeare and the Goddess of Complete Being (1992), though her claims are more contained and far less extravagant than Hughes's. Other scholars have touched on Shakespeare’s sources but none with the singular emphasis found here. Artese is at her strongest when examining how a number of playwrights of Shakespeare’s time engage in a 'conversation' on the folklore. There is, for instance, a robust discussion of the interplay of Thomas Nashe, Thomas Dekker, and John Webster. Summing Up: Highly recommended. Upper-division undergraduates and above. (CHOICE)This study offers an innovative approach to plays by William Shakespeare that derive directly from variants of folktales. . . .Shakespeare’s Folktale Sources is an excellent contribution to the reconstruction of Shakespeare’s tradition in that it carefully scrutinizes the network of intertextual elements in seven folktale plays. (Horizons in Humanities and Social Sciences: An International Refereed Journal)[This is an] innovative new book. . . .Finally now in Charlotte Artese’s work we have the application of all the tools of folkloristic comparisons and analysis expertly applied to the works of Shakespeare that were most influenced by folk tradition. (Journal of Folklore Research)Shakespeare’s Folktale Sources examines how Shakespeare adapted folktales for one or more plots in seven of his plays. When we acknowledge that Shakespeare constructed his plays from traditional stories with wide written and oral circulation, we can see how he used his folktale sources to engage his audience on common ground. Each chapter concludes with a bibliography listing versions of each folktale source as a resource for further research and teaching.
About the Author Charlotte Artese is associate professor of English at Agnes Scott College. She has published articles on The Faerie Queene and Utopia as well as on Shakespeare’s folktale sources.
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1 of 1 people found the following review helpful. An important new book on the folktale sources of Shakespeare's plays. By Horace Nalle Much more than we do today, Elizabethans lived with a rich body of oral folklore. They heard stories in taverns, in public squares, at firesides. Blinded by our reading, we tend to miss how important oral storytelling was in Shakespeare’s day—and how much he drew on folktales for his plots. In an important new book, Charlotte Artese helps us take off our readerly blinders and hear the forgotten oral tradition that permeates the playwright’s work.Artese focuses on seven plays. For each, she locates the folktale source or sources. She shows how Shakespeare varied the stories to suit his needs. She shows how the playwright played off the audience’s familiarity with the stories to strengthen the impact of his own versions. And she shows how the tales clung to a life of their own, importing into Shakespeare’s plays vestiges that the plays themselves did not strictly “need.”The effect is to give the reader a whole new set of ears and eyes for works we thought we already knew. In the interplay between the plays and the tales excavated by Artese, we discern new techniques of the playwright’s craft, and we can eavesdrop for the first time on a previously inaudible dialogue between Shakespeare and his audience.Shakespeare’s Folktale Sources makes a fresh and, no doubt, lasting contribution to Shakespeare studies. It deserves to be read by scholars and Shakespeare lovers everywhere.The seven plays Artese studies are The Taming of the Shrew, Titus Andronicus, The Merry Wives of Windsor, The Merchant of Venice, All’s Well that Ends Well, Measure for Measure, and Cymbeline.
0 of 0 people found the following review helpful. New perspectives on a legend By Sean M. Mcveigh Although shorter than I would have liked, I think readers will find that this is easily the best book of Shakespearean scholarship in a generation. This book illuminates the plays in a way that will transform the study of Shakespeare for decades to come. The arguments made on King Lear are particularly compelling.Harold Bloom must certainly admit, after the release of this groundbreaking work, that he has been replaced.
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