Shakespeare and the Grotesque: Shock, Laughter, Tragedy
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In what ways can Shakespeare be understood as grotesque? In popular usage, the term “grotesque” combines a description of styler and content as well as a feeling of confusion or disgust: it is both epistemology and phenomenology. There is also a modern critical tradition of reading Shakespearean drama as grotesque, which includes Victor Hugo, Mikhail Bakhtin, and Jan Kott. In addition, contemporary critics have suggested that the grotesque is a significant contemporary aesthetic, frequently related to horror. This essay explores the meaning of the grotesque in Shakespeare by considering the examples of Titus Andronicus and Macbeth. Both tragedies explore themes of violence, fear and excess that verge on horror, and yet they also demonstrate some of the issues of the grotesque at the level of literary form, performance history and audience reception. Drawing on modern performance reviews and criticism, the essay suggests that the critical reception of both plays might be better understood as an example of the grotesque mode at work in Shakespeare studies. It will also suggest how the metaphor of the “swelling of the imperial theme” in Macbeth relates directly to the imagery of swelling in the work of Thomas Nashe and how this might suggest another way to understand an early-modern grotesque. The essay reflects on the implications of the grotesque in Shakespeare as it relates to notions of proximity and distance in literary studies.
Abstract
In what ways can Shakespeare be understood as grotesque? In popular usage, the term “grotesque” combines a description of styler and content as well as a feeling of confusion or disgust: it is both epistemology and phenomenology. There is also a modern critical tradition of reading Shakespearean drama as grotesque, which includes Victor Hugo, Mikhail Bakhtin, and Jan Kott. In addition, contemporary critics have suggested that the grotesque is a significant contemporary aesthetic, frequently related to horror. This essay explores the meaning of the grotesque in Shakespeare by considering the examples of Titus Andronicus and Macbeth. Both tragedies explore themes of violence, fear and excess that verge on horror, and yet they also demonstrate some of the issues of the grotesque at the level of literary form, performance history and audience reception. Drawing on modern performance reviews and criticism, the essay suggests that the critical reception of both plays might be better understood as an example of the grotesque mode at work in Shakespeare studies. It will also suggest how the metaphor of the “swelling of the imperial theme” in Macbeth relates directly to the imagery of swelling in the work of Thomas Nashe and how this might suggest another way to understand an early-modern grotesque. The essay reflects on the implications of the grotesque in Shakespeare as it relates to notions of proximity and distance in literary studies.
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