Male surplus value

Renaissance Drama

Volumn 31, Issue , 2002, Pages 85-124

  Hedrick, Donald ^a  

^a NONE

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EID: 60949659657     PISSN: 04863739     EISSN: None     Source Type: Journal    
DOI: 10.1086/rd.31.41917367     Document Type: Article

References (184)

1. Which, for the record, included 180 people keyboarding for eighteen months for a subcontractor in Philadelphia. See Hugh Kenner, "Ode on an O.E.D.: The Oxford English Dictionary, Second Edition," New York Times, 22 April 1989.
2. Abigail Solomon-Godeau, "Male Trouble," in Constructing Masculinity, ed. Maurice Berger, Brian Wallis, and Simon Watson (New York: Routledge, 1995), 71.
3. De le Serre, The Mirrour Which Flatters Not (London, 1639). Permission to reproduce has been granted by the Folger Shakespeare Library, Washington, D.C.
4. Louis Althusser and Etienne Balibar, Reading Capital, trans. Ben Brewster (London: Verso, 1979), 173.
5. See, for instance, Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990);
6. Butler, "Imitation and Gender Insubordination," in Lesbian and Gay Studies Reader, ed. Henry Abelove, Michèle Aina Barale, and David M. Halperin (New York: Routledge, 1993);
7. Eve Sedgwick, "Gosh, Boy George, You Must Be Awfully Secure in Your Masculinity!" in Constructing Masculinity, ed. Maurice Berger, Brian Wallis, and Simon Watson (New York: Routledge, 1995), 11-20;
8. and Susan Jeffords, "Performative Masculinities, or After a Few Times You Won't Be Afraid of Rape at All," Discourse 13, no. 2(1991): 102-18.
9. Herbert Blau, "Universals of Performance; or, Amortizing Play," Substance 37-38 (1983): 152.
10. See Jean-Christophe Agnew, Worlds Apart: The Market and the Theater in Anglo-American Thought, 1550-1750 (Cambridge: Cambridge University Press, 1986);
11. John Brewer and Roy Porter, eds., Consumption and the World of Goods, (London: Routledge, 1993);
12. Theodore B. Leinwand, Theatre, Finance and Society in Early Modern England (Cambridge: Cambridge University Press, 1999).
13. Scholarship has made gains of specificity and distinction in this regard but still tends to generalize about the "market," which would argue the usefulness of Marxism or for that matter any other economic model that would make distinctions, such as surplus value as proposed here. Don Wayne thus improves on L. C. Knights's generalizing about the "acquisitiveness" of the era by exploring the consequences of the epochal shift from status to contract (see Wayne, "Drama and Society in the Age of Johnson: An Alternative View," Renaissance Drama, n.s., 13 [1982): 103-28;
14. and Knights, Drama and Society in the Age of Jonson [London: Chatto and Windus, 1937], ch. 7).
15. Richard Halpern distinguishes merchant capital, primitive accumulation, and generalized commodity production to show ways in which culture anticipates the advances and justifications of capitalism (Halpern, The Poetics of Primitive Accumulation: English Renaissance Culture and the Geneaology of Capital [Ithaca, N.Y.: Cornell University Press, 1991], 9, 159 et passim).
16. See Michael Hardt, "Affective Labor" (paper presented at the "Rethinking Marxism" conference, University of Massachusetts, Amherst, Massachusetts, 1996);
17. Michael Hardt and Antonio Negri, Labor of Dionysius: A Critique of the State-Form (Minneapolis: University of Minnesota Press, 1994).
18. Leinwand, Theatre, Finance and Society, 12.
19. Butler, "Imitation and Gender Insubordination," 283.
20. See Christopher Pye, who raises a similar question about the concept, namely, whether anxiety about commodification and self-commodification is not evidence of a degree of resistance to commodification, a subjectivity never wholly transformed but rather split (Pye, "The Theatre, the Market, and the Subject of History," ELH 61 [1994]: 503).
21. The present critique of "anxiety," however, is not meant to rule out other uses of the concept, such as Meredith Skura's examination of the anxiety attendant on acting itself (Skura, Shakespeare the Actor and the Purposes of Playing [Chicago: University of Chicago Press, 1993], 14-28)
22. or the historicity of Enterline's link of masculinity to melancholia (Lynn Enterline, The Tears of Narcissus: Melancholia and Masculinity in Early Modern Writing [Stanford, Calif.: Stanford University Press, 1995]).
23. Coppélia Kahn, Man's Estate: Masculine Identity in Shakespeare (Berkeley and Los Angeles: University of California Press, 1981);
24. Mark Breitenberg, Anxious Masculinity in Early Modern England (Cambridge: Cambridge University Press, 1996).
25. Breitenberg does, however, open up a space for nonanxious masculinity in the sexual politics of sonnet 20, a situation he attributes to its containment within an all-male realm (155). Of course, the Elizabethan theater as itself an all-male realm of actors offers an analogue, and a possible complication to how "male surplus value," depending in part on an audience of paying female spectators as well, is realized in this market (see Jean Howard, "Women as Spectators, Spectacles, and Paying Customers," in Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama, ed. David Scott Kastan and Peter Stallybrass [New York: Routledge, 1991]).
26. On 1950s masculinity as a defeat of post-World War II gray-flannel-suit masculinity, see, for instance, Steven Cohan, Masked Men: Masculinity and the Movies in the Fifties (Bloomington: Indiana University Press, 1997).
27. For convenience, I use several weeks of a Kansas City metropolitan alternative weekly for which I occasionally report, Pilch Weekly.
28. See Stephen Orgel, Impersonations: The Performance of Gender in Shakespeare's England (Cambridge: Cambridge University Press, 1996);
29. Bruce R. Smith, Homosexual Desire in Shakespeare's England: A Cultural Poetics (Chicago: University of Chicago Press, 1991);
30. Jonathan Goldberg, Sodometries: Renaissance Texts, Modern Sexualities (Stanford, Calif.: Stanford University Press, 1992).
31. Some scholars even reflect on Shakespeare's own degree of "manliness" (Allen Sinfield, Faultlines: Cultured Materialism and the Politics of Dissident Reading [Berkeley and Los Angeles: University of California Press, 1992], 277).
32. Or, in proliferating the possibilities, see Judith Halberstam's recent work on "female masculinity," unmooring masculinity from gender (Female Masculinity [Durham, N.C.: Duke University Press, 1998]);
33. or the interesting case of Guatemalan macho oratory style adopted by some Latin women (Omar S. Castaneda, "Guatemalen Macho Oratory," May Macho: Latino Men Confront Their Manhood, ed. Ray Gonzalez [New York: Doubleday, 1996], 38).
34. "Effeminate" itself had its own range of senses even in the Renaissance (Gary Spear, "Shakespeare's 'Manly' Parts: Masculinity and Effeminacy in Troilus and Cressida," Shakespeare Quarterly 44 [1993]: 409).
35. I do not attempt hereby to "rescue" masculinity, as in the recent more nostalgic attempt to uncover a "healthy masculinity" in Shakespeare (Robert Applebaum, "'Standing to the Wall': The Pressures of Masculinity in Romeo and Juliet," Shakespeare Quarterly 48 [1997): 257)
36. the flip side of an "unruly masculinity" (Ian Moulton, "A Monster Great Deformed: The Unruly Masculinity of Richard III," Shakespeare Quarterly 47 [1996]: 25).
37. But masculinity's more pernicious forms may even develop historically parallel to the development of capitalism itself, which Fredric Jameson reminds us for Marx constituted simultaneously the best and worst of developments for mankind, producing heavens for some and hells for others (Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism [Durham, N.C.: Duke University Press, 1991], 85-86).
38. See Patricia Parker, "Virile Style," Premodern Sexualities, ed. Louise Fradenburg and Carla Freccero (New York: Routledge, 1996).
39. Spear, "Shakespeare's 'Manly' Parts," 409.
40. See Hugh Grady, Shakespeare's Universal Wolf: Studies in Early Modern Reification (Oxford: Clarendon Press, 1996).
41. Butler, Gender Trouble, 149.
42. A recent critique of the commodification of proliferation to which I am sympathetic is provided by Rosemary Hennessy, who argues that "postmodern sexualities participate in the logic of the commodity and help support neoliberalism's mystifications" (Profit and Pleasure: Sexual Identities in Late Capitalism [New York: Routledge, 2000], 109), even pointedly the "cultivation of ambivalence as a structure of feeling" to the currently cultivated affect of service and part-time workers (108).
43. Here I differ from the revisionary canonicity of Michael Bristol's critique in Big-time Shakespeaiv (London and New York: Routledge, 1996), 11].
44. Jameson, Postmodernism, 320.
45. J. L. Austin, "Performative Utterances," Philosophical Tapers, 2d ed. (London: Oxford University Press, 1970).
46. Butler, Gentler Trouble, 32;
47. Spivak cited in Judith Butler, Bodies That Matter: On the Discursive Limits of "Sex" (New York: Routledge, 1993), 27.
48. See Kaja Silverman, Male Subjectivity at the Margins (New York: Routledge, 1992), 3.
49. Andrew Parker and Eve Kosofsky Sedgwick, "Introduction: Performativity and Performance," in Performativity and Performance, ed. Parker and Sedgwick (New York: Routledge, 1995), 16.
50. Hardt and Negri, Labor of Dionysius, 7.
51. For examples and theoretical discussion, see Valerie Wayne, The Matter of Difference: Materialist feminist Criticism of Shakespeare (Ithaca, N.Y.: Cornell University Press, 1991).
52. The issue is complicated somewhat by commonplaces such as the Renaissance fear of the effeminizing power of love (Phyllis Rackin, Stages of History: Shakespeare's English Chronicles [Ithaca, N.Y.: Cornell University Press, 1990], 172)
53. or the relevance of Christian humanism, as in Donne's description of mankind as a "sponge of tears" (Donne, The Sermons of John Donne, 10 vols., ed. George R. Potter and Evelyn M. Simpson [Berkeley and Los Angeles: University of California Press, 1959], 4:337).
54. Quintilian, Institutio Oratorio (Cambridge: Harvard University Press, 1921), 6.2.32-35.
55. J. L. Simmons, "Masculine Negotiations in Shakespeare's History Plays: Hal, Hotspur, and 'the foolish Mortimer,' " Shakespeare Quarterly 44 (1993): 456.
56. William Shakespeare, Macbeth, in The Norton Shakespeare (New York: W. W. Norton, 1997), 4.3.223. All references to Shakespeare's texts will be to this edition.
57. See Hardt, "Affective Labor";
58. See Michele Barrett, Women's Oppression Today: Problems in Marxist Feminist Analysis (London: Verso, 1980);
59. Annette Kuhn and AnnMarie Wolpe, eds., Feminism and Materialism: Women and Modes of Production (London: Routledge and Kegan Paul, 1978);
60. and Christine Delphy, Close to Home: A Materialist Analysis of Women's Oppression (Amherst: University of Massachusetts Press, 1984).
61. Kuhn and Wolpe, Feminism and Materialism, 12;
62. Negri and Hardt, Labor of Dionysius, 8.
63. Gayatri Spivak, In Other Worlds: Essays in Cultural Politics (New York: Routledge, 1988), 79, 83.
64. Daniel Tuvil, Vade Mecum: a manuall of essayes morrall, theological (London, 1629), 69.
65. See Ann Pasternak Slater, "Weeping," in Shakespeare, the Director (Sussex: Harvester Press, 1982).
66. Christopher Marlowe, Tamburlaine, in The Complete Works of Christopher Marlone, vol. 1, ed. Fredson Bowers (Cambridge: Cambridge University Press, 1973), 3.4. 164. Subsequent text citations refer to this version.
67. Harry Levin, The Orerreacher, a Study of Christopher Marlowe (Cambridge: Harvard University Press, 1952), 48-49.
68. For the direct connection to Elizabethan labor, we find the practice of having Bridewell prisoners drawing carts through London, attended by taunts by spectators who quoted Tamburlaine's taunts from the play (see Crystal Bartolovich, "Putting Tamburlaine on a [Cognitive] Map," Renaissance Drama, n.s., 28 [1997]: 29-72).
69. Thomas Cartelli, Marlowe, Shakespeare, and the Economy of Theatrical Experience (Philadelphia: University of Pennsylvania Press, 1991), 7.
70. See Knights, Drama and Society, 32-58;
71. Charles Wilson and Geoffrey Parker, eds., An Introduction to the Source's of European Economic History 1500-1800 (Ithaca, N.Y.: Cornell University Press, 1977), 138;
72. Bartolovich, "Putting Tamburlaine on a Map," 49.
73. Joan Thirsk, Economic Policy and Projects: The Development of a Consumer Society in Early Modern England (Oxford: Clarendon Press, 1978), 17.
74. Agnew, Worlds Apart, 44.
75. John Bakeless, The Tragicall History of Christopher Marlowe, 2 vols. (Cambridge: Harvard University Press, 1942), 1:201, 238-73.
76. Of course, an exact application of surplus value to any instance on the Elizabethan stage must be complicated by the fact that none of this was a fully capitalist enterprise. Thus Alleyn, as sharer, is in a sense something of a capitalist, any extra labor of his not really "unpaid." On the other hand, the existence of actual wage labor in the new industry would attest to an awareness of what constituted surplus value. The Elizabethan theater was perhaps a mix of petty commodity production producing surplus wealth and capitalist production producing surplus value (Anwar Shaikh, "Surplus Value," Marxian Economics, ed. John Eatwell, Murray Milgate, and Peter Newman [New York: W. W. Norton, 1990], 348).I must bracket such complications, however, along the question of public versus private venues or companies and their various relations to a masculinity-forprofit. "Miniaturization" of masculinity by boy actors, for instance, could well be seen to compete with and devalue theatrical hypermasculinity. Another question, raised by Peter Stallybrass, would be the effect of all this on "real-life" performances such as the macho of the Earl of Essex.
77. But for a qualification of this view, see Armstrong (William A. Armstrong, "Shakespeare and the Acting of Edward Alleyn," Shakespeare Survey 7 [1954], 82-86)
78. who argues that the evidence does not support the view that Alleyn's acting became all that dated and ridiculous. The myth may stem from a critical bias favoring dramatic evolution over ephemeral entertainment value. And yet, it seems to me that Ivor Brown's actorly instincts hit the mark in characterizing the star's extra work in the context of a ruthlessly competitive theater, as he imagines Marlowe praising Alleyn's style: "His words were thunderbolts and must be hurled. And let Master Shakespeare and his Friends take note of it. The public love it. The answer is in their hands and how they clap them! The test is in the house and it is full!" (Ivor Brown, Shakespeare and the Actors [London: Bodley Head, 1970), 91).
79. Sara Munson Deats, Sex, Gender, and Desire in the Plays of Christopher Marlowe (Newark, N.J.: Association of University Presses, 1997), 127.
80. Marion Trousdale, "Coriolanus and the Playgoer in 1609," in The Arts of Performance in Elizabethan and Early Stuart Drama, ed. Murray Biggs, Philip Edward, Inga Stina Eubank, and Eugene M. Waith (Edinburgh: Edinburgh University Press, 1991), 181.
81. Garrett A. Sullivan Jr., "Space, Measurement, and Stalking Tamburlaine," Renaissance Drama, n.s., 28 (1997): 15, 22.
82. See Henslowe Papers, ed. W. W. Greg (London: A. H. Bullen, 1907), 144-51.
83. Andrew Gurr, The Shakespearean Stage 1574-1612, 3d ed. (Cambridge: Cambridge University Press, 1992), 66-67.
84. G. E. Bentley, The Profession of Player in Shakespeare's Time, 1590-1642 (Princeton, N.J.: Princeton University Press, 1984), 10.
85. But I must bracket the important consideration of some economic implications of this theater in having an all-male realm of production but only a predominantly male realm of consumption. Surveying the slim evidence, I do not accept Breitenberg's suggestion that the audience was "half-composed" of women (Breitenberg. Anxious Masculinity, 10).
86. Shakespeare's several references to female audience members in his epilogues reveal awareness of achieving surplus in relation to a niche market of women and the increasing commercial importance of the niche. See Donald Hedrick, "Bardguides of the New Universe: Niche Marketing and the Cultural Logic of Late Shakespeareanism," in Shakespeare after Mass Media, ed. Richard Burt (New York: St. Martin's; London: Palgrave, in press).
87. Althusser and Balibar, Reading Capital, 79.
88. See A. Aumeerudy and R. Tortajada, "Reading Marx on Value: A Note on the Basic Texts," in Value: The Representation of Labour in Capitalism, ed. Diane Elson (Atlantic Highlands, N.J.: Humanities Press, 1979).
89. David McClellan, The Thought of Karl Marx: An Introduction, 2d ed. (London: Macmillan, 1971; reprint, London: Macmillan, 1980), 91.
90. Ernest Mandel, Marxist Economic Theory, vol. 1 (New York: Monthly Review Press, 1968), 83ff.
91. Tom Bottomore, ed. A Dictionary of Marxist Thought (London: Blackwell Reference, 1991), 472-73.
92. Karl Marx, Grundrisse: Foundations of the Critique of Political Economy (New York: Pelican, 1973; reprint, Harmondsworth, Eng.: Penguin, 1977), 70.
93. Antonio Negri, Marx Beyond Marx: Lessons on the Grundrisse (South Hadley, Mass.: Bergin and Garvey, 1984), 99.
94. Erik Olin Wright, "Ricardo, Marx, Straffa," in The Value Controversy, ed. Ian Steedman et al. (London: Verso, 1981), 36.
95. Margreta de Grazia, "The Ideology of Superfluous Tilings: King Lear as Period Piece," in Subject and Object in Renaissance Culture, ed. Margreta de Grazia, Maureen Quilligan, and Peter Stallybrass (Cambridge: Cambridge University Press, 1996), 33.
96. See Ian Steedman, The Value Controversy (London: Verso, 1981);
97. Ernest Mandel, Late Capitalism (London: Verso, 1978), chs. 10-12;
98. Diane Elson, "The Value Theory of Labour," in Value: The Representation of Labour in Capitalism, ed. Diane Elson (Atlantic Highlands, N.J.: Humanities Press, 1979), 116.
99. Jean-Joseph Goux, Symbolic Economies: After Marx and trend (Ithaca, N.Y.: Cornell University Press, 1990), 233.
100. George Bataille, The Accursed Share: An Essay on General Economy, vol. 1, Consumption (New York: Zone Books, 1988), 23, 25.
101. See Juliet Dusinberre, who does note, however, a perennial conflict between a theater of stars and a repertory theater (Dusinberre, "Squeaking Cleopatras: Gender and Performance in Antony and Cleopatra," in Shakespeare, Theory and Performance, ed. James Bulman [London: Routledge, 1996], 54).
102. A West End production of Richard III in 1989, starring Derek Jacobi, exemplified this for me, its actors appearing quite miserable as the star entertained himself and us.
103. Bentley, Profession of Player, 68.
104. Marx, Grundrisse, 761-62.
105. Michael Shapiro, "The Introduction of Actresses in England: Delay or Defensiveness?" Enacting Gender on the English Renaissance Stage, ed. Viviana Comensoli and Anne Russell (Urbana: University of Illinois Press, 1999), 183-84.
106. Karl Marx, Theories of Surplus Value (New York: International Publishers, 1952), 194-95.
107. See Walter Cohen, Drama of a Nation: Public Theater in Renaissance England and Spain (Ithaca, N.Y.: Cornell University Press, 1985), 180.
108. Cited by Bentley, Profession of Player, 55.
109. Mandel, Marxist Economic Theory.
110. Neil Carson, A Companion to Henslowe's "Diary" (Cambridge: Cambridge University Press, 1988), 38.
111. Bentley, Profession of Player, 102.
112. Carson, Companion to Henslowe's "Diary," 38. Further research may corroborate the extent to which we may extrapolate conditions from the records of successful companies such as Ilenslowe's, but less successful companies may be just as revealing.
113. Henslowe, Diary, ed. R. A. Foakes and R. T. Rickert (Cambridge: Cambridge University Press, 1961), 111.
114. See R. H. Tawney and Eileen Power, eds., Tudor Economic Documents (London: Longmans, 1924; reprint, London: Longmans, 1951), 377.
115. Catharina Lis and Hugo Soly, Poverty and Capitalism in Pre-Industrial Europe (Atlantic Highlands, N.J.: Humanities Press, 1979), 50-51.
116. Carson, Companion to Henslowe's "Diary" 38.
117. Marx describes the absurd imposition on such a worker to demand "that while his wages are necessarily affected by the adverse phases of the cycle, he should exclude himself from compensation during the prosperous phases of the cycle" (Marx, Wage-Labour and Capital (New York: International Publishers, 1933], 55), thereby sharing the miseries of the slave "without the security of the slave" (56).
118. T. W. Baldwin, The Organization and Personnel of the Shakespearean Company (Princeton, N.J.: Princeton University Press, 1927), 427.
119. For an appreciative and thorough view of tiring house labor, however, see Peter Thomson, Shakespeare's Theatre (London: Routledge and Kegan Paul, 1933), ch. 12.
120. See Sedgwick, "Gosh, Boy George." A Renaissance analogue may be the political valorization of mixed gender virtues in the praise of women rulers, as discussed by Constance Jordan, Renaissance Feminism: Literary Texts and Political Models (Ithaca, N.Y.: Cornell University Press, 1990), 149.
121. Butler's liberatory vocabulary of proliferation revealingly uses an economic metaphor, the "deregulation" of compulsory norms, implying a consumer and neoliberal model I question (Butler, Bodies That Matter, 231).
122. Antonio Gramsci, "Problems of Marxism," Selections from the Prison Notebooks (New York: International Publishers, 1971), 408-9.
123. Donald Hedrick, "Commodity Kate: Shakespeare and the Domestication of Money" (paper presented at Shakespeare Association of America meeting, Atlanta, April 1993).
124. See the extensive anthology, Brewer and Porter, Consumption and the World of Goods.
125. See Goldberg, Sodometries, 170.
126. See also Julia Lupton on the critical tradition of a " transversal" relation understood as Shakespeare's debt to "Marloan" (Lupton, "Afterword: Shakespace on Marloan," in Shakespeare without Class: Misappropriations of Cultural Capital, ed. Donald Hedrick and Bryan Reynolds [New York: St. Martin's; London: Palgrave, 2000], 277).
127. Larry S. Champion, Perspective in Shakespeare's English Histories (Athens: University of Georgia Press, 1980), 162.
128. On Hal as a "mean," see E. M. W. Tillyard, Shakespeare's History Plays (London: Chatto and Windus, 1944), 265;
129. as a better companion, see Robert Ornstein, A Kingdom for a Stage: The Achievement of Shakespeare's History Plays (Cambridge: Harvard University Press, 1972), 134;
130. on speech-act theory, see Joseph A. Porter, The Drama of Speech Acts: Shakespeare's Lancastrian Tetralogy (Berkeley and Los Angeles: University of California, 1979), 92;
131. for ideological readings, see Stephen Greenblatt, "Invisible Bullets," Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England (Berkeley and Los Angeles: University of California Press, 1988), 21-65;
132. Jonathan Dollimore and Alan Sinfield, "History and Ideology: The Instance of Henry V" in Alternative Shakespeares, ed. John Drakakis (London: Metlnien, 1985), 206-27;
133. Robert C. Jones, These Valiant Dead: Renewing the Past in Shakespeare's Histories (Iowa City: University of Iowa Press, 1991), 123.
134. Graham Holderness, Shakespeare's History (New York: St. Martin's, 1985), 114.
135. See Zdenek Stribny, "Henry V and History," in Henry V: A Selection of Critical Essays, ed. Michael Quinn (Nashville: Aurora Publications, 1969).
136. Marvin B. Krims, "Hotspur's Anti-Feminine Prejudice in Shakespeare's 1 Henry IV," Literature and Psychology 40 (1994): 188ff.
137. Patricia A. Parker, Literary Eat Ladies: Rhetoric, Gender, Property (New York: Methuen, 1987), 267.
138. Jones, These Valiant Dead, 122.
139. It is worth noting an early argument that stage performance is the real basis of Shakespearean "characterization," made by Raymond Williams in Drama in Performance (1954; reprint, Chester Springs, U.K.: Dufour Editions, 1961).
140. Barbara Hodgdon, The End Crowns All: Closure and Contradiction in Shakespeare's History (Princeton, N.J.: Princeton University Press, 1991), 181.
141. Compare the early modern theatricalization of gardening, as discussed by Donald Hedrick, "Flower Power: Shakespearean Deep Bawdy and the Botanical Perverse," in The Administration of Aesthetics: Censorship, Political Criticism, and the Public Sphere, ed. Richard Burt (Minneapolis: University of Minnesota Press, 1994).
142. A. R. Humphreys, ed., The Second Part of King Henry IV Araen Shakespeare (London: Methuen, 1966), 60-61.
143. Scott McMillan, Henry IV, Part One (Manchester: Manchester University Press, 1991), 26.
144. Aristotle, The Basic Works of Aristotle, ed. Richard McKeon (New York: Random House, 1941), 1125:12, 994.
145. Sally McConnell-Ginet, "Intonation in a Man's World," Language, Gender and Society, ed. Barrie Thome, Cheris Karmarae, and Nancy Henly (Cambridge: Newbury House: 1983), 73.
146. Francis Beaumont, The Knight of the Burning Pestle (New York: Norton, 1969), induction, 73ff.
147. We also note the play's humorous treatment of how entertainment violence becomes maximizas Nell requests absurdly gratuitous violence be added to the plot, at one point urging Rafe by shouting, "Kill, kill, kill, kill, kill" (Beaumont, Knight, 3, 348). The contemporary analogue of pro wrestling comes to mind.
148. See Stephen Urkowitz, Shakespeare's Revision of King Lear (Princeton, N.J.: Princeton University Press, 1980);
149. Grace Ioppolo, Revsing Shakespeare (Cambridge: Harvard University Press, 1991).
150. Roslyn Lander Knutson, The Repertory of Shakespeare's Company, 1594-1613 (Fayetteville: University of Arkansas, 1991), 51.
151. Ioppolo, Revising Shakespeare, 50.
152. See the reading of Valerie Traub, Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama (London: Routledge, 1992), 50-70.
153. Paul N. Siegel, Shakespeare's English and Roman History Plays: A Marxist Approach (London: Associated University Presses, 1986), 27.
154. Elliot Krieger, A Marxist Study of Shakespeare's Comedies (London: Macmillan, 1979), 123.
155. Jean Howard and Phyllis Rackin, Engendering a Nation: A Feminist Account of Shakespeare's English Histories (London: Routledge, 1997), 166.
156. Jean Howard, The Stage and Social Struggle in Early Modern England (New York: Routledge, 1994), 139.
157. Alexander Leggatt, Shakespeare's Political Drama: The History Plays and the Roman Plays (London: Routledge, 1988), 94.
158. Paul Yachnin, Stage-Wrights: Shakespeare, Jonson, Middleton, and the Making of Theatrical Value (Philadelphia: University of Pennsylvania Press, 1997), 52.
159. See, for instance, Clement Ellis's The Gentile Sinner, or England's Brave Gentleman Characterized (Oxford, 1660), which is rather ruthless about style norms and in which "brave" shifts to its fully stylistic sense: [His discourse] "is Grave and noble, Serious and Weighty. His Words are most Proper and Genuine, but not affected; His Phrase high and lofty, but not Bombastic; His Sentence close and full, but not obscurse or confused. His discourse is neither Flashy nor Flat, neither Boyish nor Effeminate, neither rude nor Pedantick" (114).
160. David Kuchta, "The Semiotics of Masculinity in Renaissance England," Sexuality and Gender in Early Modern Europe: Institutions, Texts, Images, ed. James Grantham Turner (Cambridge: Cambridge University Press, 1993), 241.
161. See M. A., The Reformed English Gentleman (London, 1693), 8.
162. Theweleit Klaus, Male Fantasies, vol. 2 (Minneapolis: University of Minnesota Press, 1989), 169.
163. See E. C. Pettct, "Coriolanus and the Midlands Insurrection of 1607," Shakespeare Survey 3 (1950): 34-42;
164. Janet Adelman, Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare's Plays, Hamlet to The Tempest (London: Routledge, 1992), 147.
165. See Bryan Reynolds, "'What is the city but the people?': Shakespeare's Class Consciousness Imagines Brecht's Coriolan," in Shakespeare without Class:Misappropriations of Cultural Capital, ed. Donald Hedrick and Bryan Reynolds (New York: St. Martin's; London: Palgrave, 2000).
166. Jonathan Hart, Theater and World: The Problematics of Shakespeare's History (Boston: Northeastern University Press, 1992), 269.
167. See the overview by Adrian Poole, Coriolanus (Boston: Twayne Publishers, 1988), 117.
168. Siegel, Shakespeare's English and Roman Plays, 113.
169. Patricia Parker, "Virile Style," in Premodern Sexualities, ed. Louise Fradenburg and Carla Freccero (New York: Routledge, 1966), 201-22.
170. See Immanuel Wallerstein, Historical Capitalism (London: Verso, 1983).
171. By extension, this may mean that hypermasculinity is, as Laura Levine claims, at the heart of antitheatricality as Coriolanus's masculinity, to use Levine's terms, "dissolves" (Levine, Men in Women's Clothing: Anti-Theatricality and Effeminization, 1579-1612 [Cambridge: Cambridge University Press, 1994], 64, 23 et passim).
172. The present essay, however, contends that masculinity and market are not inherently oppossince the market entangles itself with revising masculinity. The market's own, new masculinity, moreover, could constitute a new form of oppression replacing traditional bloodshas suggested by Scott Culter Shershow, "Idols of the Marketplace: Rethinking the Economic Determination of Renaissance Drama" Renaissance Drama, n.s., 26(1995): 19.
173. Terry Eagleton, William Shakespeare (Oxford: Blackwell, 1986), 73.
174. Peter Stallybrass, "Shakespeare, the Individual, and the Text," Cultural Studies, ed. Lawrence Grossberg, Cary Nelson, and Paula Treichler (London: Routledge, 1992), 607.
175. Compare Don Wayne on Jonson's critique of acquisitiveness as itself indebted to the acquisitive impulse (Wayne, "Drama and Society," 107).
176. Or, consider the way camp and other contemporary "critiques" of hypermasculinity may in fact be indebted to or entail a respect for those same hyperbolic codings (Jonathan Dollimore, Sexual Dissidence: Augustine to Wilde, Freud to Foucault [Oxford: Clarendon Press, 1991], 321;
177. Leo Bersani, The Culture of Redemption [Cambridge: Harvard University Press, 1990]). 155.
178. Harold Bloom, Shakespeare: The Invention of
179. Jeffords, "Performative Masculinities," 114.
180. Juliet Fleming, "Dictionary English and the Female Tongue," Enclosure Acts: Sexuality, Property, and Culture in Early Modern England, ed. Richard Burt and John Michael Archer (Ithaca, N.Y.: Cornell University Press, 1994), 299.
181. One might explore the theoretical and political implications of the need to develop two distinct senses of masculinity - one as a set of independent variables of characteristics, the other as the binary term to feminine - and their historical interactions.
182. See Gilles Deleuze, Cinema 2: The Time-Image (Minneapolis: University of Minnesota Press, 1989), 125;
183. Hedrick and Reynolds, "Shakespace and Transversal Power," in Shakespeare without Class: Misappropriations of Cultural Capital, ed. Donald Hedrick and Bryan Reynolds (New York: St. Martin's; London: Palgrave, 2000), 30.
184. Oxford English Dictionary (Oxford: Oxford University Press, 1971). All subsequent definitions quoted are from this edition.