Toward a Shakespearean "Memory Theater": Romeo, the apothecary, and the performance of memory

Shakespeare Quarterly

Volumn 56, Issue 2, 2005, Pages 156-175

  Wilder, Lina Perkins ^a  

^a NONE

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[No Author keywords available]

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EID: 60950577940     PISSN: 00373222     EISSN: 15383555     Source Type: Journal    
DOI: 10.1353/shq.2005.0066     Document Type: Article

References (67)

1. Quotations from Romeo and Juliet here follow Brian Gibbons's edition for the Arden Shakespeare (London: Methuen, 1980)
2. quoted here from Shakespeare; The Critical Heritage, Brian Vickers, ed., 6 vols. [London: Routledge and Kegan Paul, 1974-81], 4:538-39)
3. For defenses of the apothecary scene, see Samuel Taylor Coleridge, Shakespearean Criticism, ed. Thomas Middleton Raysor, 2 vols. (London: Dent; New York: Dutton [1961-62]), 1:11
4. Harley Granville-Barker, Prefaces to Shakespeare, 5 vols. (London: Sidgwick and Jackson, Ltd., 1927-47), 2:56
5. G. Wilson Knight, Shakespeare's Dramatic Challenge: On the Rise of Shakespeare's Tragic Heroes (London: Croom Helm, 1977), 42
6. Clifford Leech, "The Moral Tragedy of Romeo and Juliet" in English Renaissance Drama; Essays in Honor of Madeleine Doran and Mark Eccles, Standish Henning et al., eds. (Carbondale: Southern Illinois UP, 1976)
7. rpt. in Critical Essays on Shakespeare's Romeo and Juliet, Joseph A. Porter, ed. (New York: G. K. Hall, 1997), 7-22, esp. 14-15
8. and James H. Seward, Tragic Vision in Romeo and Juliet (Washington, DC: Consortium Press, 1973), 183
9. For a recent extended reading of the apothecary scene, including a summary of its negative reception, see Dominick Grace, "Romeo and the Apothecary," Early Theatre: A Journai Associated with the Records of Early English Drama 1 (1998): 27-38, esp. 29
10. On the role of time in Romeo and Juliet, see E. Pearlman, "Shakespeare at Work: Romeo and Juliet" English Literary Renaissance 24 (1994); 315-42
11. Lloyd Davids, "'Death-Marked Love': Desire and Presence in Romeo and Juliet" Shakespeare Survey 49 (1996): 57-67
12. Thomas Pughe, "'What an Unkind Hour': Time in Romeo and Juliet" Q/W/E/R/T/Y: Arts, Littératures & Civilisations du Monde Anglophone 2 (1992): 5-15
13. David Lucking, "Uncomfortable Time in Romeo and Juliet" English Studies 82.2 (2001): 115-26
14. Jill L. Levenson, Shakespeare in Performance: Romeo and Juliet (Manchester: Manchester UP, 1987), 16 and passim
15. and James Calderwood, Shakespearean Metadrama: The Argument of the Play in Titus Andronicus, Love's Labour's Lost, Romeo and Juliet, A Midsummer Night's Dream, and Richard II (Minneapolis: U of Minnesota P, 1971), 85-119
16. Tiffany Stern, Rehearsal from Shakespeare to Sheridan (Oxford; Clarendon Press, 2000), 13-14
17. See "On Memory and Recollection" in Aristotle: On the Soul, Parva Naturalia, On Breath, ed. and trans. W. S. Hett (Cambridge, MA: Harvard UP, 1957), 288-313, esp. 311, 313
18. On Aristotle and memory, see David Farrell Krell, Of Memory, Reminiscence, and Writing (Bloomington: Indiana UP, 1990), 13-50
19. and Janet Coleman, Ancient and Medieval Memories (Cambridge: Cambridge UP, 1992), 15-38
20. See, for example, Helkiah Crooke: "Finally, all these [Ideas or Notions] are receyued by the Memory, which as a faithful Recorder or Maister of the Rolles doth préseme, store vp and dispose in due order all the forenamed Notions or abstracted formes" (Mikrokosmographia, or, A Description of the Whole Body of Man [London, 1615], 502, emphasis added)
21. See also Frances A.Yates, The Art of Memory (London: Routledge and Kegan Paul, 1966), 2, 306, and passim
22. Lina Bolzoni, The Gallery of Memory: Literary and Iconographic Models in the Age of the Printing Press, trans. Jeremy Parzen (Toronto: U of Toronto P, 2001), xxii, 155
23. Mary J. Carruthers, The Book of Memory: A Study of Memory in Medieval Culture (Cambridge: Cambridge UP, 1990)
24. Douwe Draaisma, Metaphors of Memory: A History of Ideas About the Mind, trans. Paul Vincent (Cambridge: Cambridge UP, 2000)
25. and Paolo Rossi, Logic and the Art of Memory: The Quest for a Universal Language, trans. Stephen Clucas (London: Athlone Press, 2000)
26. For discussions of theater and the visual imagery of the art of memory, see William E. Engel, "Mnemonic Criticism and Renaissance Literature: A Manifesto," Connotations: A Journal for Critical Debate 1 (1991): 12-33
27. Engel, Mapping Mortality: The Persistence of Memory and Melancholy in Early Modern England (Amherst: U of Massachusetts P, 1995)
28. and Engel, Death and Drama in Renaissance England: Shades of Memory (Oxford: Oxford UP, 2002)
29. John Sutton, "Body, Mind, and Order: Local Memory and the Control of Mental Representations in Medieval and Renaissance Sciences of Self" in 1543 and All That: Image and Word, Change and Continuity in the Proto-Scientifc Revolution, Guy Freeland and Anthony Corones, eds. (Dordrecht and Boston; Kluwer Academic Publishers, 2000), 117-50, esp. 117-21, 123, 127-28, 142n
30. See Katharine Park, "The Organic Soul" in The Cambridge History of Renaissance Philosophy, Charles B. Schmitt et al., eds. (Cambridge: Cambridge UP, 1988), 464-84
31. G. W. Bruyn, "The Seat of the Soul" in Historical Aspects of the Neurosciences, F, Clifford Rose and W. F. Bynum, eds. (New York: Raven Press, 1982), 55-81
32. and Walter Pagel, "Medieval and Renaissance Contributions to Knowledge of the Brain and Its Functions" in History and Philosophy of Knowledge of the Brain and its Functions, F.N.L. Poynter, ed. (Oxford: Blackwell Scientific Publications, 1958), 95-114
33. Sutton, "Body, Mind, and Order," 121-30, esp. 129
34. See also Sutton, Philosophy and Memory Traces: Descartes to Connectionism (Cambridge: Cambridge UP, 1998)
35. v)
36. r
37. v. Bolzoni draws an analogy between acting and the construction of memory images (173)
38. See also Engel, Death and Drama, 52-53
39. Erasmus of Rotterdam, Opus epistolarum, ed. P. S. Allen (Oxford: Oxford UP, 1941), 10:29-30, quoted here from Bolzoni, 159 (emphasis added)
40. Nigel Alexander "Hamlet and the Art of Memory," Notes & Queries, 213 (1968): 137-39
41. Bernard Richards, "Hamlet and the Theatre of Memory," N&Q, 233 (1981): 53
42. Adam Max Cohen, "Hamlet as Emblem: The Ars Memoria and the Culture of the Play" Journal of Early Modern Cultural Studies 3.1 (2003): 77-112
43. Sutton, "Body, Mind, and Order," 125
44. On the lack of dramatis personae and other markers in early modern playtexts and performances, see, Margreta de Grazia and Peter Stallybrass, "The Materiality of the Shakespearean Text," Shakespeare Quarterly 44 (1993): 255-83, esp. 267
45. Quotations from The Second Part of King Henry IV follow A. R. Humphreys's edition for the Arden Shakespeare (London: Methuen, 1966)
46. On Juliets and Lady Capulet's attempts to interrupt the Nurse, see Stern, 89-90
47. r. This principle, drawn from classical Latin sources (Cicero, Quintilian, the anonymous Ad Herennium), recurs in most treatises on the memory arts. See Engel, Death and Drama, 53; and Yates, 10
48. Jill Levenson points out that Bandello's novel does not contain an apothecary at all; the role is added in later versions of the story to explain Romeo's acquisition of poison ("Romeo and Juliet Before Shakespeare," Studies in Philology 81 [1984]: 325-47, esp. 340-41)
49. Arthur Brooke's Romeus and Juliet includes the apothecary and much of the language from the scene but excludes the role of memory. Romeus's search for an apothecary's shop takes place in real time and space rather than in his memory
50. see Arthur Brooke, Brooke's 'Romeus and Juliet', being the original of Shakespeare's 'Romeo and Juliet', ed. J. J. Munro (New York: Duffield and Co.; London: Chatto and Windus, 1908), ll. 2563-67. See also Grace, 28
51. Hugh of St. Victor, "De arca Noe morali," quoted here from Carruthers, 45. Joseph Roach, Cities of the Dead: Circum-Atlantic Performance (New York: Columbia UP, 1996), 3-4, 29-30
52. the term derives from Margaret Thomson Drewal's discussion of parody in Yoruba Ritual: Performers, Play, Agency (Bloomington: Indiana UP, 1992), 4-5
53. See also Roach, "Reconstructing Theatre/History," Theatre Topics 9 (1999): 3-10. My thanks to Emily Hodgson Anderson for this reference
54. T.J.B. Spencer, ed., The Penguin Shakespeare Romeo and Juliet (London: Penguin Books, 1967), 31-32
55. In Brooke's Romeus and Juliet, Romeo is present when the Nurse recalls Juliet's childhood (ll. 651-62)
56. and Stephen Greenblatt, Hamlet in Purgatory (Princeton, NJ: Princeton UP, 2001), 214-18
57. See Wendy Wall, Staging Domesticity: Household Work and English Identity in Early Modern Drama (Cambridge and New York: Cambridge UP, 2002), 74
58. Juan Luis Vives, A Fruteful ana pleasant boke called the Instruction of Christen Woman (London, 1529), 108, quoted here from Wall, 164
59. Julie Stone Peters, Theatre of the Book 1480-1880: Print, Text, and Performance in Europe (Oxford: Oxford UP, 2000), 171-72
60. Cynthia Marshall, "Man of Steel Done Got the Blues: Melancholic Subversion of Presence in Antony and Cleopatra" SQ 44 (1993): 385-408, esp. 397
61. see also Hélène Cixous, "Aller à la Mer," trans. Barbara Kerslake, Modern Drama 27 (1984): 546-48, esp. 547 (cited in Marshall, 397)
62. On theater and rhetoric, see Joseph Roach, The Player's Passion; Studies in the Science of Acting (Newark: U of Delaware P, 1985), 32
63. Leo Salingar, "Uses of Rhetoric; Antony and Cleopatra," Cahiers Élisahéthains 55 (1999): 17-26, esp. 18-19
64. On the use of the terms audience and spectators in early modern English theater, see Andrew Gurr, Playgoing in Shakespeare's London (Cambridge: Cambridge UP, 1987), 86-98
65. See, for example, Greenblatt, passim; Michael Neill, Issues of Death: Mortality and identity in English Renaissance tragedy (Oxford: Clarendon Press; New York: Oxford UP, 1997)
66. Ann Rosalind Jones and Peter Stallybrass, Renaissance Clothing and the Materials of Memory (Cambridge and New York: Cambridge UP, 2000)
67. and Katharine Eisaman Maus, Inwardness and Theater in the English Renaissance (Chicago and London: U of Chicago P, 1995)