Shakespeare and Carnival: After Bakhtin

Shakespeare Carnival After Bakhtin by Knowles

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Dionysia, Saturnalia, Mardi Gras and English summer festivals are molten by Bakhtin into a single entity. In the analysis of theatre, the time and place of the performance, the placing and status of the audience all have to be considered before we can effect a satisfactory analysis of festive or carnivalesque elements.

Brewer, Plato, Laws, translation adapted from that of T. Saunders in The Laws Harmondsworth: Penguin, , p. Laws, , Penguin edn. Politics, viii. Sinclair Harmondsworth: Penguin, , pp. Macrobius, The Saturnalia, i. Dramatic Writings of Nicholas Udall, ed. Cited in Burke, p. Rabelais and His World, trans. Lloyd Cambridge: Cambridge University Press, , p. Burke, p.

Feeney Harmondsworth: Penguin, , pp. See especially Leah S. Marcus, The Politics of Mirth. Laroque, pp. Bristol makes the most he can of the festival in Carnival and Theater, pp. Reinelt and J. Bristol, pp. All quotations are from Harold F. The Paston Letters, ed.

Martin Oxford: Oxford University Press, , p. Jones Oxford: Oxford University Press, , no.

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Note that 14 February in the Julian calendar is equivalent to 4 February on the modern calendar. Juvenilia Manchester: Spenser Society, , ii. Complete Poetry and Selected Prose, ed. Hayward London: Nonesuch Press, , pp. Hampson, in Medii Aevi Kalendarium London, , i. MSS Cod.

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William Boswell, cited in John Brand and W. Smith, , i. Ozell London, , pp. For the ideological context, see Marcus, The Politics of Mirth, pp. Latham and W. Matthews London: G. Nashe, Works, ed. Shout within, they all start up. See the Arden edition, ed. Harold F. Brooks London: Methuen, , pp. See A. Young explores some of these links in Something of Great Constancy.

William A. Bentley ed. For the suggestion that choir boys were used, see E. It is sometimes falsely asserted that plays were not performed at Elizabethan weddings, only masques. For Bakhtin, the carnivalesque is another version of the grotesque, it is the moment in the year when it is dynamically expressed in strings of abuse, in a number of comical and unexpected images; this shows how the aesthetics of the grotesque had become tied up with calendrical customs which served both to regulate and discharge the energies of popular festivity.

Now, Hal, what time of day is it, lad?

Shakespeare and Carnival: After Bakhtin

Prince Thou art so fat-witted with drinking of old sack, and unbuttoning after supper, and sleeping upon benches after noon, that thou hast forgotten to demand that truly which thou wouldst know. What a devil hast thou to do with the time of the day? Killing time may thus be for him nothing but a means to kill his father by proxy.

Prince Hal levels his sarcasm at the grotesque caricature of the king represented by Falstaff, while his father Henry laments the unworthy dissipation of the heir to the throne. But what need I thus My well-known body to anatomize Among my household?

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Transvestism and gender change were indeed one of the common customs and features of carnival games. The successive waves of assault of the fat against the lean make up a leitmotif running through both parts of Henry IV and they are a comic counterpoint to the real battles opposing the rebels to the king.

These facetious as well as injurious appellations are complemented by a number of pet-names which play upon patronyms as well as on the physical appearance of the two antagonists. Old Gaunt indeed and gaunt in being old, Within me grief hath kept a tedious fast, And who abstains from meat that is not gaunt? A good sherris-sack hath a twofold operation in it. In the last part of this essay, I shall focus on the importance of the ambivalent images of the body in the play. These serve to give a comic content to the punning association often made between carnival and cannibal.

The earth is here personalized in the pathetic fallacy of line 6, which turns it into an infanticidal and cannibalistic mother, a ghoul that drinks fresh blood. The grotesque is born out of the juxtaposition of this with the quantities of sherris-sack drunk by Falstaff all along the two parts of the play! The vampiric earth is as thirsty for blood as he is of wine!

On the other hand, there is a double duel. Poor Jack, farewell … Death hath not struck so fat a deer today. Though many dearer, in this bloody fray.

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Falstaff, like the deer before the quarry, must be embowelled. If he do come in my way, so: if he do not, if I come in his willingly, let him make a carbonado of me 5. This anticipates the whole trend of sickness imagery which announces both the end of carnival and of Falstaff himself. There is a pendulum effect from one pole to the next which one may observe at work in the two Falstaff plays. In this world of shadows, the more than substantial body of Falstaff becomes the metaphor of the avatars of the body heroic and politic in a world which, because of the crisis of traditional values, has now been possessed by a sense of relativity.

Carnival, like the king, never dies. Humphreys; Richard II, ed. Mikhail Bakhtin, Rabelais and His World , trans. Sir Tophas [a bragging soldier] … love is a lord of misrule, and keepeth Christmas in my corps. Epithon [page to Sir Tophas] No doubt there is good chere: what dishes of delight doth his lordship feast you with withal? First, with a great platter of plum-porridge of pleasure, wherein is stued the mutton of distrust.

Excellent love lap.

Then commeth a pye of patience, a hen of honey, a goose of gall, a capon of care, and many other viands; some sweet, and some sowre…. Fairholt, 2 vols, London, I, pp.

SAC 96 5. If the right side is praise, the wrong side is abuse, and vice versa. The billingsgate idiom is a two-faced Janus. The praise … is ironic and ambivalent. Like the anti-Martinists, Hal enters into the terms of carnival subversion, represented and embodied by Falstaff, while still maintaining his position of authority. Carnival and Theater. See Poole, p. The likeness between the militant religious leader and the irreverent, drunken knight is not, however, obvious. Or, conversely, why did he deviate so far from the alternative tradition of depicting Oldcastle as a bellicose heretic, a serious military threat to king and state?

Shakespeare and Carnival - After Bakhtin | R. Knowles | Palgrave Macmillan

Others assert somewhat more plausibly that Shakespeare intended to satirize the Elizabethan Lords Cobham, Sir William Brooke or his reputedly less competent son and successor, Henry, descendants by marriage of the original Oldcastle. Nor is it, as J. In many ways Falstaff epitomizes the image of the grotesque Puritan.

As the desired reforms became more illusory, Puritans such as the popular, year-old preacher John Penry increasingly went underground, illegally publishing attacks on the bishops and non-preaching often non-resident clergy. The Church authorities felt the sting of these attacks and appointed John Bridges, Dean of Salisbury, as their spokesman. Rather than confute the biblical basis and authority of an episcopal church government the standard approach of most Puritan pamphleteers , Martin endeavours to mar the prelates with personal insults. Doctor Turner, having invited a Bishop to his table, in dinner-while, called his dog, and told him that the Bishop did sweat.

Truly, my masters of the Clergy, I would never wear corner-cap again, seeing dogs run away with them.

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