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Shakespeare William - Shakespeare and the Economic Imperative

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Shakespeare William Shakespeare and the Economic Imperative

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Working from the perspective of the new economic criticism, this study uses close reading and historical contextualization to examine the relationship between interpersonal relationships and economics in the plays of Shakespeare.

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Studies in Major Literary Authors

Edited by

William E. Cain

Professor of English

Wellesley College

A Routledge Series

Studies in Major Literary Authors

William E. Cain, General Editor

Influential Ghosts

A Study of Audens Sources

Rachel Wetzsteon

D.H. Lawrences Border Crossing

Colonialism in His Travel Writings and Leadership Novels

Eunyoung Oh

Dorothy Wordsworths Ecology

Kenneth R. Cervelli

Sports, Narrative, and Nation in the Fiction of F. Scott Fitzgerald

Jarom Lyle McDonald

Shelleys Intellectual System and its Epicurean Background

Michael A. Vicario

Modernist Aesthetics and Consumer Culture in the Writings of Oscar Wilde

Paul L. Fortunato

Miltons Uncertain Eden

Understanding Place in Paradise Lost

Andrew Mattison

Henry Miller and Religion

Thomas Nesbit

The Magic Lantern

Representation of the Double in Dickens

Maria Cristina Paganoni

The Environmental Unconscious in the Fiction of Don DeLillo

Elise A. Martucci

James Merrill

Knowing Innocence

Reena Sastri

Yeats and Theosophy

Ken Monteith

Pynchon and the Political

Samuel Thomas

Paul Austers Postmodernity

Brendan Martin

Editing Emily Dickinson

The Production of an Author

Lena Christensen

Cormac McCarthy and the Myth of

American Exceptionalism

John Cant

Our Scene is London

Ben Jonsons City and the Space of the Author

James D. Mardock

Poetic Language and Political Engagement in the Poetry of Keats

Jack Siler

Politics and Aesthetics in The Diary of Virginia Woolf

Joanne Campbell Tidwell

Homosexuality in the Life and Work of Joseph Conrad

Love Between the Lines

Richard J. Ruppel

Shakespeare in the Victorian Periodicals

Kathryn Prince

Shakespeare and the Economic Imperative

Whats aught but as tis valued?

Peter F. Grav

Shakespeare and the Economic Imperative

Whats aught but as tis valued?

Peter F. Grav

Shakespeare and the Economic Imperative - image 1

New York London

First published 2008
by Routledge
270 Madison Ave, New York, NY 10016

Simultaneously published in the UK
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

This edition published in the Taylor & Francis e-Library, 2007.


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All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

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Library of Congress Cataloging in Publication Data
Grav, Peter F.
Shakespeare and the economic imperative : whats aught but as tis valued? / by Peter F. Grav.
p. cm.(Studies in major literary authors)
Includes bibliographical references and index.
ISBN-13: 978-0-415-96316-9 (hbk.)
ISBN-10: 0-415-96316-8 (hbk.)
ISBN-13: 978-0-203-92791-5 (ebk)
ISBN-10: 0-203-92791-5 (ebk)
1. Shakespeare, William, 1564-1616Criticism and interpretation. 2. Shakespeare, William, 15641616Knowledge--Economics. 3. Money in literature. 4. Value in literature. 5. Capitalism in literature. 6. Ethics in literature. 7. MoneySocial aspects. 8. Interpersonal relationsEconomic aspects. I. Title.
PR3021.G73 2008
822.3'3dc22
2007044231

ISBN13: 978-1-135-89412-2 ePub ISBN

ISBN10: 0-415-96316-8 (hbk)

ISBN10: 0-203-92791-5 (ebk)

ISBN13: 978-0-415-96316-9 (hbk)

ISBN13: 978-0-203-92791-5 (ebk)

Contents
Acknowledgments

This project would not have been possible had it not been for the influence and contributions of the following people. To them, I am eternally grateful. First, Laurie Maguire, who alerted me to the endless possibilities and complexities in Shakespeares plays. Her encouragement of my work as an undergraduate is largely responsible for all that I have accomplished since. I am also beholden to her for showing me that the answers could usually be found in the text. Second, I owe a debt of thanks to Alexander Leggatt, whose guidance and unfailingly sage advice during the writing of this book was invaluable. As well, I am grateful to David Galbraith and John Reibetanz for their input and advice during the early stages of this work. I would also like to thank Rachael Cayley for all of her help in the final editing stages. Last, and certainly not least, Tom, not only for being a second set of eyes throughout the writing of this book, but also for his love and support, which made the realization of this project possible.

An abridged version of was previously published under the title Money Changes Everything: Quarto and Folio The Merry Wives of Windsor and the Case for Revision in Comparative Drama 40:2 (Summer 2006). Reprinted here by permission of Comparative Drama.

Introduction The wind that bloweth all the world besidesdesire for gold

Near the beginning of Erasmus The Praise of Folly, Stultitia, the follies of the world personified, proudly lays claim to being the daughter of Plutus himself, god of riches, who, in spite of Jove himself, was father of gods and men. The subsequent tribute to her father leaves little doubt as to what makes the world go round:

At the mere nod of his head, all institutions both sacred and profane are turned upside downso it always was and is nowadays. His decision controls wars, truces, conquests, projects, programs, legal decisions, marriage contracts, political alliances, international treaties, edicts, the arts, matters serious and silly in short, all the public and private business of mortal men is under his control.

Almost a century later, the title character of Shakespeares nihilistic tragedy Timon of Athens ascribed similar sweeping powers to gold:

This yellow slave
Will knit and break religions, bless thaccursed,
Make the hoar leprosy adored, place thieves,
And give them title, knee, and approbation
With senators on the bench.

Although Erasmus was certainly not an unknown quantity in early modern England, there is unfortunately no way to ascertain whether the above words of the great humanist were ever read by the man who has been referred to as the inventor of the human. These two passages, however, from widely disparate comic and tragic sources, do articulate a common belief that money had become the controlling influence over Renaissance societal values. Indeed, the conflation of material concerns with the spiritual, political and romantic spheres (among others) was practically a mainstay of Shakespearean drama that manifested itself through trope, metaphor and, on occasion, through plots that dealt directly with the economic relationships between men and between men and women. Shakespeare was not alone in addressing such thematic concerns; bookending his career, we find Marlowe and

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