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Description
This unique collection of essays and images explores a series of objects in the Royal Collection as a means of assessing the interrelated histories of the British royal family and the Shakespearean afterlife across four centuries. Between the beginning of the eighteenth century and the late twentieth, Shakespeare became entrenched as the English national poet. Over the same period, the monarchy sought repeatedly to demonstrate its centrality to British nationhood. By way of close analysis of a selection of objects from the Royal Collection, this volume argues that the royal family and the Shakespearean afterlife were far more closely interwoven than has previously been realized. The chapters map the mutual development over time of the relationship between members of the British royal family and Shakespeare, demonstrating the extent to which each has gained sustained value from association with the other and showing how members of the royal family have individually and collectively constructed their identities and performed their roles by way of Shakespearean models. Each chapter is inspired by an object in (or formerly in) the Royal Collection and explores two interconnected questions: what has Shakespeare done for the royal family, and what has the royal family done for Shakespeare? The chapters range across the fields of art, theatre history, literary criticism, literary history, court studies and cultural history, showing how the shared history of Shakespeare and the royal family has been cultivated across media and across disciplines.
Table of Contents
- Introduction
- 1616
- 1: Gordon McMullan: The 'Disappointment' of Charles I's Shakespeare Second Folio
- 1700
- 2: Emrys Jones: Henry V and Early Hanoverian Self-Fashioning
- 3: Kate Retford: 'A Wild and Unruly Youth'
- 4: Shormishtha Panja: Moral painting
- 5: Anna Myers: David Garrick and the President's Chair
- 6: Rosie Dias: Queen Charlotte and the Royal Narratives of Boydell's Shakespeare Prints
- 7: Arthur Burns: George III and the other 'Mad King'
- 8: Essaka Joshua: Disability and Mutable Spectatorship
- 9: Fiona Ritchie: Fake and Authentic Shakespeare
- 1800
- 10: Mark Westgarth: 'Well-Authenticated Blocks'
- 11: Emma Stuart: Why did George IV own a Shakespeare First Folio?
- 12: Kate Heard: From Performance to Portfolio
- 13: Michael Dobson: Hamlet Disowned
- 14: Lynne Vallone: Princess Victoria and the Cult of Celebrity
- 15: Eilís Smyth: Shakespeare in the Rubens Room
- 16: Sally Barnden: Monument and Montage
- 17: Gail Marshall: Puck and the Prince of Wales
- 18: Morna O'Neill: Much Ado about Tapestry
- 19: Vijeta Saini: Disappearances and The Durbar
- 1900
- 20: Kirsten Tambling: 'All England in Warm Sepia': Queen Mary and the Church of the Holy Trinity
- 21: Elizabeth Clark Ashby: Shakespeare in Miniature
- 22: Eleine Ng-Gagneux: Shashibiya
- 23: Kathryn Vomero Santos: Cultural (Dis)inheritance and the Decline of Empire in The Prince's Choice
- Bibliography
